On page 34 of the 1930 Samuel Welo publication “Lettering - Practical and Foreign” is a simple, basic Art Deco monoline design. This hand lettered type style is now digitally available as Basic Monoline JNL in both regular and oblique versions.

Hand lettering found in the September, 1936 issue of the French film publication “La Cinématographie Française” is rendered in a lovely Art Nouveau serif type style. This is now available digitally as French Film JNL, in both regular and oblique versions.

Reinstay is a script font with textured brush style. The Reinstay font made with digital brush pen strokes that making this font look authentic. This font is perfect for fashion brand, wedding invitation, business card, logo brand, signature, and then calligraphy.

Vagnotie is a Script Font with Modern Brush Style. The Vagnotie font made with digital brush pen strokes that making this font look authentic. This font is perfect for fashion brand, wedding invitation, business card, logo brand, signature, and then calligraphy.

Modularico was initially designed in 1991 for the logotype of a sound recording studio in Kremenchuk city. At the end of 2008 I decided to make a digital version of this font. Final design of font was finished in June 2009.

Cover Art JNL was inspired by the hand-lettered sans serif title of an Art Deco era Portuguese magazine called Ilustraçáo. The mix of conventional and non-conventional letter forms made it a perfect candidate to turn into a digital font.

Santino is a rounded monoline, post-bauhaus geometric font with smooth extremes and a touch of modern sensuality. It is named after Ariel "Negro" Di Lisio's son. The fonts were designed by Ariel Di Lisio and digitized by Alejandro Paul.

Intrigued by typefaces of the late 18th and early 19th centuries, the designer was surprised to find no digital renderings of the popular Old Roman typeface. This font is the designer's interpretation of this c. 1895 typeface designed by T.W. Smith.

Vezthisory is a Script Font with Handwritten Style. The Vezthisory font made with digital brush pen strokes that making this font look authentic. This font is perfect for fashion brand, wedding invitation, business card, logo brand, signature, and then calligraphy.

A picture of some cast metal letters in a 1950s architectural signage catalog was the basis for Window Dressing JNL. The clean, simple lines as well as the unusual letter form of the B and R inspired this digital interpretation.

Nautikka was designed from the waves of the sea is a sans serif, elegant and functional for editorial design, visual identities or digital applications. With 685 glyphs, 5 weights and variations in italics is a versatile font with great legibility.

Need a semi-formal yet unique font? Thinkerbery is the answer! The look of Thinkerbery is like a digital typing style but still has its uniqueness. We bring a strong looks for your text. Enjoy in creating unique arts using Thinkerbery! :)

Nosy Notes is originally handdrawn, but I digitally traced my sketches and the result is this font - a smooth, super steady and legible comic font. I've added multilingual support, in order for you to be nosy in all kinds of languages! :)

The 1965 film “Mirage” had its titles and credits hand lettered in a simple, thin sans serif with rounded corners and an overall square design. This is now available digitally as Office Work JNL, in both regular and oblique versions.

An interesting bit of Art Deco influenced serif hand lettering was found on the cover of the sheet music for 1938's "Boatman's Serenade". This became the model for the digital font Inlet JNL; available in both regular and oblique versions.

'Rossija' is inspired by russian typographic designs. It's bold look makes a perfect font for the use of titles. You can use these fonts to create posters, greeting cards, scrapbooks, CD labels, T-shirts, coffee mugs, digital videos websites and banners.

Bitelephant is a type of pixel font with Slab Serif. It's unique pipeline characteristic, result a bold & simple font. It's bitmap give a retro game looks, but with a futuristic feel. Suitable for any fun, sci-friction, techno, game & digital theme.

Designed by Nick Shinn. Digitally engineered by Steve Jackaman. Humanist sans serif with a calligraphic cut and tall ascenders. Light, Medium and Extra Bold designed by Nick in 1985 for Typsettra; Steve added the Book and Bold weights, and the Italics.

Blumenkind is a fresh, bright, humanist script font radiating boundless optimism and friendly enthusiasm. Its strokes are based on the rounded triangle, which lends it a dynamic bounce and a confident human touch. It shines in a wide range of display and editorial applications, but excels in particular in the context of art, creativity, food, social events, and spirituality. Blumenkind is inspired by an instance of metal-strip lettering found on the B�rgermeister Kornmesser Siedlung residential building complex in Berlin from the 1960s. The font name, being German for �flower child�, aims to capture the positive zeitgeist of that time evident in the letters. Blumenkind comes with extensive language support, tight kerning, attractive ligatures, and subtly varied alternate shapes for some of the most commonly doubled letters � and all that in three linear weights and one calligraphic weight. Furthermore, a complementary version of the font (Blumenkind Alternate) is available, in which the overlapping tittles and accent marks of the original are replaced with more traditional free-floating marks. This font is dedicated to the miracle of medical science. Thanks to Georg Seifert, Rainer Scheichelbauer, and Michael Wallner for technical aid.

Delfino Script is a cool, connecting script that can appear both retro and contemporary. Curved on the outsides of strokes, and jagged inside, the forms look like an abstraction of strips of tape, folding and flowing, or even marker pen style lettering. This script is not created by any pen though - its forms are constructed, not painted. Typographic features like ink traps add sparkle to the text. OpenType features include ligatures, contextual alternates (for more realistic connections) and stylistic sets. Stylistic Set 1 changes certain upper case letters into forms more suited for all caps setting, although they can also be used freely with the lower case. Set 2 changes the r into a less scripty form and set 3 adds a connecting tail to the q. Delfino Script would find itself at home in cookery books, fashion blogs, vintage car magazines and set large and proud on expanses of concrete, or, most likely, whatever you might have in mind for it! Delfina Script is practically identical to Delfino save for round tittles, periods and any other dot shaped glyph components. Strangely for such a little change, it does seem to give the face a different character.

Last Dance: Redux - The 80s Feel-Good Script Font - Updated! Welcome to Last Dance: Redux, a new and improved version of my popular brush-script font inspired by 80s movie posters, VHS covers and Friday nights at the video store! This hand-drawn script aims to capture the feel-good vibes of movie blockbusters that won our teenage imaginations, while serving as the go-to font for recreating this unique and nostalgic period. The original Last Dance font features a gritty, hand-drawn texture that looks equally at home on an aerobics competition poster or steamy urban thriller - making great titles that look distinctly cinematic. Last Dance: Redux takes that original design and strips it back to it’s bare essentials resulting in a clean, uniform look that improves letter flow and readability. It’s also much lighter on system resources making it the preferred choice when using extensively across print and web projects. Both versions come with upper and lowercase characters along with punctuation, numerals and language support, plus two full sets of alternatives and a selection of underlines. Check out the visuals to see it in action!

The idea for Gilman started simple enough, a serif typeface that works well for large amounts of text. However, after many struggles creating a quality typeface digitally, I decided to first draw the complete alphabet by hand on paper, and then trace that digitally. The result is a unique workhorse typeface with a subtle “human touch” that is very rare in this modern technological age. Gilman has extensive language support and comes with many opentype features like true small caps, tabular lining figures, stylistic alternates, ligatures and more. Gilman Sans (derived from the serif) is an excellent compliment and works together harmoniously with Gilman on the page.

Niva is a display family font with 6 typographical groups in 10 weights each one, including a standard version, 2 italic widths, an alternative version and true small caps with italic version too. The creative idea follows concepts like future, technology, science, the structural principle focus in simplify complex details on letterforms ‘clean corners’ giving a luminous and sophisticated design with a ‘technologique’ touch, built in legible proportions which works as well as ‘display (titles)’ and even at small ‘text’ requirements. Specially recommended to be applied on digital and prints contexts as magazines, books, printed ads, UI & website design, digital graphics, video and TV screen contents as videogames and mobile apps.

Rustling Trees - Script Textured Fonts Brand new stylish textured fonts ! In collaborating with Albion Room. Fresh from the oven as inspired to create easy digital lettering for you. Flowing texture makes this fonts has a unique characteristic, also give you alternate characters lowercase and uppercase, alternate for the initial and terminal forms. It will be great for Logotypes, Posters, Digital Lettering Arts, Clean design, Branding Design, Sign, etc. Multiple Language available just check it out :) Features : Stylistic Alternates (up to 10 style in some letters) Initial & Terminal (also comes with alternate initial and terminal glyphs) Refined All caps (No more tail or swash when type in all caps)

Modern serif fonts are a contemporary twist on traditional serif typefaces, striking a perfect balance between classic elegance and modern aesthetics. Combining clean lines with refined serifs, they exude a sophisticated and professional vibe, making them a popular choice for digital and print media alike. Their versatility enables them to work well in both body text and headlines, ensuring readability and visual appeal across various platforms. Modern serifs often showcase a higher contrast between thick and thin strokes, elevating legibility while preserving their distinctive character. Embraced by designers for their timeless charm with a contemporary edge, modern serif fonts continue to shape the visual language of our digital era.

P22 Slogan is a non-connecting script font that captures the essence of the lettering used in 1950s European advertising. Bold strokes of this brush-drawn face make this design a great choice for both retro design and contemporary work. The font is based on the 1957 design Slogan by Aldo Novarese for the Italian Nebiolo Type Foundry. At the time of its original release, it was touted for "striking publicity work". This new digitization accurately reproduces the outlines of the original not found in previous digital versions of this design. P22 Slogan is a non-Pro Opentype font that includes Central European characters.

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

"Relation Between Typology and Type Design" 'PRISTINE'; this font is—neither beautiful nor ugly, neither vigorous nor weak, neither traditional nor modern, neither serif nor sans serif, neither script nor printable, neither a text font nor a display font—it is rather all of the above, which makes it a more versatile typographic tool—[handwritten] characters that are well-suited for a wide variety of applications—from editorial design, [friendly] greeting cards... to branding, advertising, publicity and digital. Each glyph design combines its unique shapes and stylish ink-traps with parabolic curves. Each glyph design has been treated as an 'individual character'—the way I would treat a breathing, living, vulnerable and courteous human being; looking after each and every character as if it was my only child — bringing to light the authenticity and uniqueness of each individual, as well as my objective to bring about peace and harmony between them all as a whole. Designed with the intention of harmonizing between four scripts — Latin, Cyrillic, Greek and Hebrew; the whole family has a comprehensive set of characters—in addition to the Latin letters, the Phone typeface also has a full set of characters for Vietnamese, partially extended Cyrillic, Greek and Hebrew (sold separately). The t_t ligature is something unique to Phone, as well as the t_z ligature, among others and extras. A distinctive trait of the Phone typeface, is a high x-height combined with relatively short ascenders. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of "Soft Fonts & Friendly Faces". Copyright Tamar Fonts/Hillel Glueck 2021 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs. Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch. Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above. Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos. Altogether these three typefaces form 36 styles – each supporting numerous Latin-based languages as well as major Cyrillic languages. In roman styles the Cyrillic script comes in two flavours accessible via OpenType alternates – to choose either more traditional and curvy (default) or more formal and rigid type texture. In italics this feature affects uppercase and small caps. Also, each style is packed with OpenType features: ligatures, small caps, six sets of digits, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Polish kreska, Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for Turkish/Azerbaijani i/ı. Some of the styles of Anglecia Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Note: the 'Phone Pro Hebrew' typeface, includes just the Hebrew characters of the comprehensive "Phone Pro" family font, sold separately [on this MyFonts site], so they are economical for those interested just in the Hebrew Characters. And regarding the “Phone Pro” project in general, this is what I wrote: 'PRISTINE'; this font is—neither beautiful nor ugly, neither vigorous nor weak, neither traditional nor modern, neither serif nor sans serif, neither script nor printable, neither a text font nor a display font—it is rather all of the above, which makes it a more versatile typographic tool—[handwritten] characters that are well-suited for a wide variety of applications—from editorial design, [friendly] greeting cards... to branding, advertising, publicity and digital. Each glyph design combines its unique shapes and stylish ink-traps with parabolic curves. Each glyph design has been treated as an 'individual character'—the way I would treat a breathing, living, vulnerable and courteous human being; looking after each and every character as if it was my only child — bringing to light the authenticity and uniqueness of each individual, as well as my objective to bring about peace and harmony between them all as a whole. Designed with the intention of harmonizing between four scripts — Latin, Cyrillic, Greek and Hebrew; the whole family has a comprehensive set of characters—in addition to the Latin letters, the Phone typeface also has a full set of characters for Vietnamese, partially extended Cyrillic, Greek and Hebrew (sold separately). The t_t ligature is something unique to Phone, as well as the t_z ligature, among others and extras. A distinctive trait of the Phone typeface, is a high x-height combined with relatively short ascenders. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of "Soft Fonts & Friendly Faces".

La Rosaleda Font Duo is a ligature font pair with 30 amazing chic logo templates. With this open type font duo you can explore your creativity in unlimited way. To recreate your brand all you need is mix and match from the La Rosa font duo. This font duo is full of stylish ligatures, so that your writing with La Rosaleda can stand out. - Font Features: All fonts are OpenType fonts All fonts are fully vector designed Accurate kerning for all serif family Amazing ligatures to look natural in script font Alternative characters for script lowercase alphabets Multilingual Support for Both Scrip and Serif All OpenType fonts, Serif and Script. 30 Fully editable logos for Adobe Photoshop or Adobe Illustrator Font installing help file for PC and Mac Web-fonts for Script and Serif

ZT Klotin is a serif display font characterized by a strong, Classic vibe, with straps, special alternate glyphs, and soft Curves. Perfect for branding, weddings, social media, product design, stationery, and advertising. ZT Klotin is flexible enough to add these classic elements to almost any project requiring a special class touch. ZT Klotin features over 178 unique ligature and alternatives, ZT Klotin is crafted to be Soft and interwoven to create a stunning display of its subtle hypnotic curves, making it the perfect choice for impactful editorial layouts and bold Bold creations. FEATURE — 644 Glyphs — Uppercase & lowercase letters, numbers — Old-style figure — 40 Discretionary Ligatures & Standard Ligatures, — 178 Alternatives (Uppercase & Lowercase) — Symbols, punctuation marks I hope you have fun using ZT Klotin Thanks for using this font ~ Khaiuns X zelowtype

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

A new happy handwritten sans serif font has arrived! Little Boxes has been designed with felt pen on smooth paper to create the illusion of human craft and then digitalized. Three different fonts Regular, slanted and dance. Optimized shapes to obtain the best readability without loosing the analogical feeling of the original designing tool, makes this font perfect both for printing and digital environments and it allows the use of the font on any project with different media supports. This fresh font family is ready for text, but check your opentype features window while using the font and discover a beautiful set of alternate letters. Create catchy words and add more fun to any layout, which makes it a perfect match for titles and display too. A friendly typeface to give a whimsical touch to your projects. We highly recommend using Little Boxes for App, web, ePub, digital Ads, Video games, and a great fitting for printing; headlines, posters, DIY hand-lettered artwork, books, holiday cards, invitations, T-shirts, labels, packaging, artisanal goods, etc.

Introducing "Cyberend" – a font that seamlessly marries the raw, edgy aesthetic of cyberpunk with the precision of square pixels and the sleek modernity of italic serifs. As the digital world converges with futuristic design, Cyberend emerges as the quintessential typeface for those seeking a cyberpunk-inspired typographic experience. Dystopian Elegance: Cyberend encapsulates the essence of cyberpunk, embodying a dystopian elegance that effortlessly blends chaos and sophistication. The font's italic serifs add a touch of rebellion and forward momentum to every character. Pixelated Precision: Immerse yourself in the pixelated precision of Cyberend, where each character is meticulously designed with square pixels. The result is a sharp, high-tech appearance that resonates with the digital landscapes of cyberpunk aesthetics. Versatile Impact: From gaming interfaces to film titles, Cyberend makes a bold statement in any digital or print medium. Its versatility allows you to infuse cyberpunk vibes into logos, posters, websites, and more, giving your projects a distinctive and immersive feel. Futuristic Legibility: Despite its cyberpunk flair, Cyberend prioritizes legibility. Each character is crafted to ensure readability, maintaining a perfect balance between avant-garde design and practical functionality. Unleash the power of Cyberend to transport your audience into a cyberpunk-inspired future. Whether you're designing for tech enthusiasts, gamers, or cyberpunk aficionados, this font is your gateway to a digital realm where style meets rebellion. Upgrade your typographic game with Cyberend and let your creations transcend the boundaries of conventional design.

TextTile is a system of heavy sans titling faces which can be utilized to carry a repeating chromatic pattern across words and letters. It stands apart from other chromatic faces, where layered effects typically interact only within each letter and do not carry through from one letter to another. The pattern repetition across letters of varying widths is achieved through OpenType substitution, using conditional alternates for each successive letter to allow for a seamless appearance across words, regardless of letter combinations. Though the pattern exists on a strict grid and the letters' widths and spacing must be highly regular in order to preserve the pattern repeat, the letterforms themselves are not rigid; rather, they appear organic, lively. The initial release includes patterns inspired by a classic buffalo plaid, separated into its horizontal and vertical components to maximize the creative possibilities for layering one-, two-, three-, and even four-color plaid patterns. Kits are available to produce the plaid pattern in detail—with overlapping diagonal hatching fully visible—or as a simplified version in which transparency can be used to simulate plaid or to create a checkered or striped effect. The TextTile family of fonts is a flexible canvas for mixing and matching a broad array of patterns to create a unique look. Check back for more pattern releases and take a look at the online specimen to see what is possible with the current offerings. Usage Notes For best results use an OpenType aware program. Enabling Contextual Alternates will ensure pattern alignment. For patterns that are made up of vertical stripes or columns using the Stylistic Alternate/Stylistic Set 1 will shift the columns. Stylistic Set 2 will change 1-0 into blocks of patterns.

Garrigue is a sans-serif typeface, it's inspired by the typography of German rationalism of mid XXth century, the base version is combining this rationalism with more organic elements, while Garrigue Sharp is simpler, ideal for technical applications. The OpenType functions allows near 700 different combinations of ligatures in Capital letters, which gives to text interesting patterns and a lot of dynamism in 100 different languages, including cyrillic. The family contains different stylistic alternates which gives more flexibility to the typeface. The Garrigue family includes 14 weights, seven styles from Thin to Black in Normal and “Sharp” version. Each font includes OpenType Features such as Discretional Ligatures, Proportional Figures, Tabular Figures, Numerators, Superscripts, Denominators, Scientific Inferiors, Subscript, Ordinals, Standard Ligatures, Stylistic Alternates and Fractions. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Lydia Sans™ is an elegant geometric sans serif with a charming profile and organic flow. Inspired by the clean typography of the 1920s, it's character and legibility make it suitable for any kind of text applications, from brand design to extensive text layouts. Lydia Sans™ has 22 styles, variable font technology and its weight range spreads from hairline to ultra bold forms. Flexible and adaptable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1300 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localised forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. As a workhorse type system, Lydia Sans™ is a sans serif for everyday use and a great choice for a wide range of applications. • Suggested uses: perfect for brand design, editorial design, web design and packaging design; • 22 styles: 11 weights + 11 italics. • 2 variable fonts; • 1315 glyphs in each weight; • OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive forms, Glyph Composition, Discretionary Ligatures, Denominators, Fractions, Standard Ligatures, Lining Figures, Localised forms, Numerators, Oldstyle Figures, Scientific Inferiors, Small Capitals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets).