Elexis is a chunky, blocky script that will stand out in your next project. It's perfect for branding, social media posts, advertisements, product packaging, and invitations. Multilingual Support: AÀÁÂÃÄÅCÇDÐEÈÉÊËIÌÍÎÏNÑOØÒÓÔÕÖUÙÜÚÛWYÝŸỲŸÆŒßÞþ

In the early 1970s Ed Benguiat drew the International Typeface Corporation's logo, a flowing script that many have hoped would one day be expanded into a complete font. From 2008, Jim Wasco of Monotype Imaging - with Benguiat's blessing - took up the challenge. After two challenging years, Elegy™ was completed. I knew that developing the typeface would present many challenges, but I felt strongly that Ed Benguiat's lettering deserved to be preserved as a font that graphic designers could take creative advantage of." - Jim Wasco Elegy makes good use of modern OpenType features to really make this script shine, and introduces some of the spontaneity of Ed Benguiat's original logotype. And what did Ed Benguiat have to say about the completed typeface?"WOW! It's absolutely beautiful. Jim Wasco has done a magnificent job of turning my logo into a great typeface design."A glowing tribute for a very fine typeface. Do take a closer look at this elegant and very accomplished script." Featured in: Best Fonts for Tattoos

French type designer Albert Boton created this script FontFont in 2002. The family contains 2 weights: Regular and Italic and is ideally suited for advertising and packaging, festive occasions, film and tv as well as poster and billboards. FF Elegie provides advanced typographical support with features such as swashes, ligatures, alternate characters, and case-sensitive forms. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Introducing the elegant new Queen Elena Font! For those of you who are needing a touch of elegance and modernity for your designs, this font was created for you! Queel Elena has the added bonus of having 'multiple personalities'! It has 2 sets of extra alternate lowercase letters, which allow you to create different feels for different projects. Features: - Uppercase Lowercase - Number & Symbol - Alternates for each characters - Multilingual Happy Creating!

NF Elena was designed by Nikolay Savchuk. NF Elena was created on base Katerina sans-serif typeface. It is brilliantly suited for graphic design and display use and perfect for magazines, newspapers, books, websites, brand identity, and advertising.

Murisa Elena is an attractive and attractive font. It has beautiful shapes like brush strokes on canvas. Very amazing fonts. You can use it to display your products or your personal and company logo. Murisa Elena appears with a perfect shape, just like you write with your favorite brush. Get it right now.

The first design of Elensans consisted of 4 styles that are including two weights and their italics which I designed in my student years in 2002. It was designed with a little Art Nouveau style touch with inspired by classical geometric based fonts such as Friz Quadrata and Eras. It was updated with according to the orientations of the day in 2012 and eventually it took its final form with actual touches in 2020. The family has 18 weights, ranging from Thin to Black in normal styles and including their italics. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

It has a lovely, refined appearance. This letter displays an unique and curving style. The gorgeous and elegant Elena Verlin Font is perfect for any project you are working on. This font is ideal for use on invitations for weddings, birthdays, anniversaries, and other special events. Because it can be applied on logos and products, it's also ideal for branding.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.

Designed at Polygraphmash in 1958 by Elena Tsaregorodtseva; Latin characters and italic were added in 1987 by Emma Zakharova. An early sans serif ('Grotesque'), it was developed for primers and the first level school textbooks.

Elena Albertoni on Dyna: “While studying in Paris, I worked for a design studio specialized in packaging. French supermarkets are full of lettering with a handwriting flavor, which seems to go very well with a wide range of very different products. With the aim to analyze and summarize the qualities of these letterings in one typeface, I faced choices and limits similar to the ones encountered with handwriting. The letters are sloped at different angles, which gives them rhythm; their open shapes suggest movement and gesture. Letters want to dance!” Dyna Pro’s extended character set provides support for a wide range of European languages that share the Latin and Cyrillic scripts. Cyrillic characters designed by Elena Novoselova

The typeface was designed at the Polygraphmash type design bureau in 1949-61 (project manager Elena Tsaregorodtseva). Based on Shkolnaya ('School') typeface, 1939 (project manager Evgeny Chernevsky), a version of Century Schoolbook of American Type Founders, 1915-1923 by Morris F.Benton. The low-contrast text typeface of the Ionic-Legibility group, it is designed expressly for schoolbooks and children books.

The typeface was designed at the Polygraphmash type design bureau in 1951-53 by Lev Malanov, Elena Tsaregorodtseva et al. Based on Cyrillic version of Excelsior, 1931, of Mergenthaler Linotype, by Chauncey H. Griffith. Excelcior Cyrillic was developed in 1936 in Moscow by Professor Michael Shchelkunov, Nikolay Kudryashev et al. A low-contrast text face of the Ionic – "Legibility" group.

MeM is an eccentric experimental type system created by Elena Schädel and Jakob Runge in 2012. It produces many personalities, each individual and emotive. You will never know which of the alternating letters is going to occur next. Basically, at the heart of it all is MeM: four different weights and letter shapes melded together into one powerful font and shuffled with the sleek usability of OpenType.

The “Kiez“ is an old school style font designed by Elena Albertoni in 2016. Inspired by shop and bar signage of the sixties and seventies, which can still be found today in the so called “Kiez“ in Hamburg St. Pauli or in one or another “Kiez“ in Berlin, which means neighborhood here. It also has a cinematic touch, again: think of the sixties and seventies or your favorite b-movie.

Senza is a contemporary, neutral, all-purpose sans serif family designed by Elena Albertoni. It was specially designed for the use on screen. With open shapes and large x-heights Senza guarantees high legibility for body text in small sizes. Senza ’s character-set covers all European languages written in Latin alphabet including real small caps, ligatures, proportional and tabular figures. Senza comes in four weights from Light to Black with matching italics.

Designed for ParaType in 2007 by Isabella Chaeva. The type is based on Bukvarnaya (TextBook) photocomposing version designed in 1987 by Emma Zakharova. The initial Bukvarnaya for metal composition was created at Polygraphmash in 1958 by Elena Tsaregorodtseva. It was developed for primers and the first level school textbooks. An early sans serif ('Grotesque') with half-closed static letterforms. For use in book and magazine typography, advertising and headlines. Also may be useful as screen font.

The font was developed as a part of a corporate identity project for a pillow shop on the base of existing logo. It’s an attempt to reflect the space of a dream -- virtual reality where objects don’t have solid shapes, but present just hardly noticed disappearing contours. This idea determines the design of letters that resemble illustrations rather then alphabetical symbols and are based on ultra thin stems. The font was designed by Elena Kolesnikova and released by ParaType in 2009.

The Vidal is a display typeface designed in 2016 by Elena Albertoni. It comes in three styles: Regular, Bold and Black. This wide sans-serif with low contrast is inspired by French and British Art Deco lettering and it is suitable for use in medium to large sizes, where it offers good legibility and all its friskiness. The attitude of Vidal when set in all caps derives from the models that inspired the design: mainly capital-only lettering pieces; the essential addition of lowercase letters distinguishes Vidal from similar revivals and makes it a great modern choice.

Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva. The fonts were based on Cyrillic version of Excelsior that was developed in 1936 in Moscow by professor Michael Shchelkunov, Nikolay Kudryashev et al., that in its turn was based on Excelcior by Chauncey H. Griffith, 1931, Mergenthaler Linotype. Digital version was developed in ParaGraph (ParaType) in 1991. In 2012–13 designer Natalia Vasilyeva made some corrections in original digital data, extended character set and add bold italic style. The family was rereleased in ParaType in 2013.

Devin is designed mainly for the benefit of the advertising industry, and it surely is a nice typeface for headings, isn't it? And you should see what a nice body type it makes! I had no other typeface in mind when working with it, but I can now find several typefaces it is related to. It reminds of the egyptienne group, but I did't really plan that. The name Devin is taken from my birth region. There is a castle with that name on the northern Adriatic coast (known even from Rilke's Duino elegies - Duino is another name of the same castle). A castle ruin called Devin, too, can be found on a height above the Danube in Slovakia, not far away from its capital Bratislava. Devin was released in 1994.

Dolce is the next step in Elena Albertoni’s ongoing exploration of handwritten letterforms that started with her typefaces Dyna and Scritta. It is an attempt to arrive at a more naturally flowing type of handwriting, striking a balance between the orderly and the informal, while taking a critical look at the possibilities and limits of OpenType. Dolce uses OpenType functionality to achieve a strong sense of spontaneity. . Because the uppercase letters of Dolce are lively calligraphic initials, they should be used only in combination with lowercase, and not in all-caps setting; to make it easier for the user, Dolce includes a special OpenType feature that automatically substitutes initials with small caps when words are completely set in capitals. The small caps set is calmer, fitting nicely with the rest of the typeface. Dolce offers full support for Central European languages. In 2005 Dolce received the “Certificate of Excellence in Type Design” award from the Type Directors Club (TDC) of New York.