Hoakey is not really a grunge font, although it comes with rugged edges and a worn surface. This may sound like a grunge typeface, but Hoakey is a lot more than that! It oozes romance. Hoakey has curly alternate uppercase letters, and ligatures for both double lowercase and double numbers. You will need to use OpenType supporting applications to use the autoligatures.

Sweeper is a font with several personalities; it’s friendly and scary at the same time, almost like Santa Claus, but nicer. Sweeper has got a handy touch with a lot of different possibilities. You can use it in several occasions. Sweeper is suitable in any environment: the business district in London or the shores of Oxelösund. It’s hella wide and hella fun!

The Saihat font is inspired by Arabic or Middle Eastern style calligraphy. This font is made with Latin characters so that it can be read internationally which does not have to be able to read Arabic characters. This font is perfect for Middle Eastern or Muslim designs. In addition, the Saihat font can also be used for other decorative design concepts.

The pattern for this typeface was suggested by a poster for beer, designed by German artist Ludwig Hohlwein around 1920. The plump curvy serifs suggested a great complement to beer, hot dogs, and thus the name translates roughly to “weiner wagon.” Prosit! Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

I like the expression ‘being on tenterhooks’. Not that I’m on tenterhooks very often! Tenterhooks was made with a broken satay skewer (see poster 2 for the actual thing) and Chinese ink. It came out rather rough, but it does have a nice flow and a certain ‘wild elegance’. Comes with double letter ligatures and a whole bunch of diacritics.

Imperia is derived from my Classic font Imperium – the Roman Original from the Trajan column. I pushed Imperia a lot further, adding two versions of swings. To make the family more usable I threw in my own version of lowercase letters for free; Roman did not have lowercase letters of that kind! The other three cuts – A, B, and C –have classic smallcaps.

Watchmaker was designed with the limitations imposed by a simple LCD that is meant only to display numbers. Most LCD typefaces use some diagonals to make the letters look better. This one does not and from it you can see why a few diagonals are needed to display letters on a LCD. Watchmaker is monospaced and comes in plain and bold weights.

Squat may be vertically challenged but hey, even the vertically challenged need love too! And you know what? Squat is worth much more than Diddley Squat! It gets the tough jobs done in half the vertical space with its sturdy, low profile. Randy Newman may not care for it, but Squat shows that short fonts got plenty of reason to live! So there.

Impact As its name suggests, Impact, a bold sans serif, is designed to make an impression on the reader. Obviously a display font, Impact makes use of its thick strokes and blocked style, to catch and hold the eye. Because Impact is so striking, it is best placed in plenty of white space so that it does not overwhelm any accompanying text.

Enovella is a cool and modern Sans Serif font. writing for a magazine that requires a lot of text is the strength of this font. easy to read, and not tired on the eyes. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. Thank You

The Lined font started out with some scribbles - playing with lines and making shapes fold, underlap and overlap, eventually evolving into letters. This is a display/ornamental font and it was made in 2009, it's meant for decorative use and not in large bodies of text. For example it does well used as a headline font. It is proportionally spaced and uppercase only.

TG Riota Gothic is a brand new digital sans serif typeface in geometric style with many faces and possibilities with good proportions forms. TG Riota Gothic is outstanding for use in small text or even bigger sizes with seven weights, two axes & 14 styles, including the variable font. It comes with three alternative groups (single story alternates, no tail alternates & square dot alternates), which you can combine to maximize your needs—also supplied with a bunch of ligatures (standard & discretionary ligatures), lining figures (proportional, denominators, numerators, fractions, subscript & superscript), case-sensitive forms, symbol & Each typeface contains over 674 glyphs covered more than 90 languages Latin based. Language Supports: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss-German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vunjo, Walser, Welsh, Western Frisian, Zulu. Typeface Designed by Iqbal Firdaus Published by Tegamitype® Foundry Presentation Design by Eunike Agatha & Dennise Nathalie

Mr Eaves is the often requested and finally finished sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complimentary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in six weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

Mr Eaves is the sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this 2009 addition to the Emigre Type Library expands the versatility of the original Mrs Eaves with two complementary families: Mr Eaves Sans and Mr Eaves Modern. Mr Eaves was based on the proportions of Mrs Eaves, but Licko took some liberty with its design. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique characteristics. The Sans version relates most directly to the original serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, the tail of the Q. The distinctly loose-fitting letter spacing of Mrs Eaves was applied also to the Sans version. This, together with generous built-in line spacing due to a small x-height and extended ascenders and descenders, renders the same kind of lightness and airiness when setting text that is so characteristic of Mrs Eaves. Deviations from the original Mrs Eaves are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. And the lower case c had to be balanced out differently after it lost its top ball terminal. And with the loss of serifs, Mr Eaves set width is slightly narrower. Mr Eaves Italic also carries over many forms from its Mrs Eaves model, most notably the v, w, and z, which are unusually flamboyant for a sans italic design. It also utilizes lead in and terminal tails that are reminiscent of the serif italic. The biggest departure here is the width of the characters. The extra narrow gauge and delicate features seemed more appropriate for the Serif than the Sans. To allow for a comfortable fit, Mr Eaves Italic has a more robust design and wider character width. Meanwhile, the Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves' DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is desired. Each version (Sans and Modern) contains its own set of alternates providing unique options for applications such as headlines, word logos, letterheads, pull quotes, and other short text settings. Both the Sans and Modern come in three weights. The simpler forms of a sans-serif provide the opportunity of more weights than do serif letter forms, which are more complex in structure, making it difficult to accommodate additional weight without distortions. Regular and Bold match the original Mrs Eaves weights, while the Heavy provides an additional weight for extra emphasis.

This font pair was crafted by hand under inspiration of old-fashioned typography on different vintage labels, packages, sighs and others. It’s will be a godsend for those who want to add vintage mood to design project. Collection includes Script, Serif and it’s variations like Regular, Rough and Aged. This pair perfectly cooperating with each other. Brokson can be used in different purposes: lettering and logotype, labels, t-shirts, product packaging, advertising and many others. In addition to the basic set, Brokson Script has beautiful alternatives of Uppercase characters, variations of the end for Lowercase and some ligatures. Also, there are two types of end-swashes and eight lengths of each style. Brokson Serif was designed as a secondary and additional font after Script, but in the process of their use I realized it also look great as a priority. Quick combinations for Opentype features: Uppercase Alternates - just add for example «2, 3, or 4» after Uppercase; End-letter - just add «2» at the end of the word; End-swashes (tails) - just add _1, _2, _3… or /1, /2, /3…up to 8, where number is length of tail. This combinations works only with activated Standard Ligatures option in Opentype panel (Adobe Illustrator / Photoshop). Multilingual Support Danish, Dutch, English, Estonian, Faroese, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Slovene, Spanish, Swedish, Turkish.

Aneisha Script is a modern calligraphy font with the current handwriting style, this font is perfect for branding, wedding invites, magazines, mugs, business cards, quotes, posters, and more. You need a program that supports OpenType features such as Adobe Photoshop Cs / Adobe Photoshop CC, Adobe Illustrator CS / Adobe Illustrator CC, Adobe Indesign and Corel Draw and many more programs that support OpenType. If you do not have a program that supports OpenType, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows) If you have any questions, do not hesitate to contact me by email: hello.mrletters@gmail.com. Happy designing :-) Thank You for your purchase!

Glass Light was designed in 1912 by Franz Paul Glass for the Genzsch & Heyse foundry. The font is stylewise related to the "Lo types" of the same period. Glass designed a lot of decorative elements to go along with the font. I added Swashes, endletters and smallcaps to the set to make it complete. Since this type of font will probably not be used by many professionals, I did not put all the letters into one big OTF-version since most people don't have OTF-savy software. These fonts can and should be mixed for optimal results. Your decorative designer Gert Wiescher

The Declaration of Independence was authored by Thomas Jefferson, but his is not the classic handwriting on the engrossed copies familiar to most Americans. That belonged to Timothy Matlack, an early patriot who fought in the Revolution, sat as prosecutor at Benedict Arnold’s court martial, and also penned copies of a number of documents for then-General George Washington. Matlack’s script was compact but legible, perfect for the first and most famous of American documents. Now you, too, can write that way. Please note: The font does not include any of the signatures from the Declaration of Independence.

Tide Sans’ fresh, carefree, look makes you almost forget that you’re staring at a monitor and not on the beach. When Tide Sans is not surfing, you’ll find it at community college parties, giving free henna tattoos, or tossing a Frisbee to the dachshund next door. The Tide Sans family includes beautiful italics and an equally affable condensed set. Tide Sans does the work for you by providing a ridiculously large stylistic alternates set, fine tuned small caps, and a whole beach of alternate (amper)sands to feel between your toes. Also check out its kid brother, Tide Sans Condensed.

Here is a revolution in typewriter fonts.......typrighter.......yes! typrighter V1 and typrighter V2.....We applied Contextual Substitutions feature in Fontlab with 6 different alternative of each letter (standard English alphabets). No more repeating same contours of letters which a typical typewriter fonts does......a next same letter replaces itself automatically to 6 variations to give you real typewriter text flowing out of your computer keyboard...... Please watch a short demo and enjoy the open type features in word, illustrator and Photoshop.... https://www.youtube.com/watch?v=HMM98Wmb_sg The basic version is bold version but does not have Contextual Substitutions option.

With the lowercases of Festivo Letters Font Family, Festivo LC comes with new sketches, new shadows and also ornaments. Festivo LC Font Family is a handmade layered font which includes several textures and shadows. Different font types can be created using various combinations of Festivo LC Fonts and colors. The kernings and the metrics of Festivo LC Fonts are not the same as Festivo Letters' kernings and metrics. It is advised not to use them together. The various possibilities of the Festivo Font Family allows you to create a lot of great works such as posters, magazines, printings, t-shirts etc.

Scirocco is a hot and humid wind that blows from the Sahara over to France and Italy. It crosses the mediterranean sea and carries lots of fine desert dust with it. Once it hits the coast of Provençe one can feel it grinding ones teeth and see it as fine dust covering every car. It makes people go nuts! Scirocco, the typeface has that same hot moving character and the finer hairlines giving it a kind of Arabic touch. If you use it too much, it will make you go nuts. Your pretty crazy Gert Wiescher

Stencil Decor JNL is loaded with all kinds of antique designs, embellishments and borders to work well alongside your favorite stencil lettering to create a totally retro look. Of course, these designs also make beautiful additions to many other kinds of print and craft projects. PLEASE NOTE: The purchase of this font does not include the right to reproduce the images for resale as stand-alone products (including, but not limited to stencils, ink stamps, stickers, wallpaper, etc.). For this kind of use, contact Jeff Levine Fonts through the email address provided in the EULA to discuss special licensing options and fees.

Karamelia is my grungy hand drawn brush script. Uppercase is pretty steady, while the lowercase dances and bounces in an unpredictable way. The font has got at lot of of OpenType features such as swashes, ligatures and stylistic alternates - which easily makes your text look more like authentic handwriting. I can think of loads of great opportunities in which this font would look absolutely great ... invitations, weddings, café menus, birthdays, various greeting cards ... or maybe even a loveletter?! I could mention more, but I think I got your fantasies started! Go crazy with Karamelia, and the world will love you for it!

My son Sam turned 12 and all of a sudden he cares for his hairdo. It needs to be just so, not too long, not too short, with a lot of gel to hold it in place. ;-) He just had a haircut when I was creating this font, so now you know where the Haircut part comes from. The Holistic part is something that sort of sounded ok. Holistic Haircut is a nice, handmade display font. It comes with wider and narrower glyphs for the upper and lower case AND a set of alternates that likes to party with the rest.

Cayenne is an all-caps hand-lettered font in three weights, two dotted versions and an outline and an inline font.

Technomat takes inspiration from matrix or thermal dot printers. Minimalistic construction and soft edges makes it legible from 3 point size.

Kroppen Round is a geometric, stencil-style font based on Talbot Type Kaleko Round, and is available in four weights. Kroppen is not strictly a stencil font given that several characters, notably the O, are not stencilled. The design has more to do with achieving each character from a single stroke, or series of single strokes. Kroppen Round features an extended character set to include accented characters for additional Central European languages.

An elegant geometric linking script that uses OpenType programming to intelligently substitute "beginning" and "ending" characters with uniquely designed variants. The family also includes swash alternates that can be toggled on or off in the Opentype panel. (Note: Please view the image above for correct end and beginning letters as they will appear in Indesign, Illustrator, etc. The Myfonts previews below are not Opentype savvy, and so these specially designed versions do not substitute themselves.)

Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no? This was the foundational argument I made for myself when I drew the initial alphabet on my birthday last year (something I do each year, draw a new font, kind of a fun OCD thing). I wanted to see a wide, utilitarian sans that had more to it than just a basic character set and didn't resemble standard geometric models. As I continued sketching, the letterforms were being influenced more by my 'lettering tendencies' than the normal mechanical trappings of drawing flat, wide letters. The letters have retained aspects of letters created by hand — stresses, modulation, naturally ending terminals. Truncation and quick clipping of strokes became antithetical to the letterforms I drew, so I continued this once I brought the design into the computer. I kept it precise and dependable, but made every attempt to keep a conscientiously crafted typeface and not let it devolve into a grid-based drone. As such, it works just as well looking back in time as much as it does assuming a lead role in a sci-fi movie. Halogen does deliver and opts not to take a short cut and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. So go make cool print and digital things with it, now.

Welcome, dear victim, to the terrifying world of Shlop! Behold, as the letters drip with wickedness and ooze with horror. Shlop is not for the faint of heart—it’s a font that will leave you trembling with fear. But don’t stop there, my dear. Meet Shlop’s shloppy brother, the ultimate nightmare, Shlop Shloppy! Shlop Shloppy is not for the weak-willed, as it is even more shloppy than its sibling. When you use this font, you’ll be engulfed by the horrific sight of the letters melting into each other, forming a grotesque amalgamation of terror. It will make your skin crawl, and your mind will scream with horror. But that’s not all, my dear. When you use Shlop Shloppy in an OpenType savvy application, it will automatically replace common letter pairs with custom pairs, creating a more realistic and terrifying shloppy effect. Imagine the letters joining together in a monstrous dance of horror, leaving a trail of slime and terror behind them. Gross? Absolutely! So, dare to enter the nightmare that is Shlop and Shlop Shloppy. Let these fonts take over your design, and watch as your audience shivers with terror. Be warned, once you use these fonts, you’ll never look at typography the same way again. Don’t say I didn’t warn you! 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.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Proudly Introducing ‘Royal Tropic‘ – An expressive, quick dry stroke, signature style brush script font. With multilingual support, ligatures, and an extra slanted style. Royal Tropic is great for when you want to grab attention, especially within print design; Packaging, branding, posters, book cover design, etc. The goal was to create a fast-flowing, legible script font with enough personality to take center stage and shine, and I think the end result has delivered exactly that! TIP: Through trial and error, I feel Royal Tropic works best with clean serif/sans-serif fonts. Any other 'handwritten' fonts can disturb the rough/clean contrast, taking with it some of the impact of your design.

From the depths of an antique civilization is born "Nahual" inspired by my ancestral Prehispanic Culture, with traits that allows it to mimetize itself, hours of painstaking dirty work with the only goal to show all it knows we want to see, to finally give the Jaguar "Serifclaw" attack. This is a display fontface, it comes in two types, "Claw" basically the text font, and "Copete" that are the construction pieces for every single glyph of the entire font, this last also has the negative spaces of some glyphs (a, e, o, A, B, O, for example) I include them but I prefer the font without them. Comments are welcome! rodrigonabo@gmail.com

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.