Sabon was designed by Jan Tschichold and released in 1967. Sabon was created in response to the specific needs of a group of German printers who wanted a typeface that would be identical in form when produced by three different metal-casting technologies. Named after Jacques Sabon, a sixteenth century typefounder whose widow married another typefounder, Konrad Berner, who is credited with issuing the first typefounder's specimen sheet. Several types on the sheet were attributed to Claude Garamond, and one of these served Tschichold as the source for Sabon roman. The italic was based on another face on Berner's sheet, cut by Robert Granjon. Tschichold's skillful adaptation of these old style faces has produced an elegant and workmanlike book face. The Sabon font family is a popular choice for setting text.

Diaconia Old Style is a new rendition of my workhorse body copy font that I originally designed to use for the body copy of "Printing in a Digital World." I became increasingly upset with the lack of lowercase numbers and true small caps. Diaconia started life as a modification of one of the Dutch Bible fonts I traced. It has changed a lot since then (although I have a hard time telling how much because I have lost the original). The plain and italic work especially well when used in very large sizes as display faces. The other four variants (small caps, heavy, heavy italic, and black) are designed for use in book production. Because I format all my own books, I was able to design fonts that met my needs exactly: lowercase numbers, SMALL CAPS font, Mac Command, Option, and Control symbols, ballot box in the section slot, and several other special characters. DiaconiaPro is the OpenType family of my body copy workhorse. This is the first font family I ever created: classic, elegant, easy to read. 583 characters: small caps, oldstyle figures, numerators, denominators, lining figures, accents and a lot more.

The Bustani™ typeface is a typographic interpretation of Naskh, a principal calligraphic style of Arabic script. Designed by Patrick Giasson and Kamal Mansour, Bustani is the first OpenType® font to offer full classical Naskh contextual shaping, while supporting all the numerous languages that use the Arabic writing system without the need for auxiliary plugins (an OpenType compliant application is required). Through the use of OpenType® stylistic sets, Bustani features intelligence to choose the appropriate letterforms for faithful interpretation of Naskh calligraphy. Bustani supports Arabic, Farsi, and Urdu – in addition to many other languages. While primarily intended for setting literary text, the Bustani typeface can also be used in a broader variety of projects that require classic, graceful shapes. “The face shines in environments where the text is given breathing space,” says Giasson. “This includes poetry, literature and artistic publications – perhaps even adding a bit of flair to parking tickets,” he quipped.

Hold on to your hats, there’s a new orchestra in town - the Banda Nova! Banda Nova is a crowd pleaser, feeling equally at home on the retail shelf as well as on the cover of your favorite magazine. The 7 weights included in the package offer a wide variety of styles, with delicate and elegantly thin weights morphing into cute, bulbous giants sure to bring a smile to anyone’s face. This versatility makes Banda suitable for virtually any design project, including logos, headlines, covers, packaging and more. We took the time to reimagine Banda, removing traces of our youthful naivety and expanding on everything that made it so good in the first place. Our team is proud to welcome back one of our earliest typefaces in a refreshed and much-improved rendition/adaptation, now featuring full Cyrillic support and almost twice the number of original characters. Are you ready to take center stage again? Download: PDF Specimen | Trial Fonts

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.

From an early 20th century sign painter's copy book. We gave it a softer treatment than many of the faux-Asian faces have. We also added a lowercase, as is our wont.

Explore everyday is authentic display three style font. You can take advantage of these with any program that supports OTF features. These can also be accessed via the glyphs panel in some programs. NOTE: Because the nature of overlapping glyphs alternates must be selected manually in the Outlines version from the Glyphs panel. Kerning is extremely tight and best displayed at larger sizes.Use it for sport, movie, game, racing designs, or nearly anything related to speed and power

This typeface was inspired by a hand lettered sign for a German-themed attraction. A good choice when a legible blackletter face is needed, this font is useful for a variety of designs or for personalizing your Alpenhorn.

Based on L&C Hairline, this family of faces is weighted to achieve stroke consistency in a variety of sizes. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Surrey is a collection of seven different decorative fonts, all uppercase letter designs, great display face for headers and antique-like projects. It's another Intellecta's best-seller, a classic vintage design remastered with our feeling to ancient things.

Ditto is a confident and striking, geometric, inline display face. Based on Talbot Type Kamerik, both Kamerik and Kamerik Text make ideal text fonts to accompany Ditto. Ditto includes all accented characters for Western and Central European languages.

A lovely script face remastered from found drawings, great for antique, vintage and romantic designs.

A bold new look great for magazines and paperbacks a strong yet beautiful headline face.

An open, evenly spaced book face designed for quality headlines and enhanced readability in text.

Cute emoticons showing a variety of smiles, frowns, and faces and words reflecting those emotions.

The Timeless Letterforms of Rennie Mackintosh inspired by the graceful lines and textures of Papyrus.

A unique serif face with a happy look; great for kids books or fun ads.

Jasper is a script face drawn with a broad nib suitable for a handwriting impression.

A beautiful very bold serfi face, formal legible design, with matching Italic, Powerful yet elegant.

Aure Sable embodies the entrancing mistique of an adventurous spirit. The fluid forms of this brush font engage the reader with a subtext of serendipitious happenstance. Sable Regular brings the soft touch of familiarity to text and titles and imbues astrological expressions and chartwheels with an exotic intrigue. The graceful forms of Sable Italic add the flowing touch of a personal comunique. Sable is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular and italic. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Sable is engaging as a text font, but its empathic nature radiates against more traditional fonts that provide the perfect foil to Sable's casual persona. Pair Sable with the formal look of geometric fonts such as Aure Jane and Aure Declare to accentuate Sable's heartfelt nature. Give Aure Sable a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Darling, you don’t just look GOOD, you look FANTASTIC! IRRESISTIBLE! IMMACULATE! Those soft curves, those sharp lines, those INLINES... that MAGNIFICENT symmetry. This is a face that could launch a thousand spaceships, a face that doesn’t care if you feel good, because Heavens to Betsy, you LOOK good. Just utter those magic words: Simply Marvelous.

Yefimov Serif is a contemporary serif face, with low contrast, squarish shapes of round glyphs and emphasized businesslike nature. It is one of the last original faces by Vladimir Yefimov. Yefimov Serif will suit perfectly for business texts, periodicals and corporate identity. The typeface was completed by Maria Selezeneva and released by ParaType in 2014.

Mixage font is the work of Italian designer Aldo Novarese, who cleverly combined the character shapes and proportions like those of Syntax and Antique Olive with the grace and warmth of a calligraphic typeface. Mixage font is a good alternative to more traditional sans serif designs.

Headline Bold is a sans serif face in the nineteenth century English Grotesque tradition. The Headline Bold font is based on types from the Stephenson Blake type foundry called Grotesque no. 9. A bold and compact font, its name gives a strong indication of its primary use.

Designed by M. Fahrenwaldt for the Schriftguss foundry in 1929, Minister font is a contemporary design based on Garalde types. The letters have an oblique stress, capitals are wide, serifs are prominently concave. Minister font has obvious calligraphic overtones, making it a good informal text face.

Introducing Cosmic Solace, a timeless serif font that seamlessly marries the grace of the Eiffel Tower's architecture with the modernity of typography. With a touch of Parisian elegance, this font captures the essence of intricate ironwork and structural finesse, infusing your designs with an air of sophistication.

Artistik, a late nineteenth-century face, is reminiscent of Asian calligraphy, and has the appeal of the turn-of-the-century Art Nouveau are. Based on brush-drawn letters, the Artistik font looks good in many display situations. Use the Artistik font on packaging, posters and signs.

Melistany is a stunning and sophisticated handwritten signature script font that effortlessly captures the essence of elegance. With its flowing lines and graceful curves, this font exudes a sense of beauty and refinement, making it perfect for adding a touch of luxury to any design project.

Katelyn is a sans serif font that reflects a straight and perfect handwritten note. In being in the middle of a sans serif font and completely handwritten, it will bring and lightness and playfulness to any design. Included in the face is a set of Ornaments that enhances the youthful font.

Horse Tank, an admittedly wacky offering from Fotostar, provided the pattern for this friendly little face, full of retro charm. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Saga Arjuna is a modern, elegant and luxurious font with custom alternatives and multilingual support. With a strong desire and grace, it can be used as a logo and title. Great for books, product packaging, advertisements, brands and more.

The face exudes Edwardian elegance, based on a 1905 release from American Type Founders called Meriontype. It's evocative of simpler times. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Empire was originally designed in 1937. This version is an all-capitals face with tall condensed characters. The Empire font can be used for headlines and posters where space is tight, or where an empression of height is desired.

A clean, classic woodtype face from the William H. Page Company, as fresh today as it was over 120 years ago. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Chamfer, released by Barhart Brothers & Spindler in the late nineteenth century, provided the pattern for this simple, elegant headline face. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

Here’s a classic face from Dutch master type designer Sjoerd H. de Roos. Use it where timeless elegance is the goal. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

No. 508 is a chunky, friendly, modulated gothic font. Strokes have a gentle inward curve at the median, with the tops and bottoms of the letters slightly wider. The face was introduced by William H. Page & Company in 1890.

Discover the allure of exquisite script typography with the Bradlay Script Font. Infused with timeless sophistication, this typeface effortlessly captures the essence of graceful hand-lettering, making it an exceptional choice for projects that demand a touch of elegance.

The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The JT Marnie font family is well suited for headlines and small blocks of text, particularly in advertising and packaging.

Originally issued as Apollo by the Central Type Foundry of Saint Louis, this face evokes the glamor of late Victorian era. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.