Hiragino Serif (Mincho) is a font adapted for the digital age. It was designed to permit finely detailed tuning that allows the sizes of both kanji and kana to be adjusted for greatest visibility. It also broadly satisfies the needs of modern graphic design in advertising, posters, pamphlets, magazines, and other such uses. The font makes the counters comfortably wide while gracefully raising the text's center of balance, ensuring that the typeset characters will be smooth and well-defined. It gives each line a modern impression thanks to a judicious balance of light and shade and draws out a vivid readability that makes it possible to comfortable push forward with one’s reading. Latin alphabet and numbers have all been originally designed so that the weights of typeface and the flow of the baseline between Japanese and Latin characters are extremely consistent. Of particular note, vertically formatted text that mixes both Japanese and Latin characters can be beautifully rendered using only this typeface. Thanks to the use of authentic and sophisticated basic design , it creates a different atmosphere by combination of optional unique kana typefaces.

FormPattern Color Two is a dingbat font for creating borders, frames, lines, and patterns. It is made up of a versatile set of interconnectable shapes that can flow together to make lines, borders, and patterns. Try different letter spacing to connect the forms into a continuous pattern or to space them apart. Explore leading (line spacing) to create large areas of pattern. Work with layering and opacity to discover the color-mixing potential of this font. Web designers can use FormPattern to make unique horizontal rules. How does FormPattern work? Install is as a regular font and as you type you will get forms instead of letters. Most design software, such as Illustrator, InDesign, and Photoshop provide a glyphs palette where you can choose the precise form you want. Color fonts are supported by Photoshop 2017, Illustrator 2018, and QuarkXPress 2018 (and later versions). A solid uncolored font comes with every purchase and can be used in applications that do not support color fonts. It will appear black and can be colored in the usual ways. FormPattern Color Two is compatible with all other FormPattern fonts from Tarallo Design.

Chillout is a stylish script font inspired by bold and colorful hand lettering style, so you can bring your design look more beautiful, chill and stylish with this typeface. We give you bonus a swash to make your design look more awesome with Chillout. Chillout also has a standard Multilingual Support. Chillout is great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, Instagram Design, T-Shirt/Apparel, Poster, Magazine, Quotes, Signs, Advertising Design, and any Cheerfull and Colorfull design needs. Chillout Features : - Upper and Lowercase Standard Characters, Punctuation, Numerals. - Opentype Features such as Standard Ligatures, Discretionary Ligatures and Stylistic Set (ss01 - ss09) and swashes. - PUA Encoded Characters - Fully accessible without additional design software. - Includes a range of multilingual characters. You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y Mix and match the alternate characters to add an attractive message to your design. Please, feel free to contact me by e-mail yyudhara@gmail.com for any question about my font, Extended License document and more. Good Luck and Have fun ! YdhraStudio

Aeris™ typeface is a contemporary book face created by the American designer Tom Grace. It combines the proportions and rhythm of a sans serif font with the high contrasts and flexed strokes of script faces, while the open counters also ensure optimal legibility. Tom Grace focuses on providing subtle differentiations in his cuts and, as a consequence, this font family has its own individual structure: there are A and B variants of the basic forms regular, italic, bold and bold italic, and a display version for use in titles that also comes in A and B variants. It is advisable to use the A variant for larger font sizes, while the slightly more emphasized B variant can be recommended for smaller font sizes. Where the basic forms are to be mixed together in a work, it is important to use the corresponding A/B variants throughout as their designs have been carefully coordinated. Aeris is available in the OpenType Pro format and thus includes a wide range of different glyphs. The font family can be used in various environments, such as books, magazines, advertisements and promotional materials, but it is also the perfect choice for printed corporate documentation.

Elevate your design game with the Bueno Font Family, a stunning creation by the talented team at FolkCraft Studio. From extra light to extra bold, each style boasts a unique, detailed, and handmade look that sets it apart. Dive into the world of possibilities with Bueno Font. Experience its captivating allure in all caps with wide spacing for a classy aesthetic, or let it shine in a mix of capital and lowercase letters for a timeless appeal that transcends trends. Envision the Bueno Font Family as the centerpiece of your creative projects. Its versatility makes it perfect for gorgeous logos, captivating displays, elegant headers, enchanting invitations, memorable save-the-dates, and timeless wedding designs. Imagine the impact it can have on titles, web layouts, and comprehensive branding strategies. Don't miss out on the opportunity to enhance your designs with the Bueno Font Family! Ideal for online uses and printing, this font collection is your ticket to creating sophisticated and stylish visuals that leave a lasting impression. Perfect for a wide range of applications, from logos to web layouts, this font family is a must-have for designers seeking to make a statement.

URBANI is the result of a mix between Neohumanist and Neogrotesque types. The subtle narrowness of its proportions makes it ideal for composing extensive blocks of text. The slightly superior height of its ascenders, the wider proportions of its counter-forms, the addition of ink traps at certain stroke intersections; every aspect of URBANI’s design was conceived with reading in mind. The Opentype tool Alternative Glyphs is especially important, since its use is fundamental in achieving a universal and geometrical visual language through the rationalization of the font family. URBANI is inspired upon the works of Adrian Frutiger and Paul Renner, a constant source of admiration and inspiration to W. This type family comes fully equipped with Opentype tools, a huge range of alternate glyphs, fractions, modern and old style numbers, superiors and inferiors, ligatures and smallcaps. Universality is a major goal when it comes to creating our fonts. URBANI is ideally suited for general graphic design, print and digital publications, motion graphics, web design, branding and interaction design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Stayhill Script was inspired by Retro style and combined with a Handwriting style. Stayhill has many alternative swash and features like stylistic alternates, stylistic set, ligatures and swashes so you can mix and match as you wish. Stayhill Script comes with open type features such as alternative styles, style sets and great features for logos, posters, badges, book covers, t-shirt designs, handwritten quotes, product packaging, headers, posters, merchandise, social media & greeting cards. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer 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 Stayhill Script is coded with PUA Unicode, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows to attach to your favorite text editor / application. Thank you very much and please let me know if you have questions.

A little-known design by Futura designer Paul Renner gets a long overdue update by Linda Hintz and Toshi Omagari, in this reliable and impactful industrial sans serif. Neue Plak offers more weights and widths than the original 1928 design, extending its use for branding, editorial, logos and UIs. The pair based their updated and extended version on the original Plak wood type, uncovering lost details and incorporating them as alternates – including the choice between open or strikethrough counters. Neue Plak's outwardly stubborn personality is counteracted by unexpected details, which make for an unusual juxtaposition of severe and playful. “It felt like we should pay Paul Renner more tribute,” says Hintz, who spent time researching the typeface in Hamburg's Museum der Arbeit. “The forms themselves are partly quirky, partly really fun, but with a German stiffness that makes for a strange mix.” Neue Plak offers 60 weights, including a new text version that pairs well with the display weights, and allows the design to function in print and digital environments, and for a wide range of uses. Neue Plak Text Variables are font files which are featuring one axis and have a preset instance from Thin to Black.

Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typeface comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.

Preview Text The quick brown fox jumps over the lazy dog Auriga Example 1 of Font More information about this Font Auriga is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Auriga attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Auriga has 671 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To install fonts follow these simple steps: .Open the zip folder you downloaded. .Double-click on the font as if you were opening an application. .Now the font installation window will open. .Click Install and wait for it to finish. .You have now installed the font. .Be sure to restart your application (and if that doesn't work restart your computer).

“Luxury in simplicity”. A Family of Luxury Fonts called Fulgate. A Hype of summer themed bring us to expressing a thirsty of creating a product that can help you to choosing a fonts to your creations. Like as we are on the preview above, how the fonts can "stands" within your design. Since Fulgate are created on a 6 weight from Thin, Light, Regular, Medium, Semibold, Bold. You won’t be worried which one to fit to your creative design. Also, You can Mix it up all of it without worrying design collision. Fulgate also comes with opentype features. The one was stand out was Capital Swash, it’s replacing the First letter that typed on Capital. even if you are type with all caps, it still stand out. If you think that all caps are not quite fit, write on with lowercase and turn on the features of Small Caps, a shape of capital but with lower heights. Lowercase also have a few make up with Alternate Characters, just to be noted, not all lowercase characters have an alternates, to keep a luxury feel and avoiding messy. The last are a feature on the numerical, Ordinals, Subscript, Superscript, and Fraction.

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be "neutral" or "transparent." Like many of Barnbrook's typeface designs, Priori is based on his interest in British typography of the early 20th century. It is inspired by the work of famous British typographers, such as Eric Gill and Edward Johnston. But it also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his London neighborhood. This mixing of native influences with a contemporary pop culture intent is what gives Barnbrook's types a distinct and unique flavor. Like its creator, Priori is a one of a kind.

PF Mellon is a modernist variable grotesque with mixed roots. Its unconventional aesthetic is the product of an exploration into the art of emphasizing titles, headlines and text in captivating and unpredictable ways. Contrary to conventional practices of highlighting text with heavier weights, PF Mellon proposes an intriguing new scheme based on striking and attention-grabbing compositions of narrow and extended letterforms- even when set in lowercase. Part geometric and part grotesque, PF Mellon’s expressionist alphabet and extravagant style challenge conventions of visual culture in an Art Deco-like manner. PF Mellon’s rebellious idiosyncrasy takes its cues from the eccentric personality of our popular PF Venue, an earlier geometric sans serif characterized by its daring combinations of non-uniform structures. PF Mellon’s basic design skeleton was influenced by nineteenth and early twentieth century condensed sans serif typefaces such as Stephenson Blake's Grotesque No.77 and ATF’s Alternate Gothic, adding an extra contrast to the thickness of strokes. PF Mellon is also available as a variable font format which you may request it free of charge from Parachute® once you purchase the whole type family.

Fifties is a mix of classic geometric and a bit of humanistic grotesque. The goal was to create the font for present with look to the past. In other words, I tried to came back the Modernism aesthetics of XX century into nowadays. The result gives you 60 styles including Italic (Slanted). Your typography may be airy and elegant with Expanded Thin, catchy and expressive with Condensed Bold or dynamic and sharp with Expanded Bold Italic. You will find your way to use this family certainly. Theatre posters or party flyers, vintage t-shirt or modern web service, movie titles or magazine header and even infographic – Fifties will suit you everywhere. You may use the completed styles or may use a Variable Font. To make it as you want to. Weights: Thin / Light / Regular / Medium / Semi Bold / Bold. Widths: Condensed / SemiCondensed / Medium / SemiExpanded / Expanded OTF and Variable Font (TTF) OpenType features: Stylistic alternates for A, G, K, M, N, R, W, a, e, g, j, m, n, r, t, u, w, y; Fraction figures; Subscript and Superscript figures; Tabular figures; Typographic spaces: Em / En / Third / Quarter / Thin / Sixth / Hair

Get ready for a modern spin on your typographic projects with the Typical Pro Sans Serif Font 9 Weight. This font offers a clean, grotesk feel that is perfect for any technical or heading design. Its contemporary design makes a perfect choice for projects with a modern flair. With clean lines, tight letter spacing, and a classic sans serif style, this font is sure to bring a unique edge to any project. Enjoy the perfect mix of texture and proportion with this modern font. Get ready to take your typography to the next level with Typical Pro Sans Serif Font 9 Weight. Typical Pro Sans Serif Font is a grotesk typeface of modern design, with technical precision and a clean finish. Its 9 weight offers clear and refined letters that provide perfect legibility for headlines and other text styles. Its line height is consistent and balanced, making it suitable for producing high-impact visual messages. Its modern, straightforward letterforms give projects an air of sophistication, while retaining a firm technical backbone. With nine different weights, it is the perfect choice for any heading or label that requires a strong, contemporary look.

Ainslie Contrast is the newest in the Ainslie series, named for the famous mountain overlooking the Australian city of Canberra. The Ainslie series currently consists of four typefaces. The Ainslie design is very unique and originally began life as a semi-serif. Also available are a normalized sans serif and slab variants. This contemporary typeface’s high contrast catches the eye. The design flows with ease and sophistication. There are a mix of influences from Australia, which gives it a unique flavor. The original Ainslie was designed for the Canberra Australia Centennial Typeface Competition and named for the mountain that overlooks the beautiful capital city of Australia. Ainslie takes Canberra's distinct geometric design and blends it with the organic, flowing essence of aboriginal art and the smooth aerodynamic design of the boomerang. The typeface includes a multitude of alternates that can be accessed in any OpenType application. There are swashes and other details such as small caps, alternative titling caps and swash alternates. If you’re searching for a contemporary high contrast typeface with geometric simplicity and a hint of antipodean flair, Ainslie Contrast is fair dinkum.

Garbata was designed in 2020 by Francesco Canovaro, looking for an approach to sans serif design that ignored the over-exploited grotesque and modernist models. It takes its skeleton from old style typefaces like Windsor or Cooper, keeping the quirky sloped shapes of some letters and adding to the historical smooth shapes a flat brush calligraphic sensibility. The result of these different historical influences is a humble yet distinctive sans serif typeface, developed in a wide range of weights, with finely-tuned differences between the medium, text-oriented cuts (with wider tracking and more regular design) and the more extreme, display-oriented weights. This play on subtlety allows Garbata to be surprising in all uses: humble and readable when set in body text, it shows all its elegant, whimsical qualities in logo design and display use. Equipped with all advanced OpenType features you expect from a production typeface, Garbata comes with an extended character set covering over two hundred languages with latin and Cyrillic glyphs. Designed with an Italian sensibility mixing craftsmanship and artistry, Garbata is ready to help you make your designs timeless, elegant and unusual.

Halcyon is a post-geometric typeface made up of 16 fonts across 8 weights. Each weight contains an upright with a corresponding true italic. Halcyon's design builds on the foundations of classic typefaces such as Futura, Gill Sans and ITC Avant Garde Gothic, by mixing their geometric structure with more modern humanist qualities and attributes. The result is a friendly and approachable personality with a sophisticated and serious edge. Halcyon feels familiar, but unique, playful but not asinine. The versatility of its character makes Halcyon a reliable choice for any design decision. With a large variety of weights, and a whole host of Open Type features, Halcyon can adapt to fit the tone of your communications. The lighter weights present a more refined and formal voice, while the heavier, oversized weights grow more exuberant. It's large x-height and open apertures increase it's legibility, making it perfect for setting large display headlines or small sized, long form text. Halcyon is a multilingual family with hundreds of accented characters, and allows for customisable characters through diacritic combinations. All European languages are already covered, alongside many more within the Latin alphabet.

Introducing Slothy Jelly! A fun font for everyone. Slothy Jelly is a cute handwritten font that has fun and happy characteristics. This font is authentically handwritten with the marker pen for a consistent look. This font also has alternates so you can mix and match the letters and make it more fun! For some extra hand-drawn cuteness, this font is also thrown in a bonus font with symbols like emojis, hearts, underlines, arrows, and circles - and drawn with the same pen to perfectly go with the writing. So it will help to make your design more cute and happy. This font is suitable for branding, posters, children's books, magazines and others. Your download will contain the following fonts such as Slothy Jelly Regular - a pretty and cute handwritten including a set of uppercase, lowercase, alternates, ligatures and multilingual support. Slothy Jelly Symbols - a dingbat font of many hand-drawn elements These fonts will work in any program, but please note that the alternates and ligatures of the font can only be accessed on software that supports OpenType features. Thank you for your purchase! Hope you enjoy this font

In 2019, P22 Type Foundry met with Milton Glaser (1929–2020) to initiate the official digital series of typefaces designed by Glaser in the 1960s and 70s. P22 Glaser Babyteeth is the first family released in the series. According to Glaser: “The inspiration for my Babyteeth type face came from this sign I photographed in Mexico City. It’s an advertisement for a tailor. The E was drawn as only someone unfamiliar with the alphabet could have conceived. Yet it is completely legible. I tried to invent the rest of the alphabet consistent with this model.” P22 Glaser Babyteeth was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official Babyteeth fonts approved by Milton Glaser Studio and the Estate of Milton Glaser. The solid and open versions are designed to overlap for two-color font effects and can even be mixed and matched for multi layer chromatic treatments. Babyteeth includes an expanded character set to support the majority of Latin languages.

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be "neutral" or "transparent." Like many of Barnbrook's typeface designs, Priori is based on his interest in British typography of the early 20th century. It is inspired by the work of famous British typographers, such as Eric Gill and Edward Johnston. But it also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his London neighborhood. This mixing of native influences with a contemporary pop culture intent is what gives Barnbrook's types a distinct and unique flavor. Like its creator, Priori is a one of a kind.

Nigthwel Script is inspired by retro style and combination with Hand Lettering style. Nigthwel has many OpenType features like a stylistic alternatives, stylistic sets, ligatures and swash so you can mix and match like a you want. Nigthwel Script is good for logotype, poster, badge, book cover, t-shirt design, handwritten quotes, product packaging, header, poster, merchandise, social media & 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 Nigthwel 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. Thanks so much for looking and please let me know if you have any questions.

Introducing the New Icon Font Duo. This luxury script and timeless serif are perfectly designed for one another-not only are they strong standalone fonts, but will pair beautifully when placed side by side. Feeling creative? They can even be mixed together within the same word for a more eye-catching layout, giving you a versatile set of fonts which can be used & loved across a range of design projects. Included in this family; New Icon Serif • A classic, all caps serif font with nostalgic notes. Contains alternate large-width O,G,Q,C characters in the ‘uppercase’ set. New Icon Serif Condensed • A thinner version of the New Icon Serif. New Icon Script • A luxury, cursive script font containing upper & lowercase characters. A beautiful letter set inspired by traditional calligraphy, which can be used on it’s own or paired effortlessly with the serif font. Contains alternate lowercase y & g with elongated tails, accessible by turning on ‘Stylistic Alternates’ or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Devinyl is a monolinear typeface family which mixes different styles. The typeface is entirely composed in capital. The uppercase is inspired by old grotesk from late 19th and the lowercase is a humanist-sans. This is a monoline typeface and the variety of style make it perfect for magazine and poster design. Download the PDF here. Devinyl comprises a family of 8 styles, from the art-deco inspired ‘line’ to the ‘stencil’, often used in street art. All the fonts share the same base. Devinyl family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

The Aviano collection returns, refined into a new, mid-contrast sans-serif inspired by the design and style of early 1900ís American engravers. Engravers would meticulously carve lettering into copper plates for printing, and often these letters, for more impact, would be extended and only utilize capitals. While taking inspiration from the past, Aviano Gothic is distinctly one-of-a-kind, and is not a revival, but instead is based on the structure of pre-existing Aviano type families for interchangeability and interoperability. Aviano Gothic has been diligently honed to be sinuous and seductive, making it great for high-end work such as including jewelry, beauty, and other luxury products. The full Aviano Gothic family presents you with six distinct weights and is full of OpenType options. Available with the face are deco alternates for replicating inscriptions and signage of the í20s and í30s. Style sets are offered, together with four full sets of art deco-inspired alternates, swashes, and titling, in addition to an expansive range of other alternates to help ìunique-ifyî your layouts. Aviano Gothic also features forty discretionary ligatures for inventive typographic compositions. Begin planning your work with Aviano Gothic by looking at these options in the instructive .pdf brochure. OpenType-able applications, including Quark or the Adobe suite, allow for the comprehensive benefit of the ligatures and alternates. This typeface also features the glyphs to aid a broad number of languages. Several variants have been made to extend the usefulness of the typeface, and it makes for a fine substitute for Copperplate, ITC Blair or Engravers Gothic. Aviano Gothic also pairs perfectly with the other members of the Aviano collection, including the original Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Future, Aviano Wedge, Aviano Contrast and Aviano Slab.

Grappa, a traditional Italian spirit with a rich history, shares much in common with typefaces - both embody cultural heritage, craftsmanship, and a sensory experience. Grappa is distilled from the skins, pulp, seeds, and stems left over from winemaking, resulting in a strong and aromatic drink that varies in flavor based on the grape and distillation process. Similarly, typefaces are designed characters that convey a unique style, weight, and form, communicating messages and expressing ideas through text. We are thrilled to introduce Grappa, a stunning new font based on the classic "Invitation" typeface by Morris Fuller Benton, a renowned American designer. Grappa features nine weights and a variable font that offers greater customization, with unique triangle serifs that give it a distinct edge. The font also comes with a variety of alternates and swash characters, including a second version with modified alternate characters for even more design flexibility. Like Grappa, typefaces evoke emotions and cultural associations, often associated with specific historical periods, artistic movements, and contexts. Whether used in stationery, packaging, editorial design, or branding, Grappa is a versatile and timeless font that can add elegance and sophistication to any project. In conclusion, Grappa is an excellent addition to any designer's toolkit, offering a perfect blend of tradition and modernity. The font's distinctive personality and cultural connotations make it a beloved drink in Italy, and a font that can effectively communicate messages and ideas through text.

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

Ornaments family with four different sets plus a decorative capitals font from the rare, valuable and amazing Allerlei Zierat book from Schelter & Gieseck (1902). A research and free interpretation by Intellecta Design. This encyclopedic specimen book of the Leipzig, Germany type foundry and printing supply house J.G. Schelter & Giesecke features, as the title indicates, all kinds of decoration for supplying printing of every type. On the title page, the firm boasts winning grand prize in 1900 in Paris (presumably at the Exposition Universelle). It is hard to do justice in a short description to the variety of styles (traditional, Jugenstil, etc.) and categories (certificates, letterheads, borders, ornaments, exotic motifs, flowers, animals, silhouettes, menus, greeting cards, vignettes humorous and otherwise, images of bicyclists, occupational symbols, portraits, Classical figures, religious art, heraldry, ships, trains, athletes, etc., etc.) offered in this volume. Some of the examples are printed in color, most are in black-and-white. The Jugenstil cover of this copy shows minor wear and soiling. The plate of “Gust. Carlsson & Co., Stockholm” is attached to the front pastedown. A small fraction of pages show minor soiling, a pencil notation or a short closed tear. Two of the fold-outs at the back have a little more damage-one is missing a 1x2 inch piece along the margin, the other has a 3-inch closed tear and an edge which is crumpled. A rare specimen from the Intellecta rare books library.

ITC Don't Panic's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

ITC Don't Panic 's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

The Phantom Isles: Retro Tiki Font A Textured Retro Font Inspired by Tropical Tiki Style and South Sea Adventures! The Phantom Isles is a hand-drawn font inspired by 1950s Tiki culture, tales of exotic locations and south sea adventures. It features the textured look of weathered wood and is the perfect choice for book covers, movie titles, theme parks or vintage themed events. The font includes a complete set of uppercase and lowercase characters, along with numbers, punctuation, symbols and language support. You’ll also find a set of specially illustrated underlines, shapes and icons including flora and fauna, old rope, skulls and more. A Brief History of Tiki Culture Originating from Māori mythology, a tiki is a wooden or stone carving that represents deified ancestors found in most Polynesian cultures. The mainstream and commercialised Tiki Culture that became popular across America from the 1930s to 50s was inspired by the sentimental appeal of an idealised South Pacific, particularly Hawaii, as viewed through the experiences of those who had visited such areas during World War II and cinematic depictions of beautiful scenery, forbidden love and the potential for danger. Over time it selectively incorporated more cultural elements of other regions that affected Polynesia, such as Southeast Asia. The Americanised form of Tiki Culture maintains a dedicated following today, particularly among those interested in 1950s graphic and interior design, history and the escapist lounge aesthetic it inspires. Learn more about the history of Tiki and Polynesian culture.

Introducing La storia - a fine tip signature font. Beautiful monoline signature, looking so classy and natural. There are 2 version, - Regular - Bold La storia is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, labels, and more that needs a natural sign feel. Includes number-punctuations and multilingual support. I created 89 ligatures to keep this font looks natural. at ct dt et ft gt ht it jt kt lt mt nt ot qt rt st tt ut vt wt xt zt an in un en on ar ir ur er or aa ant int unt ent ont att itt utt ett ott ii ee oo uu ff rr ss xx zz ll adl idl udl edl odl ald ild uld eld old art irt urt ert ort fl fh fb jl Fr Gr Hr Ir Kr Mr Nr Or Pr Tr Ur Vr Wr Dr space-r Titling and Ending Swash - Quick Access Add underscore 2x before or after a lowercase (you can see this on the presentation posters). For example a_ _ or _ _a Swash Lines make this font complete. Add underscore 2x before numbers from 1 to 9, you'll get 9 variations of swash line (as shown in the posters). For example _ _1 Thank You so Much!

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Chopard is an elegant and modern sans-serif font family. It includes upright and Italic style, each of them has six weights from light to bold. This is a multi-purpose font that is perfect for any project, it is contrasted, modern and easy to read. With it, you can create logos, use in advertising, packaging, book covers and magazines, headings, descriptions and much more. Todes includes stylistic alternates for uppercase and lowercase, with them you can add dynamics to the font and make your project more individual and stylized. This font is easy to use has OpenType features.

WILD WORDS! WILD WORDS! Buh-Buh-Buh-DUH-DUH! WILD WORDS! Wild Words never lose it! Wild Words never chose this way… Wild Words never close their eyes… Wild Words always sh-- I'm sorry? WILD WORDS is NOT a song by Duran Duran? Really? But I got myself the Simon Le Bon ’80s haircut and my MAD MAX outfit and everything… It’s a font from Comicraft? Now available in lower case? Well that’s good too, right? Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes! See the family related to WildWords Lower: Wild Words

Rasteroids Old is a typographic flashback to computing of the early 1980s, when 7-pin dot-matrix printers were the state of the art, and most home computer displays were TVs hooked up to RF modulators. Rasteroids Old not only captures the dot-matrix printer look, but recreates the rasterized appearance of text on those lower-resolution monitors. Rasteroids Old is a fixed width font lacking any descenders. Furthermore, the character set is limited to the subset of US-ASCII that would be available on a typical machine of 1980. As such, it is not intended for large areas of copy.