Introducing the stunning and sophisticated Grinda font, an elegant serif typeface inspired by luxury classic covers and combined with modern typeface style. With 534 glyphs and 359 alternate characters, Grinda provides an extensive range of display combinations for lettering, giving you endless design possibilities. Grinda comes with a variety of OpenType features including alternates and end swashes, making it easier to create beautiful and unique lettering. This font also supports multiple languages, making it versatile and accessible for designers around the world. Perfect for logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media, greeting cards, and much more, Grinda will elevate your designs to the next level of elegance and sophistication. To access the alternate glyphs, you'll need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. In the zip package, you'll find the Grinda font files in OTF, TTF, and WOFF formats, and it comes with uppercase and lowercase letters, as well as numbers, punctuation, and symbols.

Are you looking for a bold and strong font? Do you want of creating Something that stand out and inspire creativity, imagination, and endless fun? Wait no more, we will give you the best choice. Black Sharp a Bold Font Black Sharp a Bold Font, Inspiring from strong bold style typography. This font is perfect for a design that makes it more attractive and playful. made with a very good level of aesthetics making this font suitable for book cover, poster, packging, merchandise, logotype and much more. Black Sharp font includes Multilingual Support, among others : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu FEATURES : Uppercase Lowercase Number Punctuation Multilingual PUA Encode Opentype

Silent films evoke a sense of nostalgia that is as timeless as the era itself. While the stars of silent cinema may have faded into the past, their influence is still felt in modern-day art, fashion, and design. Silentina is a typeface that embodies the spirit of the silent film era, inspired by the intertitles that were used to convey crucial information to audiences during these films. Buster Keaton, Mary Pickford, Clara Bow, and Rudolph Valentino all graced the silver screen with their emotive faces during the silent film era. These icons used their expressions to convey a range of emotions that captivated audiences and made them fall in love with the magic of cinema. Intertitles, the brief messages that would appear on-screen during the film, were just as essential in conveying information to moviegoers. Silentina is a typeface that pays homage to the unsung heroes of the silent film era—the intertitles. It channels the glitz and glamour of the roaring twenties, taking us back to a time of flapper dresses, jazz music, and speakeasies. But Silentina isn’t just a typeface—it’s a portal to another era. It transports us to a time when movies were an escape from reality, and each trip to the cinema was a chance to lose ourselves in a world of adventure and romance. With Silentina, you can project your message in the same way that the stars of silent cinema projected theirs. This typeface captures the essence of a bygone era, bringing it to life in the modern world. Use it to convey plot information, set the scene, or add a touch of vintage charm to your design. Whatever your message, Silentina will help you communicate it in the same glitzy way as the intertitles of the silent film era. 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.

Up until the late 1920s, it was a popular habit in American songwriting to use African Americans as the topic of compositions using denigrating themes, words and even exaggerated character illustrations on the covers of the published sheet music. One such example of what was considered "entertainment" for its time was a piece entitled "Little Black Me". While this now socially and morally unacceptable piece of forgettable tripe is collected by some only for the historical documentation of the times they reflected, one good "positive" came out of this negative chapter of our country's musical heritage: The beautiful floral ornamented letters in the song's title has yielded Fancy Free JNL. Originally hand-lettered on an arc, these spurred Roman letters have been re-drawn, and are offered in both the regular design and a companion version with the ornamentation removed for lettering that is less ornate.

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.

The contemporary feel of the Sancoale superfamily takes a bolder turn with this futuristic slab. Built from Sancoale's successfully simple geometry, Slab's serif elements and tall x-height give the face an energetic, yet clean figure that easily complements its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Narrow; and, of course, the original Sancoale itself. The weights of each member have been balanced carefully to ensure compatibility with the others, and when used together, the combination creates a powerful design that is easy to identify. With weights ranging from the classier Thin to the authoritative Black, Slab opens the door to a range of applications. Used in different text sizes, its tech image is legible and neutral enough for longer bodies of copy--both in print and on the web. Have a more prominent need? The web font also stands out well in a headline or even as a display face. Slabís great personality puts a strong foot forward without giving its reader a kick in the teeth. Whatever the task, this font's one to capture the Zeitgeist into your work. All Insigne fonts are fully loaded with OpenType features. Sancoale Slab is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including "normalized" capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Included are small caps, fractions, old-style and lining numbers, scientific superior/inferior figures, complete ordinal and inferior alphabet, and a set of symbols and arrows. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Slab supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Whether you call them slab serif, square serif, or Egyptian, you know them when you see them – sturdy, nearly monoweight designs with blunt, straight-edged serifs and a no-nonsense attitude. The Rockwell® Nova family is a fine example of this appealing and eminently usable type style. This is a design that is both robust and adaptable. Marked by the flat top-serifs on the cap A, unusual Q tail and high-legibility two-storied lowercase a, Rockwell has a bit of handmade charm that distinguishes it from the cool, more modern interpretations of the slab serif style. The family is excellent for branding, headlines and other display uses. The simple shapes and hearty serifs also make it a good choice for short blocks of textual content in both print and on-screen environments. The light and bold weights are perfect for setting blocks of text copy, while the extra bold and condensed designs bring authority to display copy. Throw in a little color, and you amp up Rockwell’s messaging power. The regular and italic designs perform handsomely, in the most modest of screen resolutions. With four weights of normal proportions, each with a complementary italic, and three condensed designs, two with italics, the family is a commanding and versatile graphic communicator. Rockwell’s large x-height, simple character shapes and open counters, make for an exceptionally legible design. It should not, however, be set so tight that its serifs touch, as this will erode legibility and impair readability. A benefit to Rockwell’s slab serifs, however, is that the design combines beautifully with both sans serif typefaces and a variety of serif designs. Rockwell OpenType® Pro fonts have an extended character set supporting Greek, Cyrillic, most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Looking for its perfect pairing? Look no further than ITC Berkeley Old Style, Between™, ITC Franklin Gothic®, Harmonia Sans™, Metro® Nova or Frutiger® Serif.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A. Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed. The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content. Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Sancoale Softened is the new rounded companion to Sancoale. While the original Sancoale is crisp and defined, its delicate forms also lend themselves well to a lighter, more rounded version. The stems of Sancoale Softened are blunted, and its corners have been carefully rounded, avoiding the “sausage” look seen with some rounded fonts. This blend of definition and delicacy makes the Sancoale Superfamily versatile and appropriate for a variety of applications. The design minimizes the characters to their essence, leaving a default set of simple characters without notches or spurs. However, the typeface family’s slightly technological feel still appears friendly and approachable to the reader. It’s slightly condensed proportions and tall x-height also make the design readable at a wide range of sizes, which works especially well for web pages. These softer letterforms give Softened its unique, futuristic look--great for distinguishing your text or display. There are six weights with true italics. All insigne fonts are fully loaded with OpenType features. Sancoale Softened is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including “normalized” capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Sancoale Softened continues with Sancoale’s successfully simple, geometric and legible structure. With its suitability for a wide range of uses, the Sancoale superfamily is a very economical and versatile addition to any designer’s font collection.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

Some words from the designer, Frantisek Storm... Designed by Josef Tyfa in 1959, digitalized by F. Storm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices - "rulers" for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 288 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters "a", "n", "p", the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books.

TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

Kevin King says: "When I started this font it was called Pestle... It didn't run - it didn't even walk. At some point I thought, Hmm! Looks a bit like Liquorice! And now... Voila! I remember being able to buy about a yard of Liquorice rolled round a central comfit - how fab! Tuppence worth of sticky afternoon! You could also buy bundles of Liquorice root - which looked like black twigs with bright yellow wood - they left my teeth full of black twiggy bits... The past is a strange Lady - Bless her! This was almost Kingthings Leechy... just another one of my bulbous shiny things - I have always liked letter-shapes with 'bottom', probably a 70's thing, as many a seventies thing did indeed possess it - including the fabulous Chaka Kahn... Oooh, Diva!" ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

We've already updated and revitalized Film Fiction Sans to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Sans has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Sans does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover additional features of OpenType features such as aalt, dnom, frac, kern, liga, numr, ordn, salt, sin, ss01, ss02, ss03, ss04, ss05, ss06, ss07, tabular figures, old-style figures and alternative glyphs. Not only does this font speak multiple languages, it also covers a variety of design needs – offering seamless language support for Western European, Central/Eastern European, Baltic, Turkish, and Romanian languages. Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Sans, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Sans be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Sans, where each character tells a story.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font. How did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It's a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use. This font was created in July, 2012 and named Conspired Lovers. A font to capture and convey your message in a special way to the beloved one close to your heart. With a long practice of writing crafted into the unique design I hope that you and the recipient of your writing will soon enjoy this design. The Open-type version features 350+ glyphs including alternates and ligatures. All lowercase and most uppercase letters are connected, to create a realistic hand-writing-calligraphy on your creations. Conspired Lovers is international and supports a wide range of eastern european languages with accented letters to reach everyone in Sweden, France, Hungary and almost everywhere around the globe. A trailer for Conspired Lovers can be seen here: http://vimeo.com/haraldgeisler/conspired-lovers If you're looking for more heart related fonts also check out my other fonts.

Hello! Let me introduce Cohen – a handwritten font named in memory of the great poet and singer Leonard Cohen. On the day he passed away I did my routine calligraphy practice and wrote a part of his song 'Night Comes On'. You may see this work in presentation pictures, and after time I designed a font based on this calligraphy. Cohen signature font is perfect for logos, branding, web, blog headlines, invitations, magazine and book design, product packaging – or for any text on postcards and on your favorite photos. Cohen includes: a standard set of characters with wide multilingual support: Western-, Central- and Eastern-European, Baltic, Turkish, Latin-type Africans, and Asian (94 languages in total) two additional character sets: lowercase letters with alternates shapes and lowercase letters with a little end-swash - for the position at the end of a word 39 ligatures for double letters and frequent combinations Cohen has a large number of embedded context-dependent auto-replacement features that give the text a natural, handwritten look and correct inharmonious combinations of letters. These features work well in many apps (even simple ones like Notepad/TextEdit), and if you need to customize their application – you could use programs that support OpenType features (for example, Adobe apps or CorelDraw). All these additional glyphs are PUA-encoded, so if your software does not support OpenType — you could access them through Character Map (Windows) or Font Book (Mac). I hope you will like Cohen and create great designs with it! And if you have any questions, feel free to contact me via e-mail: triple.hely@gmail.com

FangsALot is a bizarre typeface family that was designed to alternate two character sets. These sets are alternated automatically in applications that support the OpenType feature Contextual Alternatives (calt). The template used to design characters is a distorted triangle that resembles a curved tooth or a fang. This shape can be flipped horizontally, vertically, and both horizontally and vertically to give four orientations. Two of these orientations are used in the regular style and two in what is called the italic style. I thought the fang motif did not come through clearly in the regular and italic styles. Rather the impression they give is more like graffiti lettering. To emphasize the fang motif I added two more members to the family by filling fang outlines with unadorned sans-serif characters. Then to allow more color in lettering, I added two more styles with letters on black. I then had six styles based on triangles skewed left and right. Why not fill the family out with three more styles based on an isosceles triangle? The end result is a family of nine. All members of the family are monospaced and are hard to read. The three graffiti-like styles have some alternative letters that can be accessed with the OpenType feature Stylistic Sets. Also, for each style it is possible to use only one set of characters by adding a space after each letter and then adjusting the character spacing. The graffiti-like styles can be useful in situations where the hard-to-read property is not important but where a menacing and vicious touch is needed, such as topics of sharks, teeth, biting, and vampires.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

Andalucia is a calligraphic script font that comes with beautiful alternate characters. copper plate calligraphy mix with handlettering style. Designed to convey stylish elegance. Andalucia is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Andalucia features a glyph and alternate characters. including multiple language support. It features OpenType with styling, binding, and character strokes, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

Quiroga Serif began in 2007 with the name Quadratta Serif. This typography was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes. Formally, my idea was to make a serif type that had a unique color, this is visible due to the light modulation. This is also complemented with the incorporation of not common, alternative signs. Some parts of the letters that are usually curb or diagonal where made horizontal (for example: a, q, p, etc.), this makes the eye of each character to be wide and unique. The serifs (wedge type) suffered diverse variations during the process. At the begining they where thicker and ended vertically, but this caused a great deal of printing errors. And so we decided to modify them by giving them an angle to avoid visible errors in medium and small sizes. The ch, and ll ligatures where rescued because they are a part of our current spanish alphabet. The historic ligatures and stylistic alternates give different options to users who want different alternatives within a text. The accentuation signs were composed in a middle line above all signs to avoid visual shock. We also gave plenty of importance to small caps numbers, mathematical signs and currency signs so that the could interact well.

Presenting the 🗯️💬The Browood Layered Comic Font💬🗯️ by alitdesign. The Browood Layered Comic Font is inspired by the style of letters in comics that have less serious and fun characters. The lettering of the Browood Layered Comic Font is a sans serif with display font characters which gives a fun and design impression for children. The Browood Layered Comic Font has 3 layered font. The Brootahh font is perfect for creating designs with non-serious concepts, designs for children, book headers, and of course for text on comics. The Browood Layered Comic Font also gets a bonus character of 230 Comic-themed illustrations that make creating designs even easier. Simply by downloading The Browood Layered Comic Font creating a Comic and non formal themed design is very quick and easy. The Browood Layered Comic Font is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with comic, non-serious, pop art, game mobile and fun design. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Browood Layered Comic Font contains 544 + 230 bonus glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

The Fottina Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper calligraphy with a zipper style. Designed to bring the elegance of style. The Fottina Script attracts good, clean, feminine, sensual, glamorous, simple and very easy to read fonts. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. The Fottina Script has 450 flying machines. including multiple language support. With OpenType features with alternative styles, binders and characters, it allows you to mix and match pairs of letters to suit your design, as well as a touch of ornament to make this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer. (Windows), Letter Books (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, use Character Map (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

Deva Ideal was inspired by women’s beauty. It didn’t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women’s beauty. The unique character of the typeface is achieved by the use of soft, almost invisibly bent strokes, since one of the priorities of the typeface is not to disturb the eye of the reader with odd design details. Deva Ideal excels in her cold beauty and shows her sex appeal. The soft curves present in Deva Ideal differ from the masculine and technical shapes used in most contemporary typefaces. Deva Ideal has ideal proportions (90 / 60 / 90) and its shapes are essential and simple. Because of this, it is ideal for setting text in all kinds of printed matter: catalogues, books and magazines. The letter forms are wide and open, so text can be set in small sizes and thus space can be saved, while keeping the same degree of readability. The author wishes to acknowledge František Štorm for his invaluable opinions. Also to Palo Bálik and Peter Bilak for their contributions. I am specially grateful to all the devas (archaic expression for beautiful young girl), who inspired me to design this typeface. This is dedicated to Janka Ráczová, Jarka Krajčiová, Mariana Felgueiras and obviously to Martinka Filípková! Every use of Deva Ideal is a little homage to these interesting women.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of Romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. Unger’s Alverata is an extensive type family, with versions for both formal and informal applications, and with Greek and Cyrillic relatives. Alverata consists of three different fonts: Alverata, Alverata Irregular and Alverata Informal, that vary in form and width, but maintain the same spirit. The Irregular version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.  For the development of the Greek letterforms, Unger collaborated with Gerry Leonidas (University of Reading) and Irene Vlachou (Athens), and with Tom Grace on the Cyrillic letterforms.

Gladista is a calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Gladista is attractive like a smooth, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Gladista features 360+ glyphs and 155 alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design, and also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail.

Mid Century Sans (MCS) is composed of high-geometric shapes. László Moholy-Nagy —professor in the Bauhaus— said “Typography is a tool of communication. It has to be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” As same as you can see in modern typefaces in the early twentieth century, MCS has very efficient, clear and minima letterforms. There are not any decorative parts in the skeleton of letters. At the same time, Mid Century Sans has one more feature. In the middle of the twentieth century, one big movement which was called Mid-century modern had occurred. The Mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements and it was slightly more organic in form and less formal than the International Bauhaus-style. In other words, it was friendly and stylish. We added Mid-century-spices to the Bauhaus-modernism. The basic letter form is geometric yet it has very friendly strokes and human touch. Mid Century Sans consists of 8 weights and their matching Italics for a wide range of usages. Farther, Mid Century Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also MCS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternates for advanced typography.

Introducing "Morvifun" - a captivating font that combines the elegance of Victorian aesthetics with ornamental details. This classic serif typeface showcases the timeless charm of Gothic styles, resulting in a visually stunning and versatile product. With a total of 717 meticulously crafted glyphs, Morvifun offers an extensive character set that enables you to express your creativity and bring your designs to life. From uppercase and lowercase letters to numerals, punctuation marks, and special symbols, this font provides a comprehensive range of options to suit your design needs. The Morvifun font's classic serif style adds a touch of sophistication and refinement to any project. The carefully designed letterforms exude an air of elegance, making it ideal for invitations, formal correspondence, branding materials, book covers, signage, and more. Whether you're aiming for a vintage-inspired design or a contemporary piece with a hint of nostalgia, Morvifun is a reliable choice. Unlock the enchanting world of Victorian aesthetics with Morvifun. Its fusion of ornamental intricacy, extensive glyph set, PUA Unicode support, and classic serif style make it a versatile font that captures the essence of Gothic beauty. Let Morvifun elevate your designs and transport viewers to a bygone era of grace and allure. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Bringline Script is a calligraphic script font that comes with beautiful alternate characters. copper plate calligraphy mix with hand lettering style. Designed to convey stylish elegance. Bringline Script is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting/wedding cards, packaging, labels. Bringline Script features a glyph and alternate characters. including multiple language support. It features OpenType with styling, binding, and character strokes, allowing you to mix and match letter pairs to match your design. Files include: To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me. Thank you for your purchase!

Glamona Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. You will get: Glamona Font Files Glamona Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting/wedding cards, packaging, labels or all kinds of advertisements. destination. . .. Glamona has 428+ glyphs and 401 alternate characters, including multiple language support. With OpenType features with alternative styles and elegant ligatures. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.