Introducing Hunsleitta! It is a typeface easy to read and so comfortable to wear. Hunsleitta is perfect for branding projects, homeware designs, and product packaging. You can use it in a logo, badge, insignia, packaging, headline, poster, t-shirt/apparel, greeting card, business card, and wedding invitation, or simply as a stylish text overlay to any background image and more. The flowing characters are ideal to make an attractive messages to your taste. Ligatures are also available for several lowercase characters (double-letters which flow more naturally). These are only accessible via software with OpenType capability or a glyphs panel, e.g. Photoshop/Illustrator. That's it! I really hope you enjoy it - please do let me know what you think, feedback is always hugely welcomed and appreciated. More importantly, please don't hesitate to drop me a message if you have any issues or queries. Now enough of reading this, get out there and make it happen :)

Rhonda Script is a new fresh and modern handmade calligraphy with decorative characters and dancing lineage! So wonderful on invitations, greeting cards, branding material, business cards, quotes, posters, and more. Rhonda Script comes with 489 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. OpenType features are accessible by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode so that all alternative characters can be easily accessed by craftsmen or designers. Rhonda Script contains uppercase and lowercase, International lingual support, signature and symbols, Punctuation and PUA numbers, Unicode Style, Alternative Styles, Style Range 1-11, Contextual Character Variations. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative sets using Font Book (Mac) or Character Map (Windows).

Are you looking for a serif font? Do you dream of creating headings that stand out and inspire creativity, imagination, and endless fun? If you are looking for a modern but still elegant, something that can makes your project or design being so special. You better not going to want to miss this one! Ogilen-A Serif Font Ogilen is a serif font in a luxurious, classy, and timeless style. A font that is inspired from recently trend style making this font the best choice to whatever your design is. Ogilen is mainly intent for logo, headings, branding, magazine, cover album, book cover, movie, apparel design, quotes, invitations, flyer, poster, greeting cards, product packaging, printed quotes, etc. Hope it helps to capture the soul of any design. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Want to give your design a vintage look that still speaks to modern audiences today? Choosing the right font can do the trick. Introducing Groovy - A Vintage Modern Font. Use this unique font for web pages, social media, apps, ads, printed materials, clothing, packaging, and anything else your brand needs to stand out from the crowd. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Nurhalifa New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !! Nurhalifa The comes with 564 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers. Nurhalifa Uppercase & lowercase International signature & symbol Punctuation Support & PUA number Unicode Style Style Alternative Style Style Range 1-22 Contextual Character Variations. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows).

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

Charcuterie is a collection of ten distinct yet related typefaces, and three ornamental typefaces. Used individually or blended with other fonts from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising. The entire collection lends itself to experimentation, acting as a complete and complex toolbox, enabling you to work in extraordinarily varied ways. Each Charcuterie typeface has different, yet complementary features. Engraved features 135 swash alternates and Cursive boasts 275. Frames offers a broad and endless approach to creating frames of any proportion and style. Catchwords features nine different styles for a total of 82 glyphs. 100 Ornaments include a vast array of arrows, brackets, rules, icons, ribbons and more. See what’s included! http://bit.ly/2c5OzoK *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

A Postmodern vernacular sanserif in 8 fonts Prosaic designed by Aurélien Vret is a Postmodern typographic tribute to the french vernacular signs created by local producers in order to directly market their products visible along the roads. These signs drawn with a brush on artisanal billboards do not respect any typographic rules. The construction of these letterforms is hybrid and does not respect any ductus. Nevertheless the use of certain tools provokes a certain mechanism in the development of letter shapes. It’s after many experiments with a flat brush, that’s these letterforms have been reconstructed and perfected by Aurélien Vret. This is the starting point for the development of an easily reproducible sanserif with different contemporary writing tools. From non-typographical references of Prosaic towards readability innovation The influence of the tool is revealed in the letterforms: angular counterforms contrasting to the smoothed external shapes. This formal contrast gives to Prosaic a good legibility in small sizes. These internal angles indirectly influenced by the tool, open the counterforms. In the past, to deal with phototype limitations in typeface production, some foundries modified the final design by adding ink traps. In our high resolution digital world, these ink traps — now fashionable among some designers — have little or no effect when literally added to any design. Should one see in it a tribute to the previous limitations? Difficult to say. Meanwhile, there are typeface designers such as Ladislas Mandel, Roger Excoffon, and Gerard Unger who have long tried to push the limits of readability by opening the counters of their typefaces. Whatever the technology, such design research for a large counters have a positive impact on visual perception of typefaces in a small body text. The innovative design of counter-forms of the Prosaic appears in this second approach. Itself reinforced by an exaggerated x-height as if attempting to go beyond the formal limits of the Latin typography. It is interesting to note how the analysis of a non-typographical letters process has led to the development of a new typographic concept by improving legibility in small sizes. Disconnected to typical typographic roots in its elaboration, Prosaic is somewhat unclassifiable. The formal result could easily be described as a sturdy Postmodern humanistic sanserif! Humanistic sanserif because of its open endings. Sturdy because of its monumental x-height, featuring a “finish” mixing structured endings details. The visual interplay of angles and roundness produces a design without concessions. Finally, Prosaic is Postmodern in the sense it is a skeptical interpretation of vernacular sign paintings. Starting from a reconstruction of them in order to re-structure new forms with the objective of designing a new typeface. Referring to typographic analogy, the Prosaic Black is comparable to the Antique Olive Nord, while the thinner versions can refer to Frutiger or some versions of the Ladislas Mandel typefaces intended for telephone directories. Prosaic, a Postmodern vernacular sanserif Prosaic is radical, because it comes from a long artistic reflection of its designer, Aurélien Vret, as well a multidisciplinary artist. The Prosaic is also a dual tone typeface because it helps to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Prosaic, a Postmodern vernacular sanserif

Useful links: Using the variable font in Illustrator Working with a variable font in Photoshop TT Frantz is an experimental variable font, distinguished by its slimness and lightness. The variation in the font affects the change in the height of the mean line - by moving the axis adjustment slider you can easily raise or lower the mean line of the font. In TT Frantz, you can find small references to the art deco aesthetics, which are expressed in significantly lowered or, conversely, heightened waist of the letters. In addition, depending on the position of the axis adjustment slider, the closedness of the aperture changes for some letters. In order to preserve the main feature of the font—the change in the height of the main line—we made lowercase characters as tall as uppercase ones, but at the same time we kept small kerns. An interesting fact is that in Cyrillic letters з с а е, the variability of the aperture follows a different scenario in comparison with their Latin sisters. When working on TT Frantz, we tried to make it so that when changing the variability, the width of the characters would not change, and the font would remain monospaced. And in order to avoid holes in the set, we made contextual alternates and several ligatures. Frantz consists of 470 glyphs, and in addition to broad language support (Latin and Cyrillic) it can offer standard and old-style figures, including their tubular versions, as well as ligatures. 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/ But do not despair—even if you do not have access to the necessary software, you still have the opportunity to use TT Frantz in your projects. Especially for you, we have prepared three separate non-variable styles (Frantz A, Frantz B, Frantz C), each of which is responsible for a certain location of the mean line of the font and where this line is already fixed in a certain position (high, medium and low).

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

Andinistas.net presents Makeup Script. Expressive hand-made typography to design sentences with high textured impact; has 4 creative tools. Our priorities are continually updated and we prefer to use the elevator since taking the stairs is a very long process. If you see a long text, you close it and look for something shorter. For quick calligraphy you need to consume hours and hours of learning, discomfort and effort. Think of calligraphic words or phrases to write about a photo no matter how expressive it may be. Try to write quickly with signature style for logos, labels or packaging for clothes, suitcases, shops, malls, department stores, etc. Do you want to be able to calligraphy well? STUDY. Do you want to be a calligrapher? PRACTICE. Want to produce good ideas? PUSH YOURSELF. If you practice for hours every day, those hours will turn into years, but for many, to think in years of study and practice is too long, since most want everything instantaneous and few want to cultivate skills related to calligraphic patience. Makeup was born in the midst of this type of reflections about countless themes about art, beauty and calligraphy. All the ideas that revolve around makeup parade through its insightful and solitary design, lover of instant and fast writing for graphic design related to food, household goods, fashion, etc. CFCG. teamwork by Carolina Suarez & Illustrations by Eder Salas. In that order of ideas Makeup offers the following tools: • Makeup Script (238 glyphs): It is a script with vibrant fleeting strokes that form capital letters, lowercase letters, numbers and character sets and extended punctuation for Central, Eastern and Western Europe. • Makeup Alternates (238 glyphs): Offers new script possibilities, different from uppercase, lowercase, numbers that work at the beginning or end of words, in a way that your design will look more real and calligraphic. • Makeup Swashes (238 glyphs): These are tiny script letters that reinforce the idea of fast binding between handwritten letters that will fill your design or concepts with power and expressiveness through multiple textured contours. • Makeup Extras (80 glyphs): Here you'll find over 70 exciting, hand-crafted decorations that are ideal for underlining your ideas written in Makeup.

TE Nastaaliq Font It is one of the Persian calligraphy or ta'liq line that appeared in Persia in the seventh century AH (thirteenth century AD), as it was extracted from the lines of naskh, patch and thuluth. It is a beautiful font whose letters are distinguished by precision and extension. It is also characterized by its ease, clarity and lack of complexity. It does not tolerate diacritics, despite its difference with the line of the patch, as it is one of the best fonts in the world and the best without a competitor and admires many Arab calligraphers, and no cultural or literary exhibition is devoid of a painting written in Persian script. It is one of the most beautiful lines that has a special character that distinguishes it from others, as it is characterized by gracefulness in its letters, so it appears as if it descends in one direction, and its beauty is increased by the soft and rounded lines in it, because it is more flexible in drawing and more flexible, especially if it is drawn with precision, elegance and good distribution, and the calligrapher may baptize In his use of decoration to reach strength in expression by taking advantage of arches and circles, in addition to the grace of painting, the artist may link the letters of one word and the two words to reach the composition of a frame or curved and wrapped lines in which he shows his genius in imagination and creativity.

It's been said that creativity requires ten parts to perspiration to one part inspiration. But not always. According to its creator, Mira Vucko, ITC Needlescript was designed in one breath." An accomplished lettering artist, Vucko was sketching letters one afternoon. "I was using a calligraphy nib and was drawing the alphabet without much thought," she recalls. "When I allowed the down strokes of a couple of letters to fall below the baseline, I realized that I had created the impression of movement. I kept drawing letters in this fashion and did the same with horizontal lines. I added a firm ending to the descenders. Instead of dots above the 'i' and 'j,' I placed strokes in the opposite direction." In this way, the first characters that were to become ITC Needlescript emerged. The finished design is a lively, distinctive alphabet that produces a striking texture on the page. Letters intertwine and overlap to create a sense of movement and graphic intensity, especially when reversed out of a dark background. Vucko lives, works and was educated in Zagreb, Croatia. She lived in France and Sweden while in her twenties, but then returned to Croatia to work as a graphic designer for the country's largest newspaper. It was here that her passion for type and typography was born. Vucko has since gone on to become one of Croatia's leading graphic designers, and has won many awards for her advertising and packaging design. Vucko recommends that ITC Needlescript be used for "titling, lively but 'thorny' content, and anywhere that a little typographic drama is called for.""

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

Say g'day to Ainslie Sans, insigne Design’s new typeface. Like its big brother, the new face incorporates a mix of influences from Oz, although Sans is pared down from the original semi-serif. The original Ainslie was inspired by Mt. Ainslie and the city of Canberra’s inner suburb of the same name. Canberra is Australia’s capital--a planned city designed by American architect Walter Burley Griffin. Griffin’s style and geometric design for the city, which include Mt. Ainslie, are now also the same structure that make up the foundation of Ainslie Sans. Unlike the original Ainslie family member, though, Ainslie Sans does away with much of the aboriginal-inspired touches by eliminating the semi-serifs, forcing the font to borrow more heavily than its predecessor from Canberra’s distinct, geometric design and style. The result’s a spiffy Australian font that’s usable within a wide array of applications. The trendy typeface incorporates a multitude of alternates. You can access these in any OpenType-enabled application. Alternates, swashes and alternate titling caps allow you to customize the look and feel. Also incorporated are capital swash alternates, old style figures, and compact caps. Check out the PDF brochure to view these options in action. OpenType enabled applications can take complete benefit of your automatic replacing ligatures and alternates. This font also presents the glyphs to help a wide array of languages. Try it for copy. Try it for a headline. Try it alongside the original Ainslie. Whichever way suits you best, give it a burl. You won't be sad you did.

What comes to your mind if I say Architype, Geometric, Gaelic, and Uncial? An impossible combination of features? An unrealistic setup of tastes as weird as your music list? Or some part of a joke told by your favourite comedian? Just chill and stick to the idea that is possible. Gallos combines the conceptual historical elegance of the Uncials with the practical rationalism of the Geometric style. Moreover, this typeface is composed by two sub families: Gallos Uncial and Gallos Architype. The letters “M”, “N”, “W”, “a”, “m”, “n”, “r”, and “w” differ between these two models. The first one is related to both: The Uncial script aspect displaying the leaned “a” with a closed bowl, and the classical geometric style depicting more conventional uppercase and lowercase letters “m” and “n”. The Architype one is inspired by Paul Renner’s Architype model, thus the leaned “a” has an open counter, the “r” is composed by a stem and a dot, and the rest of the mentioned letters were built using square rational features. Both models are connected by classical Uncial features such as the curved stroke “e” and curved shaft “t”, and with Gaelic vibes which can be seen in uppercase and lowercase letters “K” and “X”. Also, the curved descender “g” and “y”, alongside the curved stem “z” connect really well with the rest of the system and provide more uniqueness to the Gallos type family. Without further ado, we say to you: let’s make Uncials popular again!

If you still think that an antiqua is a typeface with a strong historical character that difficult to apply in modern realities, meet the new typeface from TypeType! TT Livret is an elegant, modern and functional antiqua featuring a calm text and an expressive display subfamily. TT Livret useful links: Specimen | Graphic presentation | Customization options This font looks harmonious in books and other periodicals, on posters or on magazine covers. The scope is not limited to the printing industry, because TT Livret looks aesthetically pleasing wherever text is used. The text subfamily has uniwidth proportions and a calm spirit, oval round characters, free spacing and more open apertures. The glossy display subfamily is proportional and has round signs that are as close to a circle as possible, the apertures are closed, and the spacing is dense. The font has an intermediate subfamily - Subhead, which can look more relaxed when used as text font, or be contrasting and used as a display font. In TT Livret, we have embodied the idea of ​​an antiqua that will be comfortable to use in modern realities. This is a functional font, where the text face does not distract from reading, and the display face, on the contrary, attracts attention. The TT Livret font family consists of 32 faces: 15 upright, 15 oblique, and 2 variable fonts. Each face has 1031 glyphs. The font contains 26 OpenType features, as well as a large number of ligatures. There are many alternative characters in italics, which are especially diverse in Cyrillic.

Michaelangelo. da Vinci. Bellini. Rafael. Masters of Italian art whose names have dwarfed those of many other great Italian artists. Yet relics from these other artists remain, though often unnoticed because of their practical nature. These unknowns are the Italian Masters of vernacular sign painting, and insigne now gives a nod to their work with its new sans serif, Gineso. Based on its inspiration, Gineso was created for posters, headlines and logotypes. (It does well in apps, too, though the sign painters probably weren’t thinking about that at the time.) Aesthetically remedied, yet still with an uncut charm, Gineso’s condensed qualities make it especially nice for signs and titling where horizontal space is at a premium. The tight, narrow forms of its geometric design leave you with a robust flavor that will remind you of mamma’s spaghetti. But don’t worry; the font’s ample counters ensure your audience won’t be reading through a bowl of pasta. These condensed forms look great on their own or when their seven different weights and matching italics are utilized together. With the included OpenType features, fractions and superior/inferior positions are also available to broaden your palette. Even more, this font is ready for complex, professional typography with OpenType features like alternate letters and a large character set including Central and Eastern European Languages. So when you find yourself (or your project) in a tight space, stir in Gineso to get the right taste for your copy. It may just make all the difference.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit or 25-percent increments increments to keep the grid. The »H« in the font name stands for horizontal (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my Family Kontext Dot

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font. Burford Pro package comes with all 18 layering fonts including 5 base layers, 3 top layers, 5 bottom layers and 2 sets of graphic elements. They are strategically made to build on top of each other, creating a cohesive and easy to use layer-based family. Each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. Burford Basic package is created for users who don’t have access to premiere design programs (such as Illustrator, InDesign, Photoshop, etc) and are unable to use the layering effect. Burford can still be a powerful tool as each font can also be used on its own. It includes every font file not needed for the layering effect. (Include 13 fonts - Burford Basic, Dots, DropShadow, Extras Set A, Extras Set B, Extrude B, Extrude C, Inline, Line, Marquee, Outline, Stripes A and Stripes B). The Burford Extras set uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford and complement its varying styles perfectly. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many line screen fonts, I wanted to take it to the extreme and use as few lines as possible, while keeping the grid of the fonts metrics. The result is a typeface that lives up to its name. Each individual line makes no sense on its own; individual letters are only recognisable in the context of all associated lines, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 50-unit or 25-percent increments to keep the grid. The »V« in the font name stands for vertical (lines). The numbers in the font name refer to the brightness of the background and letters themselves, with the first number describing the background and the second the letters. Starting with »00« (white) to »200« (dark) See also my family Kontext Dot

Michael Hoffmann manufactures digital fonts for 30 years. At URW++ he contributed to the technological progress. Over the years, he also specialized in the ideal representation of fonts on screen and the complex assembly of international fonts with scripts of all countries. In his latest project he put the emphasis on developing a highly readable typeface. Less interested in the design as in the functionality of this typeface, he designed Arsapia which he has now installed as a system font on all his computers. Michael Hoffmann studied Japanology at the University of Hamburg and traveled in the early years of his professional activity frequently to Japan, there to train the IKARUS font production tools to Japanese customers. In his spare time he plays guitar or golf depending on the weather. The typeface Arsapia has been designed in such a way that all three font styles Light, Regular and Bold have the same width. When a user therefore opts for the use of Arsapia Light, even though he has already written his text in Regular, nothing changes with respect to the letter tracking. When choosing the Bold for emphasis: Nothing changes except the blackness of the letters. A font change does not engender unwanted line and page breaks of itself. All letters can be clearly distinguished from each other. 1 l I O 0 are all different. For programmers and lovers of monospaced fonts Michael Hoffmann has developed a fourth typeface: Arsapia Mono. This is the perfect terminal font.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

This family was inspired by a Type Battle over at Typophile: How would you design a font metrically compatible with Helvetica, but better than Arial? Working with preset letter widths was an interesting constraint, both a relief and a limitation at the same time. I have done all the 4 basic weights, and the skewed obliques (done to a slightly less steep 10 degrees angle as opposed to the originals 12) has been optically adjusted. The letters have been designed quite close to the german/swiss grotesk tradition, but by using super-elliptical rounds, rounded dots and slightly curved outer diagonals the end result is a friendly looking font family that still looks... familiar. 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.

"Crypto Currency - Block Chain" quickly entered our lives and its use is increasing day by day. Blockchain became more popular in web, TV and printed works. It is necessary to use their logos when defining "Crypto Currencies". But it is not easy to access these logos fast. "Cryptocurrency Font Family" which I prepared for you, is a resource that you can reach without searching for too many logos. Cryptocurrency Font Family contains 200+ logos. These are the most popular "Block Chain" logos in recent years. The popularity rankings changed over time and you can contact me if you need new logos and changing logos. I can create the "Block Chain" logo you need or apply the changes. You can send your new logo and logo change requests to me at "buyuksel@hotmail.com". Subsequent corrections and additions will be completely free. After the first purchase, there is no additional payment for updates. When using Cryptocurrency Font Family, "Cryptocurrency No.00 Guide Map" is absolutely free to download and use. This will help you a lot to define coins. "Guide Map" contains the letter and the Unicode numbers. --- Contents --- Ardor ARDR, Bitcoin BTC, Bitcoin Cash BCH, Bitcoin SV BSV, Bitcoin Gold BTG, Bitcoin Diamond BCD, Bitcoin Private BTCP, Bitcoin Plus ZBC, Bitcoin Z BTCZ, Etherium ETH, Etherium Classic ETC, Xrp Ripple XRP, Ripple, Teher USDT, Litecoin LTC, Litecoin Cash LCC, Eos EOS, Binance Coin BNC, Monero XMR, Cardano ADA, Steller XLM, Tron TRX, Tezos XTZ, Unus Sed Leo LEO, Chain Link LINK, Cosmos Atom ATOM, Huobi Token HT, Neo NEO, Hedge Trade HEDG, Crypto.com CRO, Iota MIOTA, Dash DASH, Maker MKR, Usd Coin USDC, Ontology ONT, Nem XEM, Ve Chain VET, Dogecoin DOGE, Basic Attention BAT, Z Cash ZEC, Paxos Standard PAX, Ftx Token FTT, Decred DCR, Qtum QTUM, Syntehetix Network SNX, True Usd TUSD , Raven Coin RVN, Ox ZRX, Okex OKB, Algorad ALGO, Holo HOT, Centrality CENZ, Augur REB, ZB Token ZB, Seele SEELE, Omisego OMG, Swipe SXP, Waves WAVES, Horizen ZEN, Kucoin Shares KCS, Theta THETA, Nano NANO, Nervos Network CKB, Byton BTM, Lisk LSK, Molekular Futures MOF, Digibayt DGB, Bittorent BTT, Icon ICX, V Systems VSYS, Iost IOST, Abbc Coin ABBC, Komodo KMD, Nexo NEXO, Siacom SC, Monacoin MONA, Luna LUNA, Enjin ENJ, DxChain Token DX, Hyper Cash HC, Verge XVG, Bytecoin BCN, Steem STEEM, Zilliqa ZIL, Maidsafe Coin MAID, Energi NRG, Bitshares BTS, Digixdo DGD, Rif Taoken RIF, Aeternity AE, Block Stamp BST, Zcoin XSC, Matic Network MATIC, Quart QNT, Silverway SLV, Kyber Network KNC, Iexec Rlc RLC, Electironeum ETN, Ren REN, Status SNT, Status Euro EURS, Single Colleteral SAI, Nash Exchange NEX, Grin GRIN, Decentraland Mana MANA, Stratis STRAT, Solve SOLVE, Kick Token KICK, Aelf ELF, Golem GLT, Pumdi X NPXS, Enigma ENG, Metaversa Etp ETP, Digitex Futures DGTX, Elastos ELA, Gxchain GXC, Chiliz CHZ, Ripio Credit RCN, Aion AION, Fetch Ai FET, Loopring LRC, Dragon Coin DRG, Wayki Chain WICC, Thunder Token TT, Iotex IOTX, Nebulas NAS, Hedera Hashgraph HBAR, Bread BRD, Hyperion HYN, Ignis IGNIS, True Chain TRUE, Wax WAX, Tierion TNT, Wanchain WAN, Reddcoin RDD, Wink WIN, Gatechain Token GT, Diamond Platform DPT, Nuls NULS, Yap Stone YAP, Vertcoin VTC, Project Pai PAI, Denta Coin DCN, Ark ARK, Fun Fair FUN, Loom Network XMX, Edu Care EKT, Aragon ANT, Factom FCT, Populous PPT, Revain R, Harmony ONE, Qash QASH, Groestl Coin GRS, Civic CVC, Fantom FTM, Swiss Borg CHSB, Santiment Network SAN, Moeda Loyalty MDA, GoChain GO, Dent DENT, Edc Blockchain EDC, Storj STORJ, Divi DIVI, Pivx PIVX, Bancor BNT, Metal MTL, Loki LOKI, Wirex Token WXT, Bitkan KAN, Gnosis GNO, Network NEW, Thorchain RUNE, Odem ODE, Bibox Token BIX, Bosagora BOA, Oceon Protocol OCEON, Celer Network CELR, Chimpion BNANA, Mixin XIN, Veritasium VERI, Mine Bee MB, Bankera BNK, Bitcoin2 BTC2, Casino Coin CSC, Bitforex Token BF, Dynamic Trading DTR, Poseidon Network QQQ, Obyte GBYTE, Cloak Coin CLOAK

The Novera family is a sharp geometric sans in ten weights plus matching italics, available in two versions – Modern and Classic. It has a contemporary, approachable and multifunctional yet characteristic design, that comes with an extensive glyphs set of 1000+ glyphs per font, meeting all typographic demands. The Design Vertical terminals, circular shapes and angular apexes – Novera truely breathes geometry! But the concept goes beyond the application of rational geometry. The intension was to create a highly legible family suitable for every day usage inspired by the work of Paul Renner, Eric Gill or Jakob Erbar, combining the geometric with the human and the functional with the unconventional. Although Novera is inspired by the past, its appearance is unmistakingly modern. Modern vs Classic Novera is available in two versions - Modern and Classic - born from the same source file but with different characters set as default. This creates subtle but effective distinctions such as the double-storey a (Novera Modern) which is optimized for legibility in longer text paragraphs, as opposed to the single-storey a (Novera Classic) which allows a purely geometric appearance. Another distinguishing feature are the ascenders on Novera Mondern, which extend above the cap height for an elegant presence, compared to the ascenders on Novera Classic, ending at the cap height, for a compact and helvetica-flavored look. Novera Modern was intended for usage in body copy, whereas Novera Classic was planned for headlines, short paragraphs or logos, but both versions can be used vice versa too, of course. Alternate Characters To maintain neutrality and a modern appearance, the standard character set largely dispenses with idiosyncratic forms. This is in contrast to the alternative forms with the gill-like lowercase letters g and t as well as a traditional shape of S and the German ligature t/z, which traces back to old German spellings. Also inspired by German poster designs from the early 20th century are the elongated i-dots and dieresis-dots that can create eye-catchers in headlines or logos. By the way, both versions, Novera Modern and Classic, can be created via stylistic set 1, 17 and 18. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. If you like arrows and other shapes, you will love Novera! The family has a built-in extensive symbols-set including 48 different arrows and various geometric shapes or icons. Weights With its 40 styles and 1000+ glyphs per font, the Novera family covers all thinkable design scenarios from branding to web, app or editorial usage. It blends in perfectly in text heavy paragraphs with its mid-weights like Light, Regular, Medium or Bold or stands out like a monument in headlines and posters with its extreme weights like Thin, ExtraLight, Black or Ultra. Testfonts If you like to test the fonts before buying the full version, please follow the link below. Please note, all test fonts are available for evaluation purposes only and contain a limited character set! A commercial license for the full version must be purchased separately. Please send a mail to contact@renebieder.com for more information. Download the test fonts here: https://www.renebieder.com/test-fonts