Komu is the revival of a style of letters frequently used on billboards during the socialist period in the former Czechoslovakia. These were usually uppercase letters made of paper and covered with a layer of aluminum foil. People just had to pick the letters (that included a variety of widths and sizes) out from a box and pin them up on a styrofoam billboard, thus making it easy to announce any event. Komu consists of two styles. Version A is rather squarish and includes some weird characters (K, 5, narrow E, strange diacritics) while version B is more rounded with most letters equally wide (with the exception of E, F and L, which look really wide next to the rest). The optical disparity of the original letters was kept, so that some of them look slightly darker than the others. Komu is intended to be used on posters, books and other products about Socialism in our region and includes full support for languages based on latin script.

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

Brophy Script is a bold connecting brush alphabet. This brush script typeface was designed in 1953 by the American type designer Harold Broderson. Broderson worked for ATF (the American Type Founders), who were the original publishers of this design. Brophy Script is a version with more handwritten letters than to its other version called Body. This a brush script face that mimics the show card style of lettering, which was very popular throughout the United States during the first half of the 20th Century. The letters appear as if they were drawn quickly and spontaneously with a wide, flat lettering brush. The lowercase letters connect to each other, cursive script style. Brophy Script is the perfect display face to provoke a nostalgic feeling for the 1950s. Anything having to do with apple pie, home cooking, or last minute sales would look great in this face. You could outfit a whole supermarket signage system in a snap with Brophy Script.

Two attractive cast metal door signs reading "Men" and "Ladies" from back in the Art Deco era inspired the idea for Nameplate JNL. The left parenthesis key starts the border decoration, and the right parenthesis key closes it off. Nameplate JNL has just a basic A-Z and numeral set; the letters "floating" within the parallel lines of the border to form complete nameplates, apartment numbers or any similarly encased words. A period, comma, apostrophe and dash are on their respective keys. A small blank space is on the left bracket key, a medium space is on the right bracket key and a large space is on the left brace key. There is a small, complete frame on the right brace key. For names such as "MacDonald" or "McIntyre", the small "ac" is on the colon key and the small "c" is on the semicolon key. No kerning has been applied in order to give the type more of an antique, "mechanically assembled" look.

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Slab serif with a 70’s aesthetic A version of AW Conqueror Sans, AW Conqueror Slab draws inspiration from geometrical slab serifs of the 1930s, of which Rockwell is a perfect example. Lubalin Graph, a reworking of the genre, came out in the wake of the Avant Garde wave of the early 70s. In recent years, ‘slabs’ have made a comeback in the graphic design world. AW Conqueror Slab advances the cause quite happily. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

The inspiration source for Monarchy Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called "Stationers Initials" which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Monarchy Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just tpe a lowercase letter on its own. It's that easy! Download and view the Monarchy Initials Guidebook if you would like to learn a little more.

Framealot is a frame or border or page divider construction kit. By choosing and mixing various elements, a wide variety of different geometric borders or frames or dividers are possible. The largest set is on the upper-case keys. There are two other sets on the lower case keys (plus the comma and period.) The characters above the number keys (the whole top row with shift, plus {}| keys are another set. And there are a couple of other small sets. Not all the sets allow vertical dividers. Outlined versions are available on the outline style, and the filled style either inverts the pattern or removes white interior sections for the outline version (and has some other differences compared to the other two versions). Use a character map to find all the parts of a set, type them out on your document, and then copy and paste to construct your border or frame. Have fun with it!

Thirty years after its first appearance, Jovica Veljović has produced ITC New Veljovic Pro, a completely revised edition of his first typeface, ITC Veljovic (1984). Prof. Veljović has tapped into all the experience he has garnered over the past decades; by carefully adjusting the proportions of the characters he has provided the new typeface with a more harmonious presence. The serifs have been subtly curtailed and the letters made slightly more condensed. Some new features of ITC New Veljovic are the double-story “g” with its completely closed loop and the more open forms of the “c” and “e”. In the italic variants, the latter is much rounder. Thanks to Veljović’s outstanding work, the optimized ITC New Veljovic can now be used in all contemporary applications. The new Condensed style saves considerable space when it comes to setting longer texts. The Display versions show off the striking, crystal-clear shapes of the design at their best in larger point sizes.

A neo-grotesk with a bit more bite, this is Schizotype Grotesk. It's not your usual grot; this is purely display typography. Notches cut deep into the letterforms and the thick/thin contrast isn't always where you might expect. It's intended to be a challenging typeface - not beautiful or particularly 'useful' in any conventional sense, but it is at the very least interesting. In a world where everyone and their dog has their own grotesk offering, perhaps being interesting and that little bit different is in itself enough to give the face its utility. Besides, beauty is in the eye of the beholder. What really matters is what you think! Schizotype Grotesk isn't bogged down with a million and one OpenType features you'll never use, but it does include proportional and tabular lining figures; automatic fractions; numerators and denominators; superscript and subscript numerals; case sensitive forms; and five stylistic sets that change [a], [g], [y], [IJ], and [@] respectively.

Josef Týfa first published the Academia typeface in 1967-68. It was the winning design from competition aimed at new typeface for scientific texts, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes of plain, italic and semi-bold designs. In 2003 Josef Týfa with František Štorm began to work on its digital version. During 2004 Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remainig weights. The new name Academica distinguishes the present digital transcription from the original idea. It comprises Týfa’s rational concept for scientific application with versatility to other genres of literature.

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

The 1765 Stamp Act ignited in American colonists a simmering distrust of the distant British Parliament, whose oppressive trade duties they deemed unfair assaults on their rights as English subjects. Before long, of course, this little dustup spawned The Boston Tea Party, the American Revolution, and the birth of the U. S. of A. But before the Battles of Lexington and Concord, a group of Philadelphia merchants made one last-ditch call for commercial cooperation across the Atlantic. This futile appeal survives to this day on a three-page broadside, finely engrossed by a penman of the period and passed down through the generations of a family named Remsen. Remsen Script is an interpretation of that penman’s neat, formal cursive—from its broad antique flourishes to its subtle unevenness and gently ragged strokes. Perfect for event announcements, fine product packaging, recreations of historical documents, or anywhere you wish to offer a whiff of a bygone era.

Reviving a handwriting style from centuries past is similar to playing antique musical instruments; the pleasure of communing with live music arranged centuries ago by brilliant composers is heightened by the use of authentic or reconstructed artifacts. A new revived" script from the Baroque epoch is the Waza typeface, developed by Polish designer Franciszek Otto. Waza is inspired by a Wilhelm Hondius (Hondt) etching. Hondius was a Dutch court engraver for the Polish king, Ladislaus IV of the Vasa dynasty. The decorative character of the script engraved in the etching is a display of Hondius's calligraphic skill. The tangle of the flourishes in the capital letters, as well as the decorative lengthening of ascenders and descenders in the lowercase, contrast ideally with the rhythmic 30-degree slant of the design. Waza includes a set of alternative capital letters that have been deprived of ornaments; these allow the setting of proper Roman numerals, e.g., Ladislaus IV."

Grantig is a bold serif display typeface. Inspired by the opening titles of old western movies, the genre of western slab serifs has been translated into a modern context and adapted to today's needs. As a result, it breaks free from the chains of its genre and opens up to many themes. Grantig is the german word for grumpy. With its massive serifs and strictly rounded curves, it comes particularly close in character to the grumpy Western heroes of days gone by, always in the presence of his two leaning companions, Slant and Backslant. With Grantig, it is particularly easy to create eye-catching and type-accentuated headlines. Its expressive nature makes it particularly suitable for editorial, packaging and advertising. With its 482 characters, Grantig covers the language usage for many Latin-based languages. At the same time, it has the most important open type features, such as lining and oldstyle figures, alternate characters, and arrows.

Jeanne Moderno is a revisionary type family. A synthesis of Bodoni Italic and 19th Century Ultra-Bold "Fat Faces"—distilled with personality taken from early 20th Century Modernists; the Futurists, Dadaists, Suprematists, Constructivists. Historically, Jeanne Moderno could have appeared on the scene around 1918—after the First World War—when new cultural movements, manifestos, theories and countertheories shaped art, industry and society. Spatter in a few later influences—from De Stijl, the Bauhaus, the types of Herbert Bayer, Josef Albers, Paul Renner—plus a twist of Art Deco and High Fashion—Jeanne Moderno is a remanifestation of 19th + 20th Century Modernist thinking; traditional + revisionist, raw and elegant! Jeanne Moderno can best be used for magazines, advertising, posters, flyers, fashion reports, letterpress experiments, silkscreen endeavors, exhibitions, DMV signage, paper money, revolutionary political statements as well as formal declarations of peace or war. Jeanne Moderno is about the future, the past. The Avant-Garde. Humanist geometry + vintage footwear. Form, function, style, art and life.

The inspiration source for Memoriam Initials is the 1934 Book of American Types by American Type Founders. In that specimen book, they had created a sophisticated two color initial design they called “University Initials” which was only available in metal type at 24, 36, and 48 points. This wonderfully detailed initial style is now digitally recreated and revived for modern use. Memoriam Initials is only capable of initial or single letter monograms due to its unique design. The two color aspect of the original design has been preserved and made accessible within all programs. The Capital character slots contain the background color glyphs, and the lowercase slots hold the outline art for the letters. You can choose a color, type a capital letter, then switch to black and type a lowercase letter for the two color effect, or just type a lowercase letter on its own. It’s that easy! Download and view the Memoriam Initials Guidebook if you would like to learn a little more.

American Spirit STF is a glorious collection of contemporary patriotic symbols: US Flags (traditional and contemporary), a variety of stars, eagles, torches, and combinations of them all. Designed for print and web, this collection is useful for embellishing your designs with a subtle (or not-so-subtle) patriotic touch. The flags have been designed for easy ungrouping in a drawing program, in order to colorize the union and stripes. And as a special feature, American Spirit™ splits the flags into two characters (the union and the stripes) that can be separately colored and will kern together based on the character chosen. Suggestions for doing this are included in every package. This versatile collection also contains a special contemporary version of the US Flag, with rounded corners on the union and stripes, and a five-pointed asterisk-like shape as the stars. (This allows the stars to appear as stars at smaller sizes.) Show your American Spirit! Sign up today for this contemporary collection of patriotic symbols!

The source of inspiration for MFC Heathcliff Monogram is a crudely hand drawn vintage monogram transfer depicting a wider format diamond monogram. We revised numerous letters for better clarity and a more vintage industrial vibe. MFC Heathcliff Monogram is capable of traditional two and three letter format monograms, as well as gapped and hugging framing options for each. Numerals 1-9 and 0 on the keyboard for the 2 letter framing options typed before the letters, and use the shift key on the numerals for the 3 letter framing options type before the letters. It's just that easy. Looking for an MC in one of the letter slots? Just type mc on either side of MC in the middle to get it. Otherwise, just type a lowercase, a Capital, and then a lowercase to build your monogram. As one of the most popular shape based formats for monogramming since the beginning, it must be true that diamonds are forever.

Silverline Script & Sans Silverline Script is a hand drawn signature style script. Silverline is fast and expressive -it’s great for contemporary branding and advertising. Silverline Script is equipped with Contextual Alternates and Standard Ligatures that keep the script eloquent and connections smooth. Contextual Alternates and Standard Ligatures are automatically on. In addition Silverline Script has Swash Alternates for A-Z and a-z that can be used for extra flair. From Discretionary Ligatures you’ll find specially designed ligatures for “and”, “for”, “the”, “at” and “in”. Silverline Script is PUA encoded so you can access extra glyphs in any graphic design software. Another half of the Silverline family is Silverline Sans -a three weight ultra-condensed sans serif that works great with the Script. Silverline Sans is great for making sturdy text word blocks - a great type for any display use from magazine covers to packaging. Try combining Silverline Script with Silver Script -they make a nice contrast together.

Spillsbury was inspired by some examples of 1920s signwriting (principally seen on the side of some vintage vans-good thing they were in a photograph and not on the move!). Spillsbury draws inspiration from these sources to provide a unique combination of legibility and flair, which echoes the charm of advertising and publicity material from the halcyon days of the 1920s. A basic range of four display faces os offered - Regular, Plain (not all that plain really!), Shaded and Shadowed. In a new departure for Greater Albion, three pairs of 'Duo' faces are also offered. These are designed to be used in pairs-and only sold on that basis for little more than the cost of a single face-to provide for two-coloured typographic design, enabling the recreation of those evokative two coloured blocked lettering styles that were used to such good effect in the past. Take a trip back to more colourful times today with Spillsbury!

With its animated contours, and set in an appropriate size, the Garamond Rough typeface attempts to simulate printed hot metal typesetting. Its roughened edges make it appear softer and less crisp, and, thus, takes the harshness out of the type image. The size of the offered type complement as well as the number of its affiliated symbols makes it ideal for differentiated text setting. Furthermore, its display types make surprising visual accents possible. The origins of the design of Garamond Rough go back to the middle of the 16th century. They are ascribed to Claude Garamond who was one of the first typographers who designed typefaces specifically for the setting of books. During the course of the past centuries and decades, many different variations and new design interpretations of the Garamond typeface were developed to accommodate the most diverse typesetting and printing practices in many different countries. As such, today’s designers can take advantage of a comprehensive digital repertoire for text and display applications. Translation Inga Wennik

My Spellbound an authentic groovy typeface. So, The Stranger Things series is already watched and you'll waiting the last one season for another two years. Well, if you miss for late 70s or early 80s in your design – this one is for you. Smooth, groovy and playful – exactly for your vintage projects. This typeface will suit for the display block texts like package labels or will be perfect for an any display header. Create a vintage t-shirt print or make groovy stickers - Spellbound will suits perfectly. A lot of alternates will give you a really wide range of results. You may combine it with Italics and get a really playful pair. Two characters for any caps and up to 6 alternates for lowercases. Regular and true Italic Open Type Features Multilingual I would really love to see what you create with my products, so please feel free to tag me @vintagevoyagedesign on Instagram. Happy creating! Thank you.

A man purposes himself the task of drawing the world. Among the years, he populates a space with images of provinces, reigns, mountains, bays, ships, islands, fishes, rooms, instruments, heavenly bodies, horses and people. A while before he died, he discovers that patient labyrinth of lines traces the image of his own face. J. L. Borges. SL Borges is a homage to the genial Jorge Luis Borges, illustrious Argentinean writer who lived between 1899 and 1986. Sharply depicted by Augusto Costhanzo, SL Borges synthesizes to icons the big themes that obsessed him: the infinite, labyrinths, libraries, identity. But it although traces lines over the more human side of the writer, who loved cats, fervent politics and the taste of Tango. SL Borges abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Borges takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

Salt&Spices Pro is a welcome addition to the ever popular modern calligraphy genre. Digitizing the many handwritten samples into a fully functional connected script was done with great precision, carefully guarding the authentic look and feel of vintage dip pen calligraphy. Salt&Spices Pro is a very versatile 9 font family, consisting of 3 casual styles: Regular, Bold and Shadow. With 587 glyphs each, they offer great flexibility in customizing words and phrases to suit your personal taste. For instance: the appearance of initial and terminal letters can be customized using the glyph pallet. Contextual alternates, Swashes and Stylistic sets give you the ability to replace spaces by 3 alternate connecting spaces or add swashes to initial/terminal letters. Double letter ligatures help sustain the natural flow of handwriting. In addition to the 3 calligraphic family members 3 SmallCaps Sans styles and 3 SmallCaps Serif styles were added. They all have 435 glyphs and match very well because they were designed using the same vintage nib. Each of the styles can add great variation to your designs and they supplement and support each other perfectly. Add exceptional language support to all that and you have the perfect ingredient to spice up even the most demanding design project.

She did not live to experience her breakthrough as a poet, but today she is considered one of the pioneers of literary modernity – the American lyricist Emily Dickinson (1830–1886). She left behind a life’s work of manuscripts on scraps of paper, note pads and letters – and a last wish, that these were to be burned. Emily’s younger sister Lavinia did not fulfill her wish – and thus preserved the ingenious manuscript-objects for posterity. For Julia Sysmäläinen, designer of the award winning Kafka type family FF Mister K, Dickinson’s manuscripts were an inspiration and a source for creating her new typeface “Emily In White”. Emily In White – named after Emily Dickinson’s preference for white clothes – captures the most filigree letterforms of the poet’s multifaceted writing style. With hundreds of alternates and ligatures and a complex OpenType feature code it manages to revive the lively sequence of single and connected glyphs of a delicate handwriting which has been described as “breezing” and “reminding of bird tracks”. Emily in White is available in three weights designated I, II and III. For each weight, there is an associated Swashes font. See the PDF in the Gallery section for details. Language support Western and Central European, over 1800 glyphs.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

Galia is a new font with a vintage character designed by Carine de Wandeleer, inspired by the beautiful look of Victorian calligraphy, capturing all the elegance of its flourishes. Galia has a variety of ornamental swash letters; hundreds of ornamental and descending ascenders allow a beautiful interaction of strokes and combinations, avoiding overlaps or conflicts. Galia has a total of 947 characters, in OpenType format, such as Stylistics and Contextual Alternatives, Swashes, Ligatures, up to twenty stylistic games by lowercase and three in the uppercase, which allow you to mix and match pairs of letters, in addition to a wide set of ornaments perfect for interacting with the text. To this, we add a support of central European language to adjust your design. This will help your creativity and make it easier to do the impressive and elegant typographic work. All OpenType features can be accessed through OpenType compatible applications or the character map to view and copy any of the additional characters you want to paste into your favorite text editor / application. With virtually endless ways to personalize its use, Galia helps you to design invitations, greeting cards, logos, business cards, fashion magazines, food, packaging and menus, book covers and whatever your imagination!

OBO Classic is the second installment of the OBO series, a type collection based on a square. Every character is mapped on a 1x1 ratio which allows for horizontal and vertical settings alike. Or mixed, like crosswords. OBO Classic is a display interpretation of a traditional Old-style Serif. The “distortion” which maps each character to a square creates unusual proportions to what we are used to from classic serif typefaces. The result is a monospaced font. While each individual letter feels conventional on its own, when brought together in words the result feels contemporary. Thanks to the square base vertical and horizontal – and mixed – settings are possible and easy to apply. There are a few exceptions for certain punctuation and special characters that are half the width for better spacing; and the word space’s width can easily be adjusted through OpenType stylistic sets. Talking about spacing, for strictly horizontal typesetting there is the option to turn on kerning for a number of characters to create a cleaner texture across words and phrases. OBO Classic is best set in large sizes and is most comfortable in editorial and display settings. A series of icons complete the character set. A selection comes as pixel graphics which adds further contrast to the traditional legacy of the typeface.

Originally designed in 1928, Plak is something of a lost gem in the type world. Despite being drawn by Futura creator Paul Renner, it never achieved the same popularity and spent decades lacking a much-needed digital revival. Monotype designers Linda Hintz and Toshi Omagari have taken its existing three weights and, after extensive research into the original wood type, extended them into the vast Neue Plak family. The typeface is available in 60 weights that stay true to Renner’s intentions, and offer the same blend of “quirky” details and “German stiffness” – as Hintz describes it. The design is an unusual mixture, bringing together a defiant outer appearance that’s counteracted by more playful details found in the lowercase r, and the large dots of the lowercase i. Other distinctive details include open or strikethrough counters, and a set of hairline widths that reduce Renner’s original design to its bare bones. Neue Plak’s display weights are crying out to be used in editorial, on packaging or in logos, while its text weight works well in both print and digital environments. Neue Plak Text Variables are font files which are featuring one axis and have a preset instance from Thin to Black

The Fraga Script is Retro inspired style and combination with hand lettering style.The Fraga Script has many alternative swash and ligatures character and have opentype features like a stylistic alternative, stylistic set, ligature and swash so you can mix and match like a you want. The Fraga Script came with open type features such stylistic alternates, stylistic sets and ligatures good for logotype, posters, badges, book covers, tshirt design, handwritten quotes, product packaging, header, poster, merchandise, social media and greeting cards. 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. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ The Fraga Script is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Thank you for your visit.

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger's designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers - just to name a few. Paring these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems - involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger's sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

While searching through microfilm of an old, 1932 newspaper, I stumbled on the word "Poultry" written with trapezoidal letters. I did not recall seeing lettering like this and it inspired me to design a typeface that could produce a similar result. Poultry Sign has two widths each with three weights giving the family six styles. It is monoline, monospaced, and all caps. The letters on the lower-case keys reverse the trapezoid of those on the upper-case keys. The designer's expectation is that the most common use for this typeface will alternate upper-case and lower-case keys, and to make this effect easy, included in the font is a contextual alternatives (calt) OpenType feature that automatically produces this result if your word processor supports this feature. To get text with all letters with big bottoms or all letters with with big tops, this feature must be turned off. The spacing of the letters is identical within each width so the styles can be layered to produce bi-colored or tri-colored letters. There is a second set of numbers that can be accessed with an OpenType stylistic alternative. Also accessible with OpenType stylistic alternatives are variations of letters T, N, L, Y, and V.

Discover TOMO Prisma Grotesk, a contemporary typeface that beautifully blends elegance and functionality, making it perfect for a wide range of applications. This typeface is a polyglot of design, speaking the language of both modernity and classic taste, ideal for corporate branding and advertising. Its geometric construction and modest design lend a sense of understated sophistication. With its sans serif styling, Prisma Grotesk is incredibly legible, suitable for everything from body text to headlines. Whether you're crafting an editorial piece or designing a magazine layout, its neutral yet striking appearance adapts seamlessly. Designed for the digital age, Prisma Grotesk is a neo-grotesque typeface, providing flexibility and adaptability across various media. It's perfect for identity and package design, where a distinctive and memorable appearance is key. In the realm of branding, Prisma Grotesk stands out with its neo-grotesque style, offering a contemporary twist on the grotesk tradition. A casual, approachable feel, suitable for both corporate and creative environments. Prisma Grotesk is not just a font but a comprehensive tool for designers seeking a reliable, elegant, and functional typeface. Elevate your design work with Prisma Grotesk – where contemporary style meets classic elegance, and versatility meets functionality. This typeface is not just a choice; it's a statement in design excellence. www.tomofonts.com

Introducing the innovative and original Josep Patau’s new recipe, salsa and wild-type master. 1. In a font, combine a bit of slightly outdated British slab types from the late Victorian period. If you find Vincent Figgins’s variety, do not discard. You'll find plenty to choose from in his specimens, some of then with unexpected vitality an enviably condition, despite it’s age. As aging wine, they had improve their quality with time. Cut Didones into thin slices and add. 2. In a blender, whisk the strength of these Slab serif with highly contrasted strokes from Bodoni or Didot’s neoclassical types. Adjust the mix to get a sweeter or spicier taste, but do not forget to emphasize the contrast to avoid the dressing off. 3. On the page, set the wide variety of weights as your menu demands. If you want to feed fill the stomach of the hungriest holders, use Bridone Titling as main course. If you are serving a traditional menu, starter, main and dessert, then simmer a combination of weights and sizes according to your space. It will not disappoint, much less your guests . 4. Spread thoroughly the page, serve and enjoy . If you like natural, switch to Bridona, your pages will thank you.

The enchanting sweepy of fast handwriting of script font Buongiorno Rastellino will be the perfect complement for all your projects. The font pair Buongiorno Rastellino Cyrillic is the best option for branding, logos, social media, packaging, business cards, DIY projects, social media, and many others. Buongiorno Rastellino Symbols is the font with 62 lovely hand-drawn flourishes and illustrations. Buongiorno Rastellino Cyrillic script font contains the Cyrillic glyphs too. Buongiorno Rastellino script Latin part contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, initial and final forms with flourishes or teils. To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programs such as Adobe Illustrator, Photoshop, and others) And 43 ligatures - which can be used to create a handwritten calligraphy look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Buongiorno Rastellino Symbols is a font with over 36 hand-drawn elements, floral illustrations, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Buongiorno Rastellino Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages.

Font Etruria is based on a real Etruscan inscriptions and realistic accurately simulates the writing of the Etruscans. The idea of the font Etruria is to give an opportunity for anyone to touch the past of mankind! The character of the Etruscan alphabet involves the creation of a font with only uppercase letters. However, I did not limit this font by that. Etruria has not only a lowercase is different from uppercase, but an additional sets of alternative characters. In General, the main characteristic of Etruscan writing is randomness and diversity of characters. Differs from lowercase to uppercase is only the first step on the road to make randomness effect. Next to the aid of the OT features. To recreate the randomness effect, in Etruria there are several OT features (Contextual Alternates, Stylistic Alternates and Stylistic Sets), which built a script to simulate randomness. Additionally, another script creates the effect of random positioning. Together they create incredibly realistic Etruscan inscription. Thus, any of these features can be disabled at will. I also used a small line spacing, because it is characteristic of the Etruscan writing. Actually the Etruscan writings is a mirror of the writings compared with the current European alphabets. I didn't use this feature all the letters, because this would make the font difficult to perceive, but to make the font characteristic of the Etruscan style, Etruria has a few letters in mirror image. However, if for someone it may seem unusual, mirrored letters can be disabled instead of them will appear more familiar to them. Another feature of Etruscan writing is the use instead of a space dotacentered. Font Etruria has this feature, there is a OT feature Stylistic set ss03. Naturally, it also can optionally be disabled. All these features can be used together, separately, or turn it off. The main goal achieved! The text typed in Etruria, creates full impression of these Etruscan inscriptions.