The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serif and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. The famous Stempel Garamond interpretation of the 1920s remains true to the original Garamond font with its typical Old Face characteristics. The bold italic was a modern addition at the end of the 1920s and the small caps provided an alternative to the standard capital letters. In the mid 1980s, a light version was added to Stempel Garamond. Since its appearance, Stempel Garamond has been one of the most frequently used text fonts.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Googie Architecture, also known as "Midcentury Coffee Shop Modern," was born in California during the Atomic Age. Martini at Joe's is based on lettering from several historic Googie sources - many of which no longer exist. The futuristic Martini at Joe's collection was named for Northern California's famous Italian-themed "Joe's" restaurants, some of which are still serving up large portions of charbroiled beef steak, canned buttered veggies and pretty decent martinis. Martini at Joe's contains many fabulous typographic extras – and is available in single font packages or as a 15 font interchangeable Megaset (with "italic-esque" obliques and "retro obliques"). Martini at Joe's is perfect for use as commercial signage, on the menu for your coffee shop, supper club, tiki bar, fish grotto, smorgy, space port or destination casino. It also holds its own in any vintage store, on greeting cards, t-shirts, hi-brow gallery announcements, product skins, your 'zine masthead, on the faceplate of your futuristic microwave oven, tv dinner packaging, at millionaire's conferences or even embellishing the fuselage of your latest jet airline venture. Martini at Joe's: there's no better way to say, "Hold the olive, I'm having a moment."

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.

Speakeasy is a 5-font combo thematically built as a toolset for designing menus and liquor labels as well as coffees, restaurants and signs when the desire is to communicate with style. Originally put together to be used by the most famous speakeasy in Buenos Aires, this set contains a script, a minor (almost flat) wedge serif, a flare serif, a sans serif, and a bold Didone. The seed for the script was found in a German lettering book, and the other fonts reflect the familiar advertising and announcement styles of the early 20th century. The Speakeasy script comes with two different ways to connect the letterforms. Also included are many alternates, swashes, endings and flourishes — all accessible via OpenType features or glyph palettes. Speakeasy Modern and Speakeasy Flare are small cap fonts, and come with a few alternates. Speakeasy Sans and Speakeasy Gothic come with full sets of majuscules and minuscules, but contain small caps and a few alternates as well. A few rules and ornaments are also sprinkled throughout the set. This combination of fonts worked wonderfully for the project that called for it. Hopefully it will work just as well for your project.

Italian type design master Aldo Novarese was not famous for making calligraphic designs, nor had he any interest in them. He is much better known for his text faces, and quite innovative sans serif and decorative designs which became the definition of what we now know as techno and modern. But in 1968, Novarese surprised everyone with a fantastic flowing deco script entitled Elite. Novarese's formula of simple soft curves and toned-down swashes makes for one of the most unique alphabets ever seen, not to mention one of the best flowing and most legible scripts. This is now its digital incarnation, named Fontella. Fontella's applications are virtually limitless. This is the sort of script that can feel at home pretty much anywhere; a sign, a fridge magnet, a bumper sticker, a greeting card, a movie poster, a book cover, music artwork, magazine ads, newsletter headlines, etc. Digitized from original specimen and expanded with a few built-in alternates and ligatures by Rebecca Alaccari, the font was named after the famed jazz singer Fontella Bass. These letters are just so sweet they had to be called Fontella.

A clean, smooth rendition of the magnificent B42-type used by Johann Gutenberg in his famous 42-line Bible. In addition to the usual standard characters for typesetting modern texts, the font includes a comprehensive set of special characters, alternates and ligatures, plus Opentype features, that can be used for typesetting (almost) exactly as in Gutenberg’s Bible and later incunabula. Also available as The Oldtype “Gutenberg C” Font in a slightly roughened style simulating irregularities and ink spreads associated with old metal types, papers and parchments. The main historical sources used during the font design process were high-resolution scans from several printings of Gutenberg’s Bible. Other sources were as follows: Kapr, A. (1996), Johann Gutenberg - The Man and his Invention, Aldershot: Scolar Press (ch. 7); De Hamel, C. (2001), The Book - A History of The Bible, London: Phaidon Press (ch. 8); Füssel, S. (2005), Gutenberg and the impact of printing, Burlington: Ashgate (ch. 1); and Man, J. (2009), The Gutenberg Revolution, London: Bantam (ch. 7). Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Gutenberg B” Font Page.

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.

The Vondelpark is the famous Amsterdam city park, 47 hectares stretching out from Leidseplein to the Amstelveenseweg. It was founded in 1864 when a group of well-to-do Amsterdam citizens got together and bought land at the (then) edge of the city centre in order to create a park ‘for riding and strolling’. Designed by architect J.D. Zocher, it opened officially in 1865. The park received its name two years later when a statue of Dutch writer Joost van den Vondel was placed in the park. In the 1960s and 1970s the Vondelpark became a symbol and epicenter of the hippie flower power era. The park was declared a state monument in 1996. Donald DBXL was intrigued by the handmade iron nameplate lettering on the park’s entrance gates, and decided to design VLNL Vondelpark in its glory. The somewhat clumsy iron letters were not revived as is but optimized to turn it into a useful typeface. The all-caps serif with a deliberate constructed feel, contains a Positional Open Type feature that places half circles on the vertical stems, at the beginning and end of a word, to enliven the rhythm.

The famous Italian type designer and Nebiolo director Alessandro Butti designed Rondine in 1948. Not so surprisingly - given its beauty - it quickly became quite a commonly copied metal type. But for some reason Rondine was spared during the massive “phototyping” that happened with the introduction of film type. Perhaps this is why no digital version of it ever existed until now. Bella Donna is an upright round script that can be used both formally and informally, in almost any design where an elegant script completes the equation. The almost dramatic grandeur of the majuscules is very nicely complemented by pouty low-x-height minuscules that sprout graceful and very visible ascender and descender loops. Titles, sentences and paragraphs set in Bella Donna are meant to delightfully tease the reader and make hearts skip a beat. Bella Donna can deliver a subtle promise of joyful playfulness, inviting elegance, memorable romance, sensuality, or sincere understanding. Bella Donna was redrawn and digitized from original specimen by Rebecca Alaccari, who also extended the character set with plenty of alternates and some add-on swashes built within the font.

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.

King Tut is a restoration and expansion of the original Egyptian Expanded, a single bold face cut in 1850 by Miller & Richard, the famous Edinburgh founders. This aesthetic, though originally issued to help drive simple print advertising of those days, is perhaps the longest lasting genre of typeface. This aesthetic flourished in the later part of the 19th century, helped by the surge of similar faces from England (such as Figgins' Antique 6 and Expanded Antique), and became the defining index of the old American wild west that continues to this very day. King Tut serves up its impact through a balance between the wide, compact letterforms and elegant curvature that manages to come through even in confined areas. The family's weight variety allows for more options in counterspace use as well as precision in the amount of curve definition and contrast needed by the typographer. The lighter weights completely oppose that 19th century boldness and expose the alphabet's skeleton in a strive for simplicity that fits modern applications. With generous language support to boot, King Tut's diverse offerings make it an essential addition to today's designer repertoire.

The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is thenew font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowieis well-suited for publishing projects, branding and packaging. This font family is composed of three sections: a group of sharp-shaped uppercase fonts (smallcaps and all caps) in 5 weights, each with matching regular/back slant italics,providing users with 15 different styles for multiple combinations; a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin toBlack, and comes with a 439-character set that supports 206 languages.

For best results, use of OpenType features is strongly recommend. This font is inspired by Johannes Janssonius, well know as Jan Janszoon o Jan Janssonius (Arnhem, 1588 – Amsterdam, 1664), was a Dutch cartographer, publisher and engraver. Married to Hondius's daughter. He was the author of many masterpieces of cartography of the 1700s like Willem Blaeu and Hondius, famous maps with heavy use of decorations in the letterig to fill the spaces of oceans, seas, lakes and scrolls. Now you can easily recreate not just ancient maps without effort, but you can use this font creatively, to make unique, modern logos, product names, fresh packaging, hip fashion outfits, refined labels, signs, coordinated images ... Hundreds of alternatives to choose from and maybe to combine with other fonts in an original way. One extra font with 27 castles in Janszoon style are also usefull for map, of course, but also for many different creative artworks. Warning: Jannson Map having oversized swashes compared to the normal standards cannot be used with Windows Word because Word does not give the possibility to manage the line spacing professionally. Jannson Map works great with applications like Illustrator, In Design, quark Xpress, mac Text etc ...

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

Military style stencil type, badly bruised by shotgun fire, wear and tear. Now ready for action in more languages! Vic Fieger says: "The original letterforms were not the famous military stencil, but were drawn freehand then scanned into Photoshop. Next, they were altered using a series of brushes before being imported into a font. This font has been used in the Flash games Pandemic and Artillery." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "Western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

Introducing, Kattelo is a beautiful retro style font, with a Kattelo giving a touch of attractive design typography, Kattelo is one of the handwriting projects. It was very inspired by the famous retro typography design. Kattelo also comes with the Extruded Font version. So you don’t need extra effort to make the effect repel for this font,with Kattelo you can create many design styles. Kattelo is also equipped with 514 Glyphs, and also features OpenType. The Features includes: Stylistic Alternates, Swashes, Ligatures, and Stylistic Set.Extrude,and You can pick the alternate for all style Kattelo has given PUA encoded (fonts with special code). This Font Equipped: -Uppercase -Lowercase -Figures & Punctuation -Stylistic Alternatives -Ligatures -Extruded for All Glyph -Language Support To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as, Adobe Indesign,Adobe Illustrator CS & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access alternate glyphs? you can see it on this link goo.gl/1vy2fv If There Any questions, Please Let Me Know,Contact Me,At malindocreative@gmail.com,Your support and suggestion is needed, And I am Happy To Help You. Thank you for your kindness and support,Hopefully Useful,And Good Luck For You.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

Bill Corporate is a geometric typeface with generous capitals. A modern classic, based on Max Bill’s lettering work, its straightforward and uncompromising construction can be both edgy and sublime. With minimalist letterforms, pointy apexes instead of flat ones, and archetypal proportions, this font family doesn’t follow any trends but strives to achieve a timeless formal vocabulary. The skeleton of its letters is based heavily on the famous primary shapes of the Bauhaus: square, circle, and triangle. This makes for quite wide uppercase and much narrower lowercase letters. The contrast between uppercase and lowercase benefits inexperienced users, who will be able to get appealing results quickly. At the same time, it’s a powerful tool for seasoned designers, who can employ either case selectively to set the desired typographic course. Bill Corporate Medium’s 16 styles (including a set of eight lighter-than-light fonts from “Two” to “ExtraLight”) are an excellent choice for editorial design, branding, headlines, and even short to mid-length copy in a wide range of applications and industries. The uppercase letters in particular—with their varied widths and lavish dimensions—are suitable for cosmopolitan and stylish logotypes and wordmarks. Whenever a timeless, staid, and classy look is demanded, choose Bill Corporate.

Shahira Script is a modern calligraphy design. Shahira is a girl's name meaning "Famous", "Known" and is of Arabic origin. This typeface is casual and beautiful with swash. Can be used for various purposes such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more. Shahira Script includes changes in OpenType language style, binders and international support for most Western languages. 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 Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Shahira Script is coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Letter Books, and Windows users can use Character Maps to view and copy one of the additional characters to attach to your favorite text editor / application. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, let me know. I am happy to help! Thank you and Happy Designing!

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Slab is a robust compliment to the FF DIN family. Designed by Antonia Cornelius and Albert-Jan Pool, it offer designers tools to create greater rhythm and design depth. FF DIN Slab’s proportions have been meticulously aligned with its Sans origins, offering the perfect balance between positive and negative space. The serifs are assertive, sturdy and balanced, they are engineered to emphasis a strong horizontal flow through text, a grounded utility and assurance in headlines. The result of this attention to detail is a typeface that harmonizes beautifully with other FF DIN styles. Pushing font technology to its limits, FF DIN Slab is also available as a Variable font. Allowing creatives to design hyper specific variations which thrive in any design space, and even seamlessly animate movement from one state to the next. FF DIN Slab distinctively carries on its parent’s DNA, speaks the same native language — but with a strong peculiar dialect. It expands the DIN family worthily — independent but integrated — and opens totally new possibilities of uses with the whole DIN family.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

John Seddon (1644-1700), was a famous english writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - YES (that is the title of the book) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, animal and human kingdon inspired penmanship forms in the Bestiario font. On the other hand, his highly ornamented animal kingdon inspired capitals and alphabets in the Seddon Penmans Paradise Capitals typeface. The “SeddonsFleurons” completes the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well. The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995."

This four-piece family is the DIN design, but not as you know it. The famously, crisp, clean and precise typeface has been given a textured update that's reminiscent of rusted metal, or rubber stamps. Underneath this lies the same sturdy, geometric shapes that have allowed DIN to stand the test of time, but with a new sense of tangibility. “This kind of treatment is more about creating a feeling or a mood that goes beyond the communication of the words themselves,” explains Monotype Studio director Tom Rickner. “I think it expands the repertoire of what DIN Next can express.” Designed for display, these four typefaces – DIN Next Rust, DIN Next Shadow, DIN Next Slab Rust and DIN Next Stencil Rust – show a new side of DIN Next's personality, as if the surface of each letterform has been gradually worn away over the years.

Welcome to the old version of Kage. "Old does not mean obsolete" In April 2022, we updated whole letterforms. We redrew all glyphs and refined the nodes, corners, rounded shapes, flowing tails, etc. Of course, you can still use the update of an older version of Kage, although we highly recommend you move to the Pro version for the full benefits. Kage Pro has massive development, puts forward experimentation on alternate letters, and applies an oblique style to provide diverse style choices. Come with tons of swirly ligatures and advanced opentype features include case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Learn more about Kage Pro here: Kage Pro 2.0 | Type Specimen About Kage The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage has 11 styles, from thin to black; all family-style consist of one variable font with two axes. The total number of glyphs is 748 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: discretionary ligatures, stylistic alternates, ordinals, fractions. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

John Seddon (1644-1700), was a famous English writing master, the leading calligrapher of his time, and master of Sir John Johnson’s Free Writing School in Priest’s Court, Foster Lane. His portrait was drawn by William Faithorne and was engraved by John Sturt as the frontispiece for his copy-books, such as ‘The Ingenious youth’s companion’ of c.1690 and 'The pen-man’s paradise' of c.1695. These were engraved after his work by others. Your extra-rare book - "The Pen-mans Paradise Both pleasent & Profitable OR Examples of all ye usuall hands of this Kingdome. Adorn'd with variety of ffigures an Flourishes done by Command of hand. Each ffigure being one continued & entire Track of the pen most where of may be struck as well Reverse (or to answer bothwayes) as Forward", London (1965). - (YES, that is the title of the book!) was the starting point to these new extra accurated works of Iza W, a series of revivals of the penmanship Seddon’s artworks, like this highly ornamented animal kingdom inspired capitals and alphabets: the Seddon Penmans Paradise Capitals typeface. And, on the other hand, you can get the animal and human kingdon inspired penmanship forms in the Bestiario font. The “SeddonsFleurons” will complete the collection. Fantastic choice to elaborated barocque/renaissance inspired and historical accurated layouts.