Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Ark is a combination monogram set based on the ATF Virkotype design. By combining variously shaped characters, you can produce initials within an oval frame. Just select a left-hand letter, a center letter, and a right-hand letter. Then place all three on an oval frame of your choice. Great for stationery and company logos. The Ark Monogram Set comes with easy-to-read instructions and a useful character map. Additional alternate characters have been provided for better identification and letter fitting within each font. Ark Monogram is now available in the OpenType Std format. Some new stylistic alternates have been added to this OpenType version. Advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Say hello to Supa Mega Fantastic! A casual font duo consisting of a hand-lettered inky script and a casual inked all caps font. The Script comes with a multitude of additional characters as Opentype Alternates, to add a fancy flair to your words as you require. All uppercase characters have a fancy alternate, and all lowercase letters have a selection of alternates for you to select from to suit your wording best. You can have it plain, or fancy shmancy :) The Script comes in two variants - Regular and slightly thinner. The slightly thinner version is best suited to lighter type on darker backgrounds, and the slightly thicker version is better suited to darker type on lighter backgrounds. Perfect for typography based branding, quotes, packaging design, greeting cards, recipe books, cosmetic brands, retro vintage badge design, creative headers and so much more.

Sinete, besides being and elegant and charming typeface, is also an extraordinary monogram set. You can create any 2 letter combination with its more than 350 handmade interlocking monograms. There is also the possibility of creating stylish 3 letter combinations. But that is not all, Sinete provides you with 30+ numeral ligatures and a variety of frames to combine with the monograms. This font also gives you the ability to create many text textures with its 4 case design approach (Uppercase, Small Caps, cantered Small Caps and “Opulent” Case). This gives you plenty of versatility. Make sure you play with the 9 Stylistic Sets provided. Sinete is all about creating wonderful words. Perfect for wedding invitations and other events as well as for refined logos and branding. This is also a great typeface for titles due to its delicate design and captivating look.

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

Blackhawk is a supercharged, street-wise brush font bursting with energy. With extra attention to quick strokes and sharp details, Blackhawk is guaranteed to deliver an unapologetically loud & fast-paced message; ideal for logos, apparel, quotes, product packaging, or anything which needs a typographic turbo-boost. Blackhawk Consists of; Blackhawk ~ A hand-made, all-capitals brush font which has a complete set of alternate A-Z characters. Simply switch between upper & lower case to access the alternates. (Tip: Try mixing up both upper and lowercase characters in a word to achieve the best text layout). Blackhawk Italic ~ A slanted version of the regular font, creating faster movement in the characters. Blackhawk Swashes ~ A bonus set of 11 swashes and 4 paint-splatters. Simply select this font and type any A-O character to create one of the bonus elements.

Introducing the 'Merchande' Font Trio Inspired by a variety of midcentury typefaces, the Merchande trio was designed to add pizzazz to your branding, packaging, advertising, and print projects. What's Inside? The serif is fantastic for headlines, logos, and anything that needs to grab attention. Its tall, condensed, and confident appearance is a great head-turner, made even better when combined with the two below. The script is perfect when a premium touch is needed for your work. Its use immediately adds a charming, personal quality. The best part, it's wonderfully legible in any size. While the sans works fantastic as a large display font, it truly shines when used for its intended purpose. Small text. Evidence of this is scattered throughout the presentation images. Tip: Increase the space between the letters (tracking), it looks awesome. Thanks for looking! Tom

Lupulus is a typeface inspired by the works of german expressionist artist and type designer Rudolf Koch. Drawing inspiration from types such as Neuland and Kabel for some of its features, it possesses a gothic and contemporary essence. Its constant rhythm; strict, solemn, yet boldly exuberant keeps it clean and functional. Its expressiveness allows for a wide range of uses: short texts, headlines, posters and branding, for which it is exceptionally well-suited. Lupulus consists of 17 fonts: 8 weights, 8 italic variables and one free ornamental variable. Featuring alternate characters, it is a comprehensive and versatile set built to suit your design needs. It comes fully equipped with Opentype for any and all technical requirements. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Type Foundry On facebook W Type Foundry wtypefoundry.com

Plumper than a misguided Z-lister's dodgy lip job, this is Quinella, named after the cheffy scoops of ice cream and the like, quinelles. It's a cute, fat script with a seventies vibe but a personality all of its own. It's non-connecting in the usual sense, but the letters overlap to make the white space as tiny as possible. Ligatures (standard and discretionary) make smoother solutions for quite a few pairs and trios, and every upper case letter has a more exuberant swash alternate. The contextual alternates feature substitutes in an alternate t for a better fit with certain letters. Fonts don't come much more voluptuous than this. The full-fat, creamy appearance makes it perfect for food packaging, but don't let it end there; it'll make memorable logos, unmissable headlines, and posters with more punch.

Since the 1800s, many patents were issued for methods to hold papers together. The two most popular and enduring tools still in use today are the stapler and the paper clip. In recent times a number of clips in novelty shapes have been available in just about every size, shape and color imaginable. Back in the beginning there were many variations as well, but the purpose of these design variants was to try and command the majority of sales in the fledgling market of bent wire clips by offering a unique and hopefully better product. Fastenating JNL contains twenty-five images based on those early clip designs as well as one classic paper fastener (on the Z and z keys). The standard gem clip has been the most enduring design and is well over one hundred years old.

More Printing Helpers JNL gathers another assortment of vintage printing embellishments and ornaments from the late 1800s. Within the standard twenty-six alphabet keys are pointing hands, corner pieces, border elements and decorative center and end pieces. On the lower case, certain elements have been flipped or inverted for matching effects. Some additional positions are available on the 1 through 9 keys and on the colon and semicolon. A bonus to this font: three expandable panels. the first (with decorative end caps) is attained by typing the left parenthesis for the left side, the hyphen for the center lines and the right parenthesis for the right side. The second one features ribbon ends, and the combination of the less than-equal-greater than keys creates this panel. The third design can be made by typing the left brace/vertical bar/right brace keys.

Hollywood Revue JNL gets its design inspiration and name from a vintage movie poster for "The Hollywood Revue of 1929". The letter style shows early Art Deco influences, yet the hand lettering was done in the late 1920s toward the end of the Art Nouveau period. MGM produced this early "talkie" all-star musical with a cast that included Jack Benny, John Gilbert, Conrad Nagel, Laurel and Hardy, Buster Keaton, Joan Crawford, Norma Shearer, Polly Moran and many others. This is the motion picture where Cliff ("Ukelele Ike") Edwards introduced "Singin' in the Rain" (composed by Arthur Freed and Nacio Herb Brown). Years later, Freed was a producer at MGM and gathered up many of the songs he and Brown wrote during the 1920s to form the musical core of the 1952 Gene Kelly-Debbie Reynolds-Donald O'Conner musical "Singin' in the Rain".

It is 1984 and Ridley Scott’s commercial for Apple tells us, “You’ll see why 1984 won’t be like ‘1984’.” The first Mac comes on the market. The Mac interface includes a font for use in small sizes called Chicago. The first version was designed by Susan Kare. The font’s modern grid-like character was also used for the first iPod screens, which is why this font is also associated with music. Today’s font upgrade, Little Micro Sans, is suited for small-point texts, product labels, lists of ingredients, and small captions in books, magazines, websites or applications. For online use, a variable format is particularly handy as it offers all font styles in a single file, has a faster display time and takes up less memory. Little Micro Sans is a revolution for small sizes. Specimen: http://carontwice.com/files/specimen_Little_Micro_Sans.pdf

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.

A decorative font, plain and simple. Ordered and square. Inspired by space. It can be used easily with contour.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Kristolit is a Scotch Roman-inspired typeface with a technological twist. Version 1.0 features regular and italic styles with basic Latin and Cyrillic sets. It’s both elegant and robust: its ample curves contrast with the brutality of its lines, the verticality of its axis and stroke contrast. It is optimized type family for editorial use, branding projects and identities striking a balance between aesthetic experimentation, functionality, and legibility. The italic version adds a calligraphic touch while maintaining its tech-savvy and robust character.

Danish type designer Per Jørgensen created this serif FontFont in 2007. The family has 5 weights, ranging from Regular to Bold (including italics) and is ideally suited for book text, festive occasions as well as editorial and publishing. FF Holmen provides advanced typographical support with features such as ligatures, small capitals, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Dynasty is an extensive and versatile family that exploration and modernisation of the typographic quirks associated with the 'American Gothic' type school (in much the same way as English Grotesque was an exploration of Gill/Johnston idea-space) and adds chamfered elements to dots and tails to emphasise and extend the early machine-made aesthetic. Elegantly clean and readable at headline and small text settings, where (as with all fonts in small sizes) the introduction of tracking will improve legibility.

Wonderhand is a new extensive family of scripts designed in seven widths and three weights. It also introduces a third design axis, the slant, presenting an upright 0° cut, a 20° cut and a 40° cut for each. Like written by different hands, each cut has a unique appearance and character. Wonderhand contains two sets of alternate characters and automatic features that imitate the natural flow of handwriting. It is loaded with icons and decorative elements that allow multiple possibilities in layout design.

Konga has gone through different changes, the first idea was born in 2014 with the help of Andrey Kudryavtsev, then some time passed and the Rough version was developed, and a long time passed and in 2022 the idea of redesigning was taken with Bruno Jara, in addition to making many styles such as Rough, Inline, Shadow, as well as dingbats which was based on Stefania Ahumada's graphics, which results in a family of 6 styles, with different Alternatives, perfect for informal titles.

When you don't want to speak softly, Squeeze can shout above the crowd. Say it loudly and proudly, this face does not have a weight problem. The Dez Squeeze Pro Family is also now available from Dezcom in seven widths. http://www.myfonts.com/fonts/dezcom/dez-squeeze-pro/ Dez Squeeze has 483 glyphs with uppercase, lowercase, proportional lining figures, unicase, stylistic sets, alternates, ordinals, and case specific punctuation. It has a full range of diacritics and covers all European languages using the Latin script.

Satigof by Holyline is a playful sans serif font family, This font very playful and unique comes in nine weight, thin to black . It's very unique, fancy, playful very easy to combine with multiple design style. Satigof perfect for headline, sub headline ,custom logo,packaging, quote, invitations, watermark,social media posts, label, anything for your creativity and Satigof is perfect font if you want something new with your project, and you can pairing this font with the weight, its very satisfy. Happy creating!

Amberday is a modern display serif typeface to be used more than just as a header font. When I was creating this typeface my first though was to create a light font but strong enough to stand as a header font. Amberday is a perfect typeface to use for logo design, webdesign, header design, typedesign, posters and many more. Amberday family includes eight weight starting with Thin and ending with a Heavy style. Each style includes kerning, ligatures and alternates.

Icarus - Serif Font Family - Multilingual - 4 Style With its modern vintage look, Icarus font offers a wide variety of styles to help you discover the best mood for your projects, from body text to large titles, classic styles to modern and bold styles. It is very suitable for books and magazines, editorials, titles, websites, logos, branding, advertising and more. With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Racoti is a sans serif font with four weights: Light, Regular, Medium, and Bold. It has a simple, calm, and elegant aesthetic. This font is ideal for a wide range of projects, including quotes, websites, logos, greeting cards, branding materials, and more! of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

ITC Atelier Sans began as one of Curtis's renovations. His goal was to create a monoline design with Art Deco “sensibilities,” but without the geometric precision and relatively small x-height of faces like Futura or Kabel. Gentle curves and suggestions of serifs create a crisp, clean and open face that is at once sleek, sensuous and still affable. Available as a two-weight family with complementary italics, ITC Atelier Sans is another successful and usable revival from Nick Curtis.

Margit is a condensed display typeface that includes Latin and Cyrillic scripts, supporting over 200 languages. Margit's letterforms have a contemporary style with pointy edges and friendly curves inspired by old wood-type specimens. Its bold and unapologetic design will be great to use in poster design, giving the content a stronger voice. This font family can bring a unique look to your packaging projects and modern branding solutions. Explore the extensive range of styles and weights that make this typeface ultra-versatile.

Old Paris Nouveau is based on letterpress stylings of modern roman alphabets from the 1920s. Adapting the nouveau sensibility to the digital age required several conventions, including several alternate glyphs for specific individual letterforms as well as creating consistent stem weights and x-heights for more effective body copy. The inherent charm of Old Paris lies in its variation in form and style -- and yet the uniformity. Organic simplicity and elegance underscore the strength and utility inherent in the family of fonts.

Crimstone is a bold and strong geometric typeface. Rectangular shape with rigid and sharp edges is the first impression that makes this font look powerful and hit. Its continued development created other variations including rounded styles, inline and handmade styles. Not only the clean version, Crimstone is also available in a printed version with a rough and textured appearance. Each has an upright and slanted version. Available in 16 fonts, the Crimstone family is perfect for poster designs, movie titles, logotypes, packaging etc.

It's nice when a font provides old style figures, small caps and alternate letters. But what to do if my typesetting program doesn't support Open Type features? The solution may be old-fashioned, but it's effective: the variants are placed in separate font families: Standard, Old Style Figures (OSF), and Small Caps (SC). Any word processor can handle it. As a special feature, my OSF fonts also contain alternative letters such as a looped g or descenders in the italic f.

A practical font family with 4 weights for all your day to day design needs: headlines, body text, signage etc. High legibility at small sizes. An extended sans serif typeface with rounded endings that provides a unique softness appearance without losing legibility. The Pro version is an excellent support for Niqqud (Vowels). All marks are programmed to fit each glyph's shape and width. Best used with apps that support right to left Hebrew text, like Adobe InDesign CC or MS Word.