Reverse Calendar Blocks JNL is the third typeface from Jeff Levine that allows the user to create a vintage-style calendar. Other versions available are Calendar Blocks JNL and Monthly Calendar JNL. The layout for the font is as follows: Numerals for displaying a year are on the 0-9 keys The 1-31 dates are located on the A-Z and a-e keys The combination dates of 23/30 and 24/31 are located on the f and g keys Days of the week (Sunday through Saturday) are on the keys h though n Months are found on the o through z keys A blank box (for balancing out layouts) is on the period key

Carnac, a minimalistic monoline face follows the same linear structure as its earlier released, rounded counterpart Carnas. Carnac, however, appears crisp and fresh because of its squared edges and angular contours. It is a clean, contemporary face with a wide range of styles from Thin to Black. Designed to be ideal for shorter and longer text applications and also for headlines and signage. The Carnac family consists of 16 styles and is well suited for ambitious typography. It comes in OpenType format with extended language support. All weights contain ligatures, superior characters, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and matching arrows.

Venetian 301 is the Bitstream version of the Centaur type family. Centaur was designed by the American book designer Bruce Rogers on the basis of Venetian typefaces of 1470 of Nicolas Jenson. Beautiful Italic based on a face by Ludovico degli Arrighi was developed by Frederic Warde who was an American calligrapher and typography researcher was added as Italic to Centaur. Adapted for mechanical composition by English Monotype in 1929. Its lettershapes owe much to pen-drawn letters of Italian humanist minuscule and cursive. This elegant humanist face is useful for the finest typography both for book text and display matter. Cyrillic version included small caps was developed for ParaType in 2003 by Dmitry Kirsanov.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Grandecort is derived from the OakPark family. It has lost the serifs, and has moved to a more traditional look. The upper case letters are a bit heavier than the lower case letters, but overall the letter shapes are fairly conventional for a bold, display face. In later 2018 the family was expanded to 9 fonts. GrancMitStripes was reworked to make four new faces: GrancAllStripes, GrancTopStripes, GrancBottomStripes, and GrancCaps. The last can be used as a background layer for the others. Also, The interior of GrandecortShadow was separated out to form GrandecortShadowInside. It has the same shapes as Grandecort-Regular but the spacing of GrandecortShadow and can be layered with the shadowed style to easily create bi-colored letters.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

This family was created from the set of font faces used in Lima (Peru) by Antonio Ricardo in 1584 for the first publication ever printed in Southern America: a four-page leaflet in Spanish entitled "Pragm·tica sanciÛn" with information about the new Georgian calendar of 1582 which had not yet been communicated to the colonies. In our two styles (Regular & Italic), font faces, kernings and spacing are as close as possible to the original. This Pro font covers Western, Eastern and Central European languages (including Celtic), Baltic and Turkish, with standard and “long s” ligatures in each of the two styles. A,B,D,E,F,M,N,P,R,V,W swashed capitals in the italic style.

We think of Cherritt as a 'bullnosed' serif face, because of its rounded off serifs. What that phrase may not convey is the friendly, approachable nature of this large family of faces. The design was originally inspired by traditional draftsmens' hand-drawn serif lettering, but has been given a precise geometric flavor that suits it for work owing its inspiration to any era, from Victorian times through to the purely modern. They are ideal for headings and poster work, but also for setting small volumes of text. Four weights are included in the family, as well as wide, expanded and condensed forms, true small capitals and openface forms. All family members embody extensive OpenType features.

Silvan Kaesar designed Seedbad after observing the unique sign lettering along the shores of Lake Geneva's bathing area. Seebad's four different settings represent the cutting edge new style of Swiss design, which spans the bridge between modern and contemporary. Containing geometrically forms, Seebad has a narrow base. Some characters (the lowercase t", for example) display unicase, even uncial-like tendencies. If you are looking for a face to spice up your layouts with an ultra-modern, cutting-edge flair, while not sacrificing copy length, Seebad is the face for you! The four fonts making up the Seebad family are all included in the Take Type 5 collection, released by Linotype GmbH in 2003."

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

Churchward 69 is a ten weight typeface family originally designed during the late 1960’s by the late type designer Joseph Churchward. From the extremely condensed Regular weight to the outlandishly heavy Ultra Black, this square sans serif makes an audacious statement. Even the Italics are extreme at their 17 degree angle! Churchward 69 includes 5 weights, Regular, Bold, Extra Bold, Black, and the gorgeous Ultra Black, and their italics. Joseph sure knew how to draw heavy weights! All members of the Churchward 69 family have OpenType features, including proportional and tabular figures, unlimited fractions, superior and inferior figures, and ordinals. Each font also has an extensive character set to support many western European languages.

Maria Martina Schmitt was born in Vienna, Austria in 1950. Since 1998, she has been working as a freelance designer, focusing on cultural collateral, economic publications, illustration, type design, and logo design. Airam blends contemporary legibility with historic blackletter forms, creating a contemporary text face that speaks to the old European past. Airam certainly appears darker than most other contemporary text faces. Airam’s letterforms are slightly broken, too. They display angled joints in lieu of smooth curves. This “broken” aspect actually aids legibility at smaller point sizes. While Airam may not be suitable for setting whole books or newspapers, this font will add a splendid touch to short tracts of small text. Additionally, Airam looks superb in large headlines.

This is of Novecento Sans, a font family inspired by European typographic trends between the second half of 19th century and first half of the 20th. It looks rational and geometric. However, it is optically corrected and balanced. NEWS: you can add a layered effect with Novecento Carved as top layer. This font face is designed to be used mostly for headlines, visual identities or short sentences, both in big and small sizes. Lighter faces provide a more contemporary and design look and feel, while the bolder ones definitely look retro. Novecento Sans family comes in 32 styles, speaks 76 latin based languages, has 590 glyphs and 16 stylistic opentype features for advanced typography.

Konya is a signature script-style font with a very luxurious look. It can look very soft and very firm in an elegant frame, high but not too towering, and flat but not too low. Its appearing with a balance like dervish whirling around in ‘Konya town’ with two hands stretched, one hand facing to the sky and the other hand facing to the earth. This font is perfect for branding, as we equipped it with a number of alternatives that allow you to make it a feminine and masculine logo, and some swash to add to the firmness of signature. This font also has ligatures to present a natural handwritten impression.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Elicit Script is a hybrid script family, that can be as casual or formal as the occasion demands. Created by Laura Worthington and Jim Wasco, the design is based on pointed pen Spencerian Script handwriting. “It’s like one of those German italics from the early 20th century, that have beautiful shapes that hold their own,” says Wasco. Elicit Script spans five weights, from Extra Light to Bold, and three styles – Formal, Normal and Casual. This makes it an incredibly versatile script design, easily paired with other typefaces and able to be dressed up or down, depending on what it’s used for. The monoline Casual style offers a more relaxed tone of voice, while Formal sits at the more decorative end of the spectrum. Designers can keep things straightforward, tidy and practical with the typeface’s simple caps, or add in swash caps if they need more exuberance and expression. Generous spacing means Elicit Script works well at smaller sizes as well. Elicit Script Variable Set is a single font file that features two axes: Weight and Contrast. The Weight axis has instances from Extra Light to Bold. The Contrast axis has instances from Casual (low contrast) to Formal (high contrast).

If you still think that an antiqua is a typeface with a strong historical character that difficult to apply in modern realities, meet the new typeface from TypeType! TT Livret is an elegant, modern and functional antiqua featuring a calm text and an expressive display subfamily. TT Livret useful links: Specimen | Graphic presentation | Customization options This font looks harmonious in books and other periodicals, on posters or on magazine covers. The scope is not limited to the printing industry, because TT Livret looks aesthetically pleasing wherever text is used. The text subfamily has uniwidth proportions and a calm spirit, oval round characters, free spacing and more open apertures. The glossy display subfamily is proportional and has round signs that are as close to a circle as possible, the apertures are closed, and the spacing is dense. The font has an intermediate subfamily - Subhead, which can look more relaxed when used as text font, or be contrasting and used as a display font. In TT Livret, we have embodied the idea of ​​an antiqua that will be comfortable to use in modern realities. This is a functional font, where the text face does not distract from reading, and the display face, on the contrary, attracts attention. The TT Livret font family consists of 32 faces: 15 upright, 15 oblique, and 2 variable fonts. Each face has 1031 glyphs. The font contains 26 OpenType features, as well as a large number of ligatures. There are many alternative characters in italics, which are especially diverse in Cyrillic.

This rough and bold style uses detail and motion to create text with gritty character. These fat letters mimic a paintbrush or palette knife in a simple graff style.

»Supra-condensed« – designed by Gert Wiescher in 2013 – is the condensed version to this new sans typeface family of eight weights with matching italics. The condensed version is designed for space-saving typography but with high legibility in mind. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family.

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

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. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Some typefaces are more deserving of the reference "original typeface design" than are others. Such a typeface is Steve's Safefont GD. It is indeed safe to say that this design has caused some controversy. However, the management of Galapagos Design Group believes that the message of the typeface, even before its characters are used to form words in print, is important enough-and the design itself compelling enough-to warrant the risk of any unintended offense it might cause. Safefont GD is made up of condoms, in various shapes and sizes. The design originated as a lampoon of contemporary-punk- and -garagefont- designs of the nineties. It soon evolved into the quintessence of socially conscious design. Steve suggests this typeface could be "useful as a public service font aimed at important health and social issues." In addition, Safefont GD lends itself to a wide range of fun uses.

There's an appealing quirkiness about Amrys, which offers a confidently unusual alternative to more conventional designs. Its charm lies in its tapering tips, flexing stems, and unexpected notches, which combine to suggest something of the chiseller's tool at work. As a modulated serif, its letter shapes live between serif and sans serif, lending the design a sense of pleasing irregularity – something that's really highlighted at larger sizes. However this is also a typeface that works for text, injecting rhythm and texture into reading. “It's distinctive, idiosyncratic, and weird,” says its designer, Ben Jones. He started designing Amrys while studying an MA at Reading University, creating it in response to a brief for a magazine typeface. Amrys features an extensive and impressive character set. In addition to Latin, Amrys covers several scripts including Cyrillic, Greek, Arabic and Armenian. The family consists of 8 weights, from Light to Black, with matching italics.

The name Norden means “the Nordic”, as in the geographical area or its countries. Inspired by the simplicity of Nordic and Scandinavian design, the Norden fonts give you clarity of expression, beyond the usual geometric look and feel of traditional sans-serifs. Open and spacious, the shapes of the glyphs play both with and against each other. Round and soft versus square and solid, a basic curve versus a straight line, creating a detached yet distinct style of expression, from the light-as-air Hairline to dark and Bold. The Display variant has diagonal as well as slightly rounded ends, similar to the Standard version but with and edge, so to say. As its name suggests, this font is intended for use in headlines and/or for small chunks of text at medium and large sizes. Norden comes in three variants: Standard, Round and Display.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

The "Newbeats" typeface came about after watching the film A Hard Day's Night starring the Beatles, hence the name "Newbeats". The font was on the poster of the film and based on these letters I designed a full alphabet, complete with ligatures. The font has been fully digitized and fine-tuned to make it possible to use in all software applications and graphics programs. Whomever sees the font for the first time would think this is a totally new font; it has a modern look despite the mid-60s feel that I have tried to preserve. This characterful and playful typeface can be used for all kinds of graphic applications, both for vintage style design and in modern designs. The "Newbeats" font is a real hit! For those who want to come up with a surprising style, look and feel, this is highly recommended. Logos, posters, advertisements, branding, magazines, t-shirts and other hip designs will look much more attractive! A must for those who want to give their designs a big twist. Play and win with Newbeats and you will be amazed by the result. What are you waiting for?

Escape to the bliss of the Namaqualand. A landscape carpeted in wildflowers and magical star-studded nights. Where visitors come from all over the world to experience the cacophony of nature in its purest form. Introducing Namaqua - A Modern Calligraphy Font. This gorgeous font can be used for a host of different content needs and projects. Use it for your headings, logos, business cards, printed quotes, invitations, packaging, resumes, and even your website or social media branding. Enchant your audience, clients or guests with this versatile, elegant font. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Designed with high contrast. The stems are not completely straight, slightly narrow in the middle, combining rounded and right angle at the terminals and serif ends. Gibralt consists of 8 styles from Extra light to Black, each matching with italics version. Suitable for Headlines, paragraph, text, printing and more.

Say hello to Odds - a versatile, chunky casual sans with lots of personality! It’s fresh, friendly and easy to read. It is also a great mix of boldness and cuteness, so it definitely captures attention. The Odds family comes in five distinct fonts styles : - Odds - an artistic handwritten-style sans - Odds Sans - a typical neat and clean sans (caps and small caps which you can mix & match) - Odds Narrow - a cute handwritten narrow sans (uppercase and lowercase), and two awesome sets of goodies: - Odds Extras - borders, arrows, speech bubbles, etc. - Odds Symbols - palm leaves, plants, fruits and other useful objects. Odds works great on a variety of mediums from web to print, but you can find it particularly useful if you're designing food packaging (actually any packaging) and clothes. Other awesome usages include posters, signage, ads, printed and personalized cards, t-shirts, sale banners, everything kids related - merchandise, toys, you name it. Its quirky character and fat letters make up for bold and friendly presentation while the slender letters of the Odds Sans and Odds Narrow are perfect for plain text. And yes, all fonts have Cyrillic! They also have some neat ligatures and alternates to spice up your designs and create more interest!

London-based designer David Quay designed ITC Quay Sans in 1990. One of the precursors to the long run of functionalist European sans serif faces that has been a dominating force in type design since the 1990s, ITC Quay sans is based on the proportions of 19th Century Grotesk faces. Grotesk, the German word for sans serif, defines an entire branch of the sans serif movement, which culminated in the 1950s with the design of Helvetica. ITC Quay Sans is made up of very simple, legible letters. The weights of the strokes throughout the alphabet vary very little. Microscopic flares on the ends of each terminal add a bit of dimension to the design. This helps prevent the onset of the monotony, a danger when one repeats countless near mono-weight stroked letters throughout a large body of text. ITC Quay Sans is a very readable face; it works equally well in all sizes. Six fonts of the ITC Quay Sans typeface are available: Book, Book Italic, Medium, Medium Italic, Black, and Black Italic. ITC Quay Sans is similar to Hans Eduard Meier's Syntax, and Tim Ahrens' Linotype Aroma."

Veronika is a semi-serif text face, available in three styles: Regular, Italic, and Bold. All three faces are available in OpenType format, with both lining and old-style figures. Grüger, a German artist and designer, first began the design of her typeface by writing out its letterforms with a wooden stylus. She wanted to create a new semi serif face that had uniform stroke widths, but still maintained some aspects of calligraphy. Veronika achieves this; the terminals that begin the first strokes of most letters are round and bulbous, as if the writing instrument added extra emphasis on that spot. This adds a dynamic, movement-like quality to texts designed with Veronika. Aside from some sans serif-ness, Veronika appears similar to old style typefaces from the renaissance: classical inscriptions inspired the proportions of the capital letters, and the lower case letters stem from Carolinian minuscule. These proportions allow Veronika to function very well in text and at small sizes. However, only when you design larger headlines, logos, or other elements with Veronika, will you notice all of its special qualities, like its weight distribution and stroke characteristics.

Old Thunder is a revival of an 1800’s Tuscan style font called Lavinia, we've expanded the original font to include a lowercase, an Open faced version, a very attractive Black face and last this set just wouldn't be complete without a Fill font. When you see the word Fill in a fonts name this describes its purpose which means the font is intended to be used for filling in the open space of its parent font or the Open faced shadowed version from that font family or group. Some Fill fonts look as if they may be used as stand alone fonts but others simply do not look good used as a plain font. The Fill font for Old Thunder was designed to work as both a fill and a regular font, although when used as a regular font the letter spacing will appear a little wide. If needed the spacing can be adjusted in some applications font settings, check the help file in your application for further information on spacing. You will need an application that allows layering of your fonts in order to take advantage of FontMesa Fill fonts.