Doretypo was born accidentally, during the design of a poster for a jazz festival in Rome. I was going to realize a typesetting, but I could not find the right character and decided to draw the letters I needed, starting from the first letter of the headline, capital M. I was looking for a lettering able to evoke musical notes, where each letter could be linked to the following one, to the previous one, to the largest at the top and the smallest at the bottom. From this idea doretypo came to life gradually. In the beginning there were a few medium capital letters with very few glyphs, but given the good results I decided to decline in light and bold, integrating minuscule letters, for a whole of 374 glyphs. Today doretypo OpenType is a family of fonts with three weights, 374 glyphs, supporting about 57 languages, ligatures standard, plus a new “NY”. Moreover, each glyph can be used individually to create textures and graphic symbols.

The Core Sans ES Family is a rounded version of Core Sans E and a part of the Core Sans Series such as Core Sans N, M, A, G, D. This is a modernized grotesque font family with horizontal terminals, low stroke contrast, enclosed apertures and little line width variation. Its tall x-height makes the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. The Core Sans ES Family consists of 9 Weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy, Black) and Italics for each format. It supports WGL4, which provides a wide range of character sets (CE, Greek, Cyrillic and Eastern European characters). Each font includes support for Superiors and Inferiors, Fractions, Tabular numbers, Arrows, Mathematical operators and Opentype Features such as Proportional Figures, Tabular Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions, Case Features and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Balcony is a decorative display typeface inspired by the patterns of metal safety grills. Its highly geometric features may be used to identify it as Art Deco. It is a monospaced type family with all characters confined in a square frame. The main idea of Balcony is to create a grill-like pattern when letterforms are placed together. This creates an illusionary experience for the reader. The best way to use this typeface is without leading, as shown in the visuals. Balcony also comes with two stylistic sets. The first stylistic set contains most characters with more decorative elements and the second one includes Dingbats. These Dingbats are motifs with simple geometric patterns that may be used for any kind of ornamentation. The diacritics letterforms are geometrically squeezed within the square frame to include the accents. This experimental typeface comes with about 650 characters and four weights (Thin, Light, Regular and Bold). The font family supports Western and Central European languages.

German type designer Hans Reichel created this sans FontFont between 1995 and 2000. The family has 36 weights, ranging from Light to Black in Condensed, Normal, and Wide (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, poster and billboards, wayfinding and signage as well as web and screen design. FF Dax provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 1998, FF Dax received the The Big Crit award. This FontFont is a member of the FF Dax super family, which also includes FF Dax Compact and FF Daxline.

Shopping Script is designed after and inspired by my handwritten shopping list that was originally a lot less stylish, I have written each words multiple times to achieve the organic and natural flow with a bit spaced out style. This font is an existing work of mine that came in only one weight. Now I added multiple weights I as well as expanded and condensed instances, along with a weight and width variable font file that can be set to anything in between Thin Condensed to Heavy expanded. There are standard ligatures for it, jt, ll and tt, stylistic alternates for uppercase "A" and lowercase "e". For lowercase r and s there are contextual/initial variants when they are first letter of a word. A guide of open type features and how to activate them is available at https://drive.google.com/file/d/1q4j4X8ZntqgEUB8gUmflUNtmlX4IVQBq/view?usp=sharing Most latin based languages are covered from Western European to Eastern.

Zombie Apocalypse is way more versatile as its name would suggest. It might be used as a horror font (red color tones in horror games, movie covers) or in ads for an Offroad Experience Tour (or wherever it comes to dirt, mud and spatters in combination with brown tones). When used with light blue/red/yellow/orange colors, the font can express creativity and freedom (on fashion, inspirational art and advertising) because it is not bound to classic straight-lined fonts. In various shades of gray or in black, it can be used to support a "worn out" look. Zombie Apocalypse - with its "worn out" look and many details - is espacially designed for use with large font sizes, for example in high resolution print media or in large images on digital media. The font is designed to be used in many different languages. It has a large set of accented characters and diacritical marks.

Squad is a humanist sans serif with semi condensed proportions. Inspired by Adrian Frutiger’s perfectionist style this typeface is a harmonious breed of humanist heritage and contemporary simplicity. The balanced characteristics, clear and legible silhouette and simultaneously vivid appearance of Squad makes it perfect for any design purpose. The figures are evident — it consists of 18 styles from Thin to Black; covers Extended Latin, Cyrillic and Greek with span for more than 130 languages; flawless functionality and supporting many OpenType features, such as localizations, tabular numerals, inferiors & superiors, numerators & denominators, fractions, discretionary liga- tures, case sensitivity etc. Designers: Svetlin Balezdrov, Svet Simov Features: • Over 780 glyphs in 18 styles (Thin to Black) • Extended Latin, Cyrillic and Greek scripts for more than 130 languages; • High x-height and Semi Condensed proportions; • Moderate contrast and vertical stress; • Humanistic characteristics and open vertical terminals; • True form of italics; • Coverage of multiple OpenType features; • Perfect for text, headlines and web;

Several roads have been closed around my village, so I need to drive alongside narrow country roads ro get my groceries done. The roads are so narrow that two cars cannot pass, so you need to use the (muddy) kerbs. A lot of cars these days have Xenon lights and they shine really bright and blue. I am non xenon-phobic, but I can tell you that the ‘old’ yellowish headlight were softer on the eyes, especially when you’re trying to navigate narrow country roads! Yes, I know, a long story leading nowhere, but a little personal story (in my opinion) is better than a boring text full of technical bla bla. A font is a font after all and I don’t need to explain what it looks like, because you can see that for yourself! Headlight Blue is a handmade, all caps display font. It comes with all the trimmings, including two sets of alternates that cycle as you type.

A truly faithful ally for every designer looking for fresh yet familiar and reliable font choice. Geller was created as a part of graduation project in Typowa Pracownia at Academy of Fine Arts in Warsaw. It is a typeface family especially intended for newspapers, magazines, and advertising. Geller family comes in two optical sizes - headline and text, so it is a complete solution for editorial purposes. During the design process, the technical needs of certain typographic fractions were examined. The capital letters were specially and purposely designed: its modern proportions (derived from Didone fonts) with optimized inner lights as well as short ascenders and descenders work very well within titles and leads. In addition to a wide range of OpenType features, Geller contains bullets & dingbats providing many possibilities of entry points in editorial design. Compact diacritics, proportionally tall x-height, narrow letter construction, all these features allow easy typesetting of narrow text columns and spreads.

Low contrast and clean Roman Sans with capitals based on the classic Capitalis Monumentalis proportions with uniform and modern SmallCaps, with a subtle script touch on some curved strokes, that give it a less hard feel, more organic and friendly look. The design idea born on 2013 from Roman Schemme studies, where new version of Legan and other roman typeface projects was based on too. Orqquidea was developed in 12 sizes with 659 glyphs each enhanced with professional opentype features (aalt, ccmp, locl, subs, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, c2sc, smcp, case, dlig, liga, zero, salt, calt, ss01, ss02, ss03, ss04), plus a complementary Orqquidea Framed version with 226 glyphs and a Orqquidea Garden version that include floral ornaments and related dingbats with 102 glyphs. It can easily adapt to print and digital environments ideal for fashion branding and corporate purposes, magazine and book headlines and titles, cosmetic label design and even on contents with a modern and artistic air.

Bremenoff is a timeless sans-serif typeface family of 14 fonts, made with simplicity in every aspect of design. Created with a special focus on readability and the finest visual capabilities, this typeface can turn your design projects into something extraordinary. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 289 glyphs are included. Bremenoff is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for beautiful branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes as shown in promo images here. Bremenoff typeface family comes with a total of 14 fonts having 7 weights (Thin / Light / Book / Regular / SemiBold / Bold / Heavy) as well as Italic versions of all weights.

Perva is a suite of three eye-catching fonts inspired by display types from the 19th century. This unconventional family has three different font styles that can be used individually or combined to build a playfulness multi-typeface design system. It is suitable for titling, posters headlines, book covers, packaging, social media, and branding. Perva brings together a Slab serif font, a.k.a Antique or Egyptian; a Reverse-contrast or Italian; and an Old English Blackletter. The design is inspired by the display types listed as “Typographic monstrosities” in Thomas C. Hansard’s book Typographia (1825). What he found absurd was understood here as interesting and enjoyable to introduce a contemporary approach of the types widely sold by foundries such as Bruce’s New York Type-Foundry and Caslon Foundry. Each of the three fonts holds around 400 glyphs, covering the languages of Northern, Western, Central, and Southern Europe. Opentype features include case-sensitive forms and a couple of alternates for the Blackletter style.

The Bix Bats symbol family was developed in 2003 by Argentinean designer Victor Garcia to complement his display text font Bix Plain. Bix Bats contains four different symbol fonts. Most of the characters in these fonts have their lower halves reversed out. Typing a line of text in these symbol fonts, or mixing these symbol fonts with Bix Plain, will create a very interesting text effect: the bottom half of your lines of text will be reversed out, on top of a colored bar. Bix Bats Arrows contains numerous possible arrow combinations, from archery references to the American recycling symbol. Bix Bats Funny includes all of the symbols needed for a party, from beer steins to bunny rabbits! Bix Bats Shiny has enough starbursts to light up a night sky, and in Bix Bats Wired you will find all of the technological accessories needed to be in the now. All four fonts are included in the Take Type 5 collection from Linotype GmbH."

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Made in La Chaux-de-Fonds (Switzerland), HyperTurfu was born during the shooting of “The Return of Hyperturfu Xpress 2”. A GoPro on a lego electric train, meters and meters of rails, an empty industrial space, loads of puppets, paper, cardboard, pizza boxes, lights, hot glue and a bunch of friends preparing a one shot scene for a month. The title of the movie was made out of lego pieces, painted with golden spray and hanged over the rails. It was the first inspiration for this awsome superbold font. HyperTurfu is thought from ground up to give a strong impact. It’s gothic retro science fiction 80’s style makes it best suitable for metal music albums or posters. As the “Banco” font it works perfectly with short texts for advertisement, bar, cofee shops concert places or even fancy hairdresser. Just hang it over a pet shop and see what cool animals will come in.

The Carrigallen family of fonts has roots in Megalithic and Celtic Ireland. It has six weights—Light, Regular and Bold and their corresponding italics. The distinctiveness of the Carrigallen family, is in it's sculpted, spiral nature, inspired by the graphics at the entrance stones and kerbstones at the Newgrange passage graves in Ireland. This is where it derives it’s decorative nature and suitability, as a very distinct Display font. Exceptionally suited for Logos and Headlines, it can increase the corporate presentation of a company as its main identifying feature—and with high memorability! The three separately designed letterforms—differing in line weight—are held in place by the white space within and without the character giving a distinctive twenty first century flavour! It is this dynamic that makes the font unique! Carrigallen Display is a modern font. It draws from its nomadic influences allowing it to be culturally representative of all languages.

Sudtipos is proud to announce the release of Découpe, a display typeface program of eight fonts, designed by María Carla Mazzitelli and born during her Masters in Typography at the University of Buenos Aires (FADU-UBA). Inspired by gestural graphic expressions –like paper cut-outs (découpes) and spontaneous handwriting– from the most diverse postmodern and contemporaneous artists of the design world, Découpe has been created specifically to be used in big sizes. A little bit irreverent and effervescent from time to time, this gestural sans serif family reveals its contrasts and asymmetrical shapes when it breaks through display functions. From Light to Extra Bold, it reaches the most extreme weights, looking for power and impact. This program is meant to catch the eye in typographic compositions, to shout it out loud and clear. Definitely, to be seen. *Découpe has been recently selected to be part of different typography exhibitions such as Tipos Latinos and the Type Directors Club.

A connected typeface design with a calligraphic flavor. The Lahab (Arabic for flame) font family employs visual features from the Arabic Diwani Calligraphy. It has six members, normal, bold, and light, all of which come in two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Lahab employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Lahab includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

The most versatile geometric font ever is here. With 421 alternative characters and 19 stylistic sets, you get unlimited power to take your creativity to the next level. The first typeface of its kind, Primeform Pro is meticulously designed to adapt its personality to any project. Primeform Pro is the smartest choice for any creative project. With a single click, you can change its typographic personality and adapt it to your desired style. Choose between 3 predefined styles or create your own style by combining the hundreds of alternate characters available. OpenType Features Access All Alternates (aalt) Stylistic Alternates (salt) 19 Stylistic Sets (ss01 – ss19) Localized Forms (locl) Case-Sensitive Forms (case) Standard Ligatures (liga) & Discretionary Ligatures (dlig) Slashed Zero (zero) Proportional Figures (pnum) Tabular Figures (tnum) Subscript (subs) & Superscript (sups) Numerators (numr) & Denominators (dnom) Fractions (frac) Ordinals (ordn) Glyph Composition/Decomposition (ccmp) Language Support 317 Latin Languages 2 Greek Languages 15 Cyrillic Languages Tech Specs Glyph Count: 1185 Format: OpenType CFF

Arabetics Detroit is a monoshape font family with a fixed single shape per each Arabic Unicode character. This font family supports all Arabetic scripts covered by Unicode Standards 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It includes three weights: regular, bold, and light, each of which has normal and left-slanted (Italic) versions. The design of this font family follows the Arabetics Mutamathil style design principles utilizing varying x-heights and no glyph substitutions. The Mutamathil type style was introduced by the designer more than 15 years ago. The Arabetics Detroit font family includes all required Lam-Alif ligatures in addition to all soft vowel diacritics (harakat), which are selectively positioned with most of them appearing on similar high and low levels—top left corner—to clearly distinguish them from the letters. The Tatweel or Kashida lengthening character is a zero-width glyph.

Adecion is designed for maximum visual and emotional impact. Its four weights excel in posters, social media, headlines, large format print - and anywhere else you want to get noticed. Hidden between straight lines and firm confidence is a hint of charm and mischievous character; Adecion gives your words a powerful sound as well as fun to use. Perfect for graphic design and any screen use of your projects such as branding, magazines, editorials, wedding invitations, logo design, posters, social media, and more! FEATURES: • 4 Font weight • Uppercase & Lowercase • Alternative Uppercase • Numbers & Punctuation • Characters with accents • Supports Multiple Languages WHAT'S INCLUDED: • Adecion - Light. • Adecion - Regular. • Adecion - Bold. • Adecion - Extra Bold. This type of family has been the work of real love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Adecion! Feel free to use the #Dora Typefoundry tag and the # Adecion Display font to show what you've been up to!

M Banquet is a humanistic script written by a Chinese restaurant owner, which the name ‘Banquet’ comes from. It is a calligraphic style that always being seen in traditional Chinese banquet menu. Incorporated a feeling of masculinity, fill with strength and energy and attracts eyeballs of customers. It was written with a thin ball pen in a unique, personal and expressive writing style, such that it is realistic, natural and masculine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text to subheading with little conglutination. All strokes are irregular, inconsistent, irregularly oriented and tightly coupled. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal style. It is one of the few proportional-width font in a full scale. It is best suited for casual lively atmosphere, illustrations, set upright (non-slanted), non-condensed.

Brecksville is a condensed grotesk typeface that takes inspiration from early German designs of the mid-19th century. It was designed as part of my current research into grotesk typefaces and different letterforms, as part of my dissertation research, “Perfected Letters: German Grotesk in the Nineteenth Century”, which focuses on the role of German design in typography. The Brecksville font family provides a wide range of weights, ranging from light to bold for both its rounded display style and more rugged sharp style. Both its styles feature the same horizontal proportions and metrics so they can freely be combined with no spacing issues. Brecksville's visually punchy condensed style and sharp edges, allows it to stand out on the screen – at almost any size. Its black composition also brings out the details needed in magazine and tabloid headlines, while maintaining readability throughout. The rounded display version is ideal for posters and other uses where you want something eye catching but not too hard on the eyes.

The font family KK30/45 is available in 3 weights: Light, Regular, and Bold. Type Designer: Kuncho Kunev The name of family - KK30/45 is from the first letters of the designer's name (K)uncho (K)unev and from the main angles of the slanted stems - 30° and 45°. Release date: December, 2001 HermesSOFT Ltd. The design of КК30/45 incorporates a geometric variety of shapes, and have been originally designed in such a way that all slanted stems are 30° and 45°, The very high x-height and low bottom parts allow typesetting with almost 100% leading. КК30/45 is a display face suited best to sizes 16-18 point and above. There are included also all Cyrillic vowels with accents that are really necessary for the professional typesetting in Cyrillic languages. Supported Languages: Western Europe (Greek not included), Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic. Supported Code Pages: Macintosh and Windows, any for above languages. Opentype features includes kern, fractions, ordinals, superscripts.

Univa Nova is a beautiful minimalist typeface with masterclass design and outstanding usability features. The typeface is inspired by some of the original Swiss design-based branding projects. Univa Nova is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for beautiful branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes as shown in promo images here. The typeface is specially handmade with great OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 306 glyphs are included. Univa Nova typeface comes with a total of 16 fonts having 8 weights (Hairline / Thin / Light / Regular / Medium / SemiBold / Bold / Heavy as well as Italic versions of each weights.

When we think of a child's font, random scribbles often come to mind, but I thought, why not make a child's font fun, spontaneous, and at the same time simple and readable. This is how the Arbus font was born. This font is perfect for anyone looking for a light, free-style font that will last a long time. In addition, the font has a number of undeniable advantages: The Arbus font is perfectly balanced, which allows you to use it both in headings and for large amounts of text. Thus, you can completely design your products with one font family. The Arbus font family has nine font weights. The font supports all European languages ​​and of course the Latin alphabet. Works on PC & Mac This beautiful Arbus font can be installed on any operating system, it can also be used in professional programs like Figma or Addobe Crative Cloud, as well as in other simpler software like Canva.

About the Product Introducing "Wastern" - A brand new bold display typeface with both modern and vintage curves. Modern or Vintage. If you are going Vintage Retro : Access your OpenType features to access the large selection of alternate letters and ligatures, select the letters you like from the large variety to get the vintage look you are after. Vary between a light and heavy vintage look based on how many letters you alter. Due to alternates , Wastern is a very versatile font, covering a wide range project types, from bold magazine imagery , to wedding invitations, to branding, poster design and so much more. What's you get? Wastern Italic Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. Language Support : Danish, English, Finnish, French, German, Italian, Luxembourgish, Norwegian Portuguese, Spanish, Swedish, Swiss German. Let me know if you any question:) Have a wonderful Day Say Studio

Style and Grace personified - say Child Momsky. This typeface has two main styles, Regular and Italic, that are designed to work elegantly in unison and apart. The serif has a boldy different ' f', which sets it apart from regular serifs.....as Child Momsky likes to stand out from the rest. A regular 'f' is included in its alternates, and a extra font style with a regular f is included for projects that require a more staid elegance. The Italic style is dreamy, sultry and light-footed - a perfect partner for the more serious serif. Use them together or apart for stylish, stand-out type designs and projects. For those of you who do not have access to Opentype Software, such as Canva Users, a separately available 'extra letters' font set will be available for purchase soon. Language Supported : Danish, English, French, German, German (Switzerland), Italian, Low German, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Swedish, Swiss German. Enjoy

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

Secca is a fresh and versatile typeface series. With its workhorse qualities, Secca is perfectly suited for a wide range of applications - especially where legibility and economy are important factors. Secca is rooted in the tradition of early German Grotesk typefaces, but is tailored for the needs of today, with a wide language support and many typographic features and extras. » pdf specimen « The core family comes in nine weights from Thin to Ultra Black plus another three Hairline weights - each with italics, small caps and italic small caps. While the weights from Light to Bold perform well in text sizes, the more extreme styles give extra freedom for Headlines & Signage. For setting tables and charts, Secca offers tabular figures, fractions, currency signs and mathematic operators which share the same fixed width throughout the entire range of weights. This special feature is called “weight duplexing” and is a time saver for designers of annual reports and other figure-heavy texts.

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Introducing MosKovi Script, an enchanting and audacious typeface that seamlessly melds the captivating essence of vintage Soviet design with modern-day allure. This font exudes an air of mystery, evoking the clandestine charm of the Cold War era while breathing new life into the world of typography. Each stroke reflects the precision and strength of Soviet engineering, transporting you to a time when secrets were whispered in dimly lit alleys, and espionage thrived beneath the iron curtain. MosKovi Script's elegant curves and sharp edges intertwine like spies engaged in a delicate dance, daring you to uncover its hidden messages. Embark on a journey through history with MosKovi Script, a typographic marvel that captures the courage and resilience of a bygone era while captivating the hearts of modern design enthusiasts worldwide.

Introducing Moon Cresta, a charming typeface with a soft design that’s sure to captivate your audience. The font draws inspiration from the timeless Goudy Sans, while embracing a modern and minimalist style. Moon Cresta’s smooth curves and effortless flow give it a welcoming and friendly vibe, perfect for any design project. Initially, Moon Cresta only came in one style—Regular, which boasts a bold weight that demands attention. However, as designers fell in love with its delicate charm, a lighter weight was later added. To avoid any confusion, the original bold style was still named Regular, and the newer weight became known as Light. So, now you can enjoy the gentle touch of Moon Cresta in two weights—Regular and Light. To take your design to the next level, Moon Cresta also includes discretionary f-ligatures and custom ligatures for KA and RA. Simply use your application’s Discretionary Ligatures feature to access them and enhance the uniqueness of your design. In short, Moon Cresta is the perfect font for those seeking a soft, organic design with a touch of modernity. So why not try it out and see how it can add a touch of warmth to your project? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. Bunken Tech Sans follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 10 styles with widths ranging from Light to ExtraBold with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) and standard (Std) edition with a reduced range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 12 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Starlit Neon is a delightful display font that combines the elegance of rounded letterforms with the captivating allure of neon lights. With its bold uppercase characters and unique design, this typeface adds a touch of playfulness and charm to your projects. The defining feature of Starlit Neon lies in its rounded letterforms, which exude a sense of softness and approachability. Each letter is meticulously crafted with smooth curves, creating a harmonious and pleasing aesthetic. The rounded shapes give the font a friendly and welcoming appearance, while the neon style adds a touch of excitement and vibrancy. Inspired by the mesmerizing glow of neon signs, Starlit Neon infuses a sense of enchantment and allure into each character. The font captures the captivating charm of neon lights, casting a radiant glow that evokes a magical atmosphere. In some letters, you'll find additional subtle accent lines, which enhance the overall composition with a touch of sophistication. The uppercase letterforms of Starlit Neon are bold and assertive, commanding attention with their rounded shapes. Each letter of Starlit Neon is thoughtfully crafted to strike a balance between rounded shapes and legibility. The uppercase characters are distinct and easily recognizable, ensuring your message remains clear and impactful. The additional subtle accent lines in select letters add an extra touch of visual interest, elevating the font's overall composition. Find out more ways to use this font by taking a look at the font preview. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Starlit Neon perfect for designs like headlines, logos, and eye-catching titles that seek to make a bold statement with a touch of whimsy. Whether you're creating posters, branding materials, digital artwork, or anything in between, this font will infuse your projects with a sense of joy and uniqueness. It particularly shines in applications related to entertainment, children's products, beauty, and lifestyle themes. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.