Grave is a Intellecta's best seller, a classic font design remastered, distressed and antique, merging the bodonian style with tendrils and victorian ornaments. Ideal to use in in display purposes for a stylized type design. Its family of fonts has too Grave Ornaments, a dingbat/decorative display font featuring many different styles of flourishes and ornaments, great for a vintage antique feel. Completes the collection Grave Plus, where six different fonts has different styles of victorian fleurons and ornaments merging with a bodonian shaded typeface in great style. A beautiful and big family, available single or in pack with an attractive price.

Lupa Slim 1 – a warm and handsome family, giving texts a harmonic and pure, human atmosphere. Lupa's kind manners deliver clear and female qualities in Sans Serif environment. The family has a tiny handwritten touch. It can be used in any application, where feeling good and pleasant is necessity. This can be in daily business life, but also in kids surroundings, health, mood, spa, mothers, dads … Do spread some soft qualities! The 10 weights plus true Italics allow a fine tuning and include smallcaps, variable numbers, fractions, fleurons plus some other extras. Lupa Slim 1 is highly legible.

Grave is a Intellecta's best seller, a classic font design remastered, distressed and antique, merging the bodonian style with tendrils and victorian ornaments. Ideal to use in in display purposes for a stylized type design. Its family of fonts has too Grave Ornaments, a dingbat/decorative display font featuring many different styles of flourishes and ornaments, great for a vintage antique feel. Completes the collection Grave Plus, where six different fonts has different styles of victorian fleurons and ornaments merging with a bodonian shaded typeface in great style. A beautiful and big family, available single or in pack with an attractive price.

Jugendstil Flowers are a collection of dingbats fonts with ornaments, leitmotivs and fleurons, free inspired in the visual style from the golden age of the Art-Nouveau graphic movement. A beautiful work with and organic forms and sensibility with the taste of the vegetal world, by Chyrllene K, who brings you a extra gift : Buying the three fonts (family pack) you get a special free bonus: the Victorian Advertising EPS PACK with ten amazing artworks (in eps) inspired in the Victorian ages magazine advertisings (see the banners). See all the glyphs from Jugendstil Flowers in the pdf brochure at the gallery section.

Accidental grotesque with a fiery character. Three font styles: Regular, Italic, Retalic. For each typeface an additional ornament was developed. The «Ogonyok» works well in larger sizes. Looks cool on titles, logos, music album covers, posters, packaging and in short texts. Special gorgeous ornaments will complement and enhance any design. Just try to type the text at the bottom of this page and you will see for yourself. Multilingual. Support: Cyrillic, Latin, extended Latin (Western European, Central European, South-East).

Indoo is a modular geometric design that owes much to the typeface designs of Theo van Doesburg (1883-1931) and the De Stijl principles of abstraction, simplicity, clarity and harmony. That inspiration, combined with the lettering of signage often found in the Indian quarter of Paris, led to the connecting block letter motif of Indoo. The text fonts are joined by a common horizontal stroke positioned at the baseline. There is an accompanying Ornament font for building borders that includes various stylized fleurons and the like. Each font has a drop shadow companion that allows you to build three-dimensional and multi-colored lettering.

A highly intrincated set of ornaments inspired from the work of Johann Georg Schwandner (1716-1791). An accurate historical revival and interpretation of Iza W, at Intellecta Design. State-of-art to use in headings, chapter initials from books, magazines and other publications. In Barocque and Renaissance inspired layouts, or modern mixed proposals. If you’re taking a formal approach to your Christmas designs, Schwandner Ornaments from Intellecta Design will provide unparalleled elegance and sophistication. The ornaments and fleurons in this set are intricately drawn, adding a touch of the Victorian era to cards, envelopes, gift tags, and place cards worthy of the grandest holiday feas

P22 Yule is a series of display fonts inspired by a mélange of ancient inscriptional writing, with visual references to Anglo-Saxon, Celtic, medieval and even a bit of ancient Greek and roman letterforms. Yule is exotic yet familiar and evocative of winter holidays. It has an Alpine look, lending itself to the thoughts of chalets and fondue. Yule Heavy Snow is blanketed in the white stuff, while Yule Light Flurries is dusted with snowflakes. With the addition of the Klein style, which includes a lowercase, Yule becomes infinitely more usable. The Klein variations can work well as an alternative to Neuland when you need the versatility of a lowercase.

Goudy Trajan Pro is based on the drawings by F.W. Goudy of his rendition of the capital letters inscribed on the Trajan column in Rome, rather than on his subsequent metal type, Trajan (Title), released in 1930. Goudy Trajan Pro includes almost 1500 glyphs in each of three weights, including: uppercase, alternates, swash caps, small caps, vertically centered small(er) caps, dozens of fleurons, and much more. Supports Latin, Cyrillic and modern Greek scripts. Many thanks to Krassen Krestev, Sergiy Tkachenko, and Adam Twardoch for their suggestions for improving the Cyrillic glyphs; and to Alex Sheldon for his suggestions for swash caps and improved OpenType features.

Biscuit Boodle Ornaments are the ornament complement to Biscuit Boodle, a fun and uplifting brush-drawn script. Biscuit Boodle Ornaments offers a total of 72 vignettes, crests, fleurons, frames and many other useful ornaments. These ornaments were brush-drawn by Portland Studios‚ Illustrator Justin Gerard and have just a slight amount of natural texture. These energetic and lively ornaments can be resized and rotated easily without any loss of quality and can easily be converted to outlines and modified. Combine them to form unique compositions or insert them into text to add some excitement to your designs. Please see the sample .pdf to see all 72 ornaments in action.

Douglass Pen was inspired by the handwriting of Frederick Douglass, who was born an American slave but died a distinguished 19th century statesman, orator, and abolitionist leader. He also had fine penmanship. Douglass Pen is modeled chiefly after Douglass's handwritten account of John Brown's famous 1859 raid on Harpers Ferry, Virginia. It simulates his somewhat condensed cursive, dashed off in a swift, bold style. The OpenType release has more than 800 glyphs, including scores of ligatures, alternative upper cases, inkblots, crossouts, and Eastern European characters.

Flexi. Bendy. Stringy. Rubbery. Introducing Mix String Cheese – the ultimate handwritten font for adding personality and playfulness to your designs. This font is perfect for logos, titles, and packaging design, and comes with a full range of characters including uppercase letters, punctuation, numbers, and special symbols and accents. Mix String Cheese is a versatile font that is sure to bring fun and creativity to all of your projects. Don’t settle for boring, generic fonts – add some flavor to your designs with Mix String Cheese.

Glarestha is a modern high-contrast display font with bright positive character. Clean forms and a bit curly letter ends creates a friendly mood in any designs. It comes with Regular version, Opentype features (stylistic alternates and standard ligatures). The easiest way to get alternate is to add number after character (for example A2, A3) or add Underscore after end character (for example a r). The full set of alternates you can find in font presentation. Faery Dream font is perfect for headlines, magazines, logotypes, food package, advertising and many others. Multilingual Support

Alana is a connected script that glows with casual elegance. Its inviting letterforms work well in settings such as letter-writing and menu details; even at small sizes. Set at display sizes, Alana’s strokes reveal rough edges evocative of ink on textured paper. Alana includes over 300 alternates, including swash capitals and ornamented forms to customize titles, headlines, packaging, and wordmarks. Alana includes 62 matching ornaments: botanical fleurons, birds, and cute lil’ bugs. See what’s included! http://bit.ly/2bXTLvP *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Tzimmes is a tasty morsel for those who love tasty letters. The fleshy serifs combined with the subtle references to calligraphy create a distinctive character that will turn every text into a feast for the eyes. The family consists of 22 weights including true italics. This will allow you to freely compose even the most demanding projects. Book? Magazine? Logotype? Everything available à la carte! Light and bold weights, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Tzimmes covers all latin languages and cyrillic. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies. Bon appetite!

Mark van Bronkhorst’s MVB Sacre Bleu was inspired by an example of French handwriting from the 1930s. With a goal to keep the script as authentic as possible, the font includes a number of ligatures to avoid letterform repetition. The year it released, MVB Sacre Bleu was selected as one of Typographica’s Favorite Typefaces, where reviewer Joshua Lurie-Terrell deemed it “stylish, memorable, and decidedly unkitschy.”

Introducing Fire Hell – a fiery font inspired by the intensity of death metal. With flames dancing within each letter, this font is tailor-made for death metal, black metal, gothic, horror, and other heavy music genres. The sharp, angular design adds a touch of darkness, making it the perfect visual companion for bands seeking a fierce and impactful typographic identity. Unleash the power of Fire Hell to set your artwork ablaze and embody the relentless spirit of heavy music. Ignite the darkness with this visually striking font! Fire Hell features: Allcaps Beginning Uppercase alternate Ending Uppercase alternate Numbers and punctuation PUA Encoded Characters OpenType Features

This set of initial decorated letters is an entirely original creation, drawn inspired by Italian renaissance patterns. It contains two roman alphabets : one drawn in white on black background and the other in black on white. We have included a few fleurons and decorative elements. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font supports strong enlargements remaining very smart and fine. It's prefered height is about one inch equivalent to about four lines of characters. This font may be used with all blackletter fonts, but works especially well with 1543 Humane Jenson, 1557 Italique and 1742 Civilite, without any anachronism.

This family is inspired from the set of two styles, Roman normal and Italic, and the ornaments used by an unknown printer working around East Switzerland, circa 1750's. It is a Dutch style font, slightly bolder than usual Fournier's or Caslon's Roman fonts, with some emphasized serifs and finals parts and special letters as capital "U" for example. A set of initials, fleurons, ornaments and frame elements is joined to the family as a supplement. The two styles, Normal and Italic, are containing standard ligatures, a few alternative characters and titlings (who are more preferable than enlarged capitals). They are "small eye" or "Small x-eight" fonts. The standard characters set is completed with accented or specific characters for Western (Including Celtic) and Central Europe, Baltic, Eastern Europe and Turkish.

This typeface family was inspired by a set of fonts, designed in the Garamond style, used for an edition of Remarques critiques sur les œuvres d’Horace by “D.A.E.P.”, published in Paris in 1689 by two different booksellers: Deny Thierry and Claude Barbin. We can see some differences in comparison with our “pure” Garamond (see our 1592 GLC Garamond), particularly in the lowercase of the Normal style and the uppercase of the Italic. Unfortunately, we know neither the name of the punchcutter, nor that of the printer. This complete font set contains small caps, fractions all the way up to 1999/1999, historical and standard ligatures, and all of the fleurons contained in the edition (Normal style only). The alphabet covers all Western, Eastern and Central European languages (including Celtic diacritics) and Turkish.

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. These decorative Fairy dingbats would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

Iowan Old Style was designed for Bitstream in 1990 by noted sign painter John Downer. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Iowan Old Style Titling was designed by John Downer and added to the Iowan Old Style family in 2002. The cap-only character set includes several ornaments and fleurons, broadening the appeal and functionality of the typeface family. Iowan Old Style was originally designed for Bitstream in 1990 by Downer, a noted sign painter. Iowan Old Style is a hardy contemporary text design modeled after earlier revivals of Jenson and Griffo typefaces but with a larger x-height, tighter letterfit, and reproportioned capitals. Expert and old style figure font sets were added in 2000.

The Stamnaki Greek Font is a 100% hand-drawn decorative font with which you can achieve a handwritten-type lettering feeling. Of course, the fun font supports a full set of Greek characters and an extended Latin character set with diacritics. Therefore, this multilingual font supports all the European languages. In addition, Stamnaki includes over 20 ligatures so you can achieve a hand-lettering aesthetic on the spot. Cleary, this font can cover from “hand-written” quotes to food packaging, merchandise, and branding projects. Also, it can be used on social media content, for poster design, and any other kind of graphic design that requires a hand-crafted feeling. The style of the font is perfect for your modern graphic design needs. Again, if you are into art and crafts, this is a fun font for you!

This set of initial letters is an entirely original creation, inspired by French renaissance patterns used by Bordeaux printers circa 1580-1590. It contains two roman alphabets : the first of decorated letters, the second of single large capitals, all with Garamond style, and a few fleurons using the same background pattern style. Both containing Thorn, Eth, L slash and O slash. It can be used as variously as website titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font is conceived for enlargements, possibly strong ones, remaining very smart and very fine (especially decorated initials). This font may be used with all GLC Foundry blackletter fonts, but preferably with 1543 Humane Jenson, 1557 Italique, 1589 Humane Bordeaux, 1742 Civilite, 1776 Independence without any fear of anachronism.

This family was inspired by the pure Garamond pattern set of fonts used by Egenolff and Berner, German printers in Frankfurt, at the end of the sixteenth century. All the experts said it was the best and most complete set of the time. The italic style used with it was Granjon’s, as in 1543 Humane Jenson. A few fleurons from the same printers have been added. It can be used variously for web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, various sorts of presentations, as a very elegant and legible font... This font supports very large sizes as easily as small sizes, remaining very smart, elegant and fine. Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, 1584 Rinceau from GLC Foundry, can be used with this family without anachronism.

Meet Coastly, a handwritten font that makes you think about vacation, summer, holidays, friends and family. It’s a calm and relaxing font that works great headlines, posters, product design, quotes, branding, marketing materials and more. This font supports latin alphabet with its accents and glyphs. It also covers the most used punctuation marks and glyphs. Coastly is your friendly go to font. We made it thinking of the Amalfi Coast in Italy and its lemons, explaining its name and colour palette. Thinking of limoncello, lemonade from fresh squeezed lemons, granita, ice cream, beach and ferry trips. But we’ve also associated Coastly with your yearly holidays as: Christmas, Thanksgiving, Easter, New Years Eve, Mothers Day and so on. It’s a celebration of life and what its delights.

This font family is inspired by printed work made by the Elzevir family back in the XVIIth century at Leiden (NL). They worked with material from several type designers, but further investigations sends us to the tracks of one in particular: Robert Granjon. Granjon italics were way ahead of his time, making some really beautiful signs like swashy ampersands and minuscule v letters. This font also contains old style figures in the same fashion as they were printed, like the flipped number 8 and open forms in 6 and 9. This is as much a revival as an original design, because of their weights bold and heavy (both with italics) that were inspired on some titles. In this font you can also find a lot of ligatures, small caps, diacritics and even a fleuron for each weight and variation. Leidener came up from two books: Constantini Imperiatoris (1611) and Exercitationum Mathematicarum (1657), printed by Louis and John Elzevir on their Leiden Workshop, back in the day.

This family was created inspired from the Garamond patern set of fonts used by S. Millanges "imprimeur ordinaire du Roy", in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curés (Instructions to parish priests), from Jean Gerson. The set contains two styles, Normal and Italic, the second one with a lot of caps and ligatures variants. The initials, except a few decorated letters (six in total) where only large caps, covering no more than three lines. Added are a few fleurons. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very elegant and legible font... This font supports strong enlargements as easily as small size (legible from 6 points when printed) remaining very smart and fine. Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, can be used with this family without anachronism.

Carlino is named after the cutest dog on earth. Why? Because it’s the cutest font ever made. Especially intended for stationery use, it’s loaded with lots of alternates and ligatures, not only in the lowercase but in the uppercase. All of them are Open-Type programmed, so the possibilities of having something unique are endless. Following nowadays trend, Carlino is a multi-layered font: shades, holes and dots were made to work alone or all together with fantastic results! The way it works is so easy that It’s impossible not to enjoy it: Just type a word; then the same one set in another style and voilà! The font has also a lot of sweet ornaments to embellish your projects. Find inside: hearts, fleurons, party icons, flags, and the funniest animals. To accompany Carlino, there’s nothing better than Carlino Capitals. Its cute flavor makes everything more lovely. Have fun with Carlino and oh! don't forget to feed this little pug or it will bark all day long! Special thanks to Maximiliano Sproviero, whose advice helped me make this dream come true.

Mirella Script is a modern and clean approach of the classic French Bastarde script style. Mirella has the follow resources : - Lots os ligature forms (using contextual alternates open-type feature), - many stylistic alternates for each letter (upper- and lowercase and all accessed with the glyph palette), a set of 55 ornaments and fleurons accessed with the glyph palette or using the Ornaments feature); - initial and final letters with artistic variations accessible using the initial and final form open-type features - a tour-de-force kerning work: almost 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. We ever suggest the use of the glyph palette to find ideal solutions to specific designs, because the high number of gliphs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. Mirella Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. I couldn't really say what influenced me to draw the letter charaters as I did except I just sat down to draw and they appeared on my blank photoshop canvas. These decorative Fairy Uppercase letters would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

Inspired by the strange, blocky lettering on the sides of a set of a set of plastic kitchen containers in my childhood home, 8th Avenue is a sophisticated, somewhat syncopated font with a retro look and feel that at the same time brings a very modern attitude to your design. 8th Avenue works well as display font for packaging, headlines and logos. Those pastel turquoise plastic boxes from the early 1950s, with white screen printed letters reading FLOUR, SUGAR, COFFEE etc. on one side were a simple quiet presence in our home back then and for decades after. Seeing them, even that soft blue-green colour felt like home. SUGAR, the soul survivor of that set has become one of those mundane items of daily life that somehow become simple icons of another time, ripe with memories. Obviously I had to make a font. September 2014

I've always loved drawing faeries and I love using them in my scrapbooking pages. So after hunting around for a unique decorative fairy font for my crafts I couldn't quite find what I wanted to use, so I decided to create a whimiscal set of fairy drawings and characters that would suffice. I was influenced in the drawing of the fairies by my love of the 3D poser graphics art,several awesome comics, Alphonse Mucha and several Masters of Art. I couldn't really say what influenced me to draw the letter charaters as I did except I just sat down to draw and they appeared on my blank photoshop canvas. These decorative Fairy Uppercase letters would be great to use in fabric crafts,textiles, embroidery patterns, scrapbooking, greeting cards, Rubber stamps, name titles, Calligraphy, the possiblities I feel are endless when thinking of craft applications.

Introducing Draghord, a bold and dynamic typeface that embodies the essence of superheroic power and adventure. This font is a visual journey into the realm of fire, swords, skulls, and wings, capturing the spirit of mighty heroes and formidable villains alike. Characteristics: Flaming Elements: Each letter of Draghord is adorned with fiery accents, reminiscent of a blazing inferno. The flames dance around the characters, conveying a sense of untamed power and intensity. Sword-Inspired Strokes: The letterforms draw inspiration from the sleek and sharp edges of legendary swords. The angular and precise strokes give the font a cutting-edge aesthetic, symbolizing strength and precision. Skull Motifs: Intricately integrated skull motifs within the font add an element of danger and mystery. The skulls serve as a visual reminder of the challenges faced by our superheroic characters, embodying both mortality and defiance. Dynamic Winged Elements: The font incorporates dynamic winged elements that soar across certain letters, emphasizing the theme of flight and freedom. These wings symbolize the superhero's ability to rise above adversity and transcend limitations. Usage Scenarios: Comic Books: Draghord is perfect for comic book titles, captions, and speech bubbles, adding a dramatic and visually striking element to the narrative. Movie Posters: Use Draghord to create attention-grabbing titles and taglines for superhero movies. Its bold and adventurous design will set the tone for epic storytelling. Gaming Graphics: Ideal for in-game text, Draghord adds a heroic touch to video game interfaces, especially in fantasy or superhero-themed games. Event Promotion: For superhero-themed events, Draghord can be utilized in promotional materials, posters, and banners to convey a sense of excitement and power. In Conclusion: Draghord is not just a font; it's a visual experience that transports you into the heart of superheroic tales. With its fiery, sword-inspired design, skull motifs, and dynamic wings, Draghord is the perfect typographic companion for any project seeking to channel the thrilling energy of the superhero genre. Unleash the power of Draghord and let your words ignite the imagination!

Get in the swing with Metairie. This high-contrast script from Jeremy Dooley sets the rhythm for your next headline or short phrase with its fresh, expressive forms. Metairie’s (sometimes exaggerated) scrawled letterforms play on the colorful world of calligraphy to bring you a fully developed personality of its own. Inspired by elixirs and pharmaceuticals of the 1800s, this design has forms that dig down deep to the soul. It brings a unique, vibrant feel for your next message. The typeface supports all major Latin languages, and the expanded OpenType capabilities let you slide elements easily and quickly into your design. Metairie also includes a number of distressed options. Improv a bit, too, with Metairie’s decorative ornaments, variations on the fleur de lis. Ornaments and tails are accessed through the glyph palette or using the Swash function. An extensive set of ligatures gives you more options for humanizing the handwriting on the page. Then take it up a notch by using the glyph palette to find the perfect solution for project. You have full access to this amazing capability with InDesign, Illustrator, QuarkXpress and similar software. We recommend that you explore what this font can offer by using the glyph palette. Get a glimpse of ​​the font’s strength by looking over the brochure in PDF format in the "Gallery" section. Ready to step in? Take a stab at your next design with Metairie. It could be just the color you need.

CastleType was commissioned in 1991 by San Francisco Focus magazine to digitize three members of the Standard family. This is a Continental lineale that was popular in Switzerland in the 1950s and later in the United States. A cousin to the classic sans serifs, Standard is an alternative that is considerably warmer and a bit more idiosyncratic. In 2008, CastleType released additional members of the Standard CT family to make it a complete typographic solution with three widths (normal, condensed, extended) of four weights each (Regular, Medium, Bold, and Extra Bold). Some of the original Standard fonts, particularly Standard Regular, appear to have been hastily designed (or perhaps too closely imitated Helvetica); these have been greatly improved in the CastleType versions with more harmonious proportions and other refinements. The three lighter weights of the Extended subfamily were designed from scratch based on the new Standard CT Regular and Standard CT Extended Extra Bold. More recently, four light weights (Light, Extra Light, Ultra Light, and Hairline) have been added to each of the three widths. The entire Standard CT family includes support for most European languages, OpenType features, arbitrary fractions, and a collection of geometrics, dingbats & fleurons.

The design of Sabon® Next by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s own schema for the original Sabon, and to interpret the complexity of a design originally made in two versions for different typecasting systems. The first was designed for use on Linotype and Monotype machines, and the second for Stempel hand composition. Because the Stempel version does not have the constraints necessary for types intended for machine composition, it seems closer to a pure interpretation of its Garamond ancestor. Naturally Porchez based Sabon Next on this second version and also referred to original Garamond models, carefully improving the proportions of the existing digital Sabon while matching its alignments. The new family is large and versatile - with Roman and italic in 6 weights from regular to black. Most weights also have small caps, Old style Figures, alternates (swashes, ligatures, etc); and there is one ornament font with many lovely fleurons. The standard versions include revised lining figures that are intentionally designed to be a little smaller than capitals. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints

In Northern Sumatra, the crystal clear waters of Lake Toba lap gently against the surrounding mountains. In the middle of the lake sits the island of Samosir, for centuries the secluded home of the Batak people. Visitors arrive by ferry into the tiny town of Tuk Tuk, escaping the heat and humidity of the Sumatran jungle. Throughout the village, restaurants and guest houses are adorned with hand-painted signs in bright colors. Perhaps due to Sumatra's long history of European colonization, the letterforms are reminiscent of those used for posters and handbills in America and Europe at the end of the 19th century, but with a distinctly Southeast Asian flavor. Charles Nix, intrigued by the combination of Victorian fancy and Batak arabesque, photographed, sketched and translated the letterforms into a design that is now ITC Batak. Named for the proud ancestors of Samosir's inhabitants, it is a bold condensed letter with hexagonal serifs - a sort of properly dressed grotesque. Batak is available in either Condensed or Condensed Bold.

Meet the Yuk Ngexi Font: Strong, Bold, and Fun in Gaming Style. Who says design has to be boring? With the Yuk Ngexi Font, you can bring a touch of power, thickness, and gaming style fun to your every project. The Yuk Ngexi font is the perfect solution for various projects that require a unique theme. Whether it's for movies, games, or streaming game events, this font provides unmatched appeal. This font is designed with a strong gaming touch, giving each character a bold and striking feel. The Yuk Ngexi font comes in four different style variants: Regular, Blury, Outline, and Shadow. This gives you the flexibility to bring in a variety of nuances in your designs. Yuk Ngexi also supports multiple languages, allowing you to connect with a global audience easily. With Yuk Ngexi Font, you don't just get a font, you get the key to bringing creativity, power, and fun to each of your designs. Download the Yuk Ngexi Font now and watch how your design turns into something extraordinary!

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.