The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

One menorah that I have long found particularly appealing was named The Tree of Life Menorah, a replica of which I gave as a gift one holiday to a kindly old couple who were neighbors and became friends. It had a simple, organic elegance that I see in the best of Art Nouveau sculpture. To me personally, Judeism is a celebration of life, like the triumph of the flower that blossoms in the crack of the city sidewalk. Just as Hanukkah celebrates the rededication of the temple and the miracle of the oil, it celebrates the victorious quest for freedom of the Hebrew people led by Judah Maccabee. Hanukkah represents determination and courage and faith — and it represents the presence of God in the lives of His people. It is interesting to note that the founding of the Albanian nation in the early twentieth century grew out of the resistance of the Albanian people to the imposition of Greek language and culture in the aftermath of the dissolution of the Ottoman Empire. The typeface, HADASSAH, designed by Henri Friedlander (1904-1996), is my favorite Hebrew typeface. Thirty years in the crafting, I believe it is unsurpassed for its shear beauty, combining a subtle modulation of stroke with a simplicity and clarity of form. No doubt, that is why it has become so popular. For me, the Sîyn/Shîyn characters are especially satisfying. For a Hanukkah message in Hebrew, I would choose HADASSAH LIGHT for a headline and print it as large as I could. If, however, you are looking for a friendly, warm face for a seasonal message in a roman-letter based language, may I suggest BETHLEHEM EPHRATH. It will be as comfortable as a bulky, hand-knit sweater on a frosty afternoon and reflects the solid, encompassing, family orientation of this holiday. It was on the way to Ephrath that Jacob’s beloved wife Rachel gave birth to Benjamin and then died from her labor. It was to Ephrath that Naomi and Ruth returned and in Ephrath that we have the wonderful, heart-warming story of the marriage between Ruth and her Redeemer-Kinsman, Boaz. And it was to Ephrath that prophet, Samuel, went to find a new king and there in Ephrath that the prophet annointed a small shepherd boy named David. The Proverbs tell us to seek wisdom. Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM EPHRATH is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. Although this font is readable in all caps (many scripts are not), that does not make it a good idea. Do so only with caution.

Introducing the Doovy Groovy Party font! This stylized, psychedelic, and round Groove Display Font takes you back to the 90's and 00's era. With its multilingual support, it's perfect for creating a pop, funky, and bold vibe. What sets the Doovy Groovy Party font apart is its unique ability to capture the essence of the vibrant and energetic 90's and 00's era. Its stylized, psychedelic design evokes a sense of nostalgia while still offering a fresh and contemporary look. This font is a true standout, allowing your designs to stand out as well. For designers looking to create harmonious compositions, the Doovy Groovy Party font has a few relatives and typefaces that complement it beautifully. Consider pairing it with "Retro Sans Serif" for a bold and cohesive look, or experiment with "Funky Display" to amplify the funky vibes. These combinations will add an extra layer of creativity and versatility to your design projects. The Doovy Groovy Party font comes in three variations - Regular, Outline, and Shadow - making it a versatile tool for various design needs. The Regular version provides a solid foundation, ideal for headlines and titles that demand attention. The Outline variation adds an element of sophistication and can be used for modern designs, while the Shadow option creates depth and dimension for a more dynamic appearance. Additionally, this font boasts extensive multilingual support, ensuring that it can be used effectively across different languages and cultures. The Doovy Groovy Party font draws inspiration from the bold and expressive typography prevalent in the 90's and 00's. It captures the vibrant and carefree spirit of that era, where music, art, and pop culture collided to create an explosion of creativity. The psychedelic elements incorporated into the font pay homage to the colorful and trippy visuals that defined the time. This font encapsulates the nostalgia and excitement of those years, allowing designers to infuse their projects with a sense of fun and playfulness. We created the Doovy Groovy Party font with a passion for celebrating the bold and expressive designs of the past. We wanted to provide designers with a versatile tool that brings the nostalgic charm of the 90's and 00's to their modern projects. By using this font, you can effortlessly transport your audience to a time when colors were brighter, music was groovier, and creativity knew no bounds. Let your imagination run wild with the Doovy Groovy Party font and infuse your designs with a vibrant touch that will captivate and inspire! Unlock the power of nostalgia and creativity with the Doovy Groovy Party font. Its unique design, versatile variations, and multilingual support make it the perfect choice for posters, marketing materials, T-shirt designs, headlines, and much more. Get ready to groove and let this font elevate your creative projects to a whole new level!

As a designer, it’s crucial to choose a typeface that not only complements the overall design, but also conveys the intended message. Octin Spraypaint, a typeface that exudes streetwise grit and toughness, is a perfect choice for projects that demand a bold and fearless statement. Octin Spraypaint boasts two distinct styles—sans and serif—each offering three weight options: regular, bold, and black. The sans style offers a sleek, modern aesthetic with sharp, angular lines, while the serif style offers a more classic and sophisticated feel with its clean and sharp serifs. Together, these styles and weights provide designers with the flexibility to create striking headlines that command attention. This typeface is the perfect choice for design projects that demand an edgy and daring look. From police and military themes to sports, prison, construction, and school, Octin Spraypaint is versatile enough to lend its tough appeal to various themes and contexts. Octin Spraypaint is a typeface that offers a distinctive look that’s hard to ignore. It’s ideal for projects that need to convey strength, power, and authority, and its bold, spray-painted style is sure to capture the attention of viewers. With its unique blend of streetwise design and raw power, Octin Spraypaint is a must-have tool for any designer looking to make a bold statement. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Vintage. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Introducing Zamora, the typeface that embodies the grit and determination of the open road. With its cracked finish and sharp Latin serifs, it’s a font that commands attention and respect. Each cut and scratch on the surface of Zamora is like a battle scar, a testament to the font’s toughness and resilience. Zamora is not just any typeface. It’s a font with a history, a story that’s written into every curve and corner. The sharp Latin serifs give Zamora a strong foothold, and the slew of ligatures that come with it give text a natural, unpredictable appearance, like the twists and turns of a winding mountain road. So whether you’re designing a poster for a rockabilly concert, creating a logo for a biker gang, or just looking to add a touch of rebel flair to your work, Zamora is the font for you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides. Lionheart succeeds with the idea of gradual curves leading to sharp concave or plano-concave terminals, to effectively build serious letter forms that speak of historical mystique and mystery. This font was was named after Richard I, King of England for a decade in the late 11th century. He reportedly exchanged many gifts of respect with Saladin, even though the two kings were on different sides of the Crusades. Lionheart comes in all popular font formats, with some alternates placed in accessible cells of the character set.

Hello Everybody,. Hurry up, your choice to design your business product with writing that has a natural and firm impression ! Billions Gates is a dazzling script font, neatly crafted and highly detailed. This font perfect for many projects such as logos & branding, stationery, logo designs, social media posts, advertisements, product packaging, product designs, label, watermark, Product branding and others. Features: Multilingual Support for 83 Country Stylistic alternates Collection Ligature Collection PUA Encoded Numeral and Punctuation Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Tait, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Thank you and happy design !

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved – despite its easy elegance, and sophisticated persona. It’s been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts. Walbaum offers the kind of warmth that’s missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible. Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaum’s original intentions, also incorporating work by the designer’s son into some of its more extreme display weights – pushing the possibilities of Walbaum without compromising on its spirit. Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms. Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Featured in: Best Fonts for Logos

Hello Everybody Hurry up and take handwritten works with natural scribble effects to design your product to make it look more memorable & attract everyone's first glance ! Real Dreams is a stylish and brushed handwritten font. This gentle font will look gorgeous on a variety of design ideas. It will add a joyful and romantic touch to each of your projects! Features: – Swash Collection – Unique Ligatures – Special Underline – Multilingual Support 83 Country – PUA Encoded – Numerals and Punctuation Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Tait, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Thank you and happy design !

Hando Soft is a variant of Hando neo grotesk sans family. Each letter on Hando Soft has curve strokes end, which gives a soft and more ease-looking letterforms. Hando offers a wide range of usage possibilities. It's low x-height and variety of light size options make it a good choice for reading, it's tenuous white spaces in the counter letterforms make it legible enough to be recognized remotely. It's curved tensions on the circular letterforms gave a futuristic impression. It's sleek and simple strokes make it perfect for a broad range design purposes. Hando consists of 10 styles from Hairline to Black with each matching oblique. Contains more than 440 glyphs that support a broad latin language. Also some Opentype features e.g. stylistic alternates, variation of figures, e.t.c

Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go. It may have felt right at home in the mid-1970s, the time of Sc-Fi, synthetics and disco, yet it unmistakably belongs to the present. Its dynamic sturdy forms and angular tapering of some horizontal forms convey movement and edgy impatience for change, with a few re-imagined details, like the reversed slant on top of the lowercase t and the atypical round counter of the lowercase a, showing a new hope for the bygone optimism. Available in five weights in Latin and Cyrillic, supporting many languages, with stylistic alternates and two sets of figures. Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2020

FF Nort™ has all the design attributes that make for an exceptionally versatile print and web typeface – and it benefits from a distinct personality. Equally at home in long-form text copy or billboard size headlines, the family knows few boundaries. There is also a handcrafted neo-grotesque quality to the design, giving FF Nort a friendly mien and separating it from other industrial strength sans serif typefaces. Terminals are clipped at 90° angles to the stroke and counters are slightly condensed, saving space with no loss of legibility. The light weights have a subtle elegance, while the bold are commanding. All eight weights, and their italic companions, enjoy a large character set, with support for most Central and several Eastern European languages – including Cyrillic and Greek. Drawn by Jörg Hemker, the inspiration for FF Nort came from Transport, the typeface designed for Britain’s highway signage. Transport is formal, intellectual, and a model for modern street signage, but it was not intended for small sizes or continuous reading. Hemker took the basic structure of Transport and rebuilt it into a design that’s perfect for a wide range of contemporary hardcopy and digital imaging projects.

Brazilian designer Eduardo Omine designed his Beret family of typefaces in an attempt to create a warm counterpart to the clean, minimalist sans serif of the 20th Century. The most individual characteristics of Beret are the terminals at the ends of its vertical strokes. They are slightly bent", simulating a subtle flare. Like many classic sans-serif typefaces (e.g., the original Syntax and Univers), this family does not include true (calligraphic) italics. Instead, a masterful set of obliques has been created. As Stanley Morison articulated in the early 1920s and 30s, these slanted versions of the regular "roman" faces may even work better when one wishes to emphasize certain words or passages within a text. The Beret family of typefaces is suitable for numerous applications, in both text and display sizes. The following nine fonts make up the family's design: Beret Light, Beret Light Italic, Beret Book, Beret Book Italic, Beret Regular, Beret Medium, Beret Medium Italic, Beret Bold, and Beret Bold Italic. Beret was awarded an Honorable Mention in the 2003 International Type Design Contest, sponsored by the Linotype GmbH."

Aquawax Pro PDF Specimen Aquawax Graphic Project on Behance Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics.

Introducing Biondi—a timeless typeface that exudes sophistication and refinement. Inspired by the beloved Copperplate Gothic, Biondi boasts a set of small caps slab-serif characters that stay true to the classic wide and squarish shape of its predecessor. But what sets Biondi apart is the beefed-up wedge serifs that replace delicate hairline serifs, making it perfect for today’s display environment. Every character in Biondi is thoughtfully crafted, with strategically placed serifs that create a cleaner-flowing line of text without sacrificing understated gravitas. Whether you’re designing a logo, a book cover, or a poster, Biondi’s elegant lines and bold presence will instantly elevate your project to the next level. Available in five weights and italics, Biondi offers unparalleled versatility and flexibility. Whether you need a bold statement or a subtle accent, this timeless typeface will deliver every time. Why settle for ordinary when you can elevate your work with Biondi? Try it today and experience the classic beauty of Copperplate Gothic reimagined for the modern world. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

«fj Trance™» is the first colaborative display typography of frncojonastype this 2020. «fj Trance™» is a display typography that characterizes. For having reverse contrast and play with the exaggeration of shapes and counterforms from the same typography. Conceptualized and designed originally by Jorge Morales Salas, produced by Franco Jonas Hernandez, collaborating Valentina Pino Faúndes and Rodrigo Araya Salas. Also, Greek and shadow variable version has been designed only available by his distributor of favorite typefaces :) • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Meet AeroBlend Display Font, a modern and futuristic typeface that brings a touch of sleekness to your creative projects. With its clean lines, intersecting curves, and contemporary vibe, AeroBlend is the perfect typography solution for bold and innovative projects. Designed with precision, this font strikes the right balance between style and readability. It offers a single weight/style that effortlessly combines elegance with a touch of technological sophistication. This makes it incredibly versatile and suitable for a wide range of design applications. From attention-grabbing headlines to memorable branding projects, AeroBlend Display Font helps you make an impact. Its strong presence adds a sense of modernity to your designs, ensuring that your message stands out from the crowd. With AeroBlend Display Font, you have access to an extensive character set. It includes lowercase and uppercase letters, numerals, special characters, accented characters, and a variety of symbols. This comprehensive collection gives you the freedom to express your creativity and bring your vision to life with clarity and precision. Crafted with meticulous attention to detail, this font is available in the .OTF (OpenType) file format, ensuring compatibility across various design software and platforms. One of the notable features of it is its set of alternates. Certain letters have carefully designed alternatives, adding even more versatility and creative possibilities to your designs. Whether you’re a graphic designer, web developer, or simply a typography enthusiast, AeroBlend Display Font is a must-have in your toolkit. It’s crafted to meet the demands of modern design, offering versatility, legibility, and a hint of futuristic charm. It’s perfect for branding, headlines, posters, packaging, monogram designs and more. Take your projects to the next level with AeroBlend Display Font and unleash your creative potential. Let AeroBlend add a touch of modern sophistication to your designs and create an unforgettable visual experience.

The Bitstream version of Trump Mediaeval of Linotype, 1954-60, by Georg Trump, a prolific German type designer. It seems to be his best typeface. It has a vigorous and assumed oldstyle roman and italic that is the sloped roman, except for the letters a, e, f. With its crisp angularity and wedge-shapes serifs, Trump Mediaeval appears carved in stone. It is a strong text typeface that is highly legible and especially useful for low-resolution output. It is useful in display work too. Cyrillic version developed for ParaType by Vladimir Yefimov and Isabella Chaeva and released in 2010. Cyrillic italics maintain the main feature of Trump Mediaeval to be the sloped roman, except for the letters г, д, и, й, n, т. There are old style figures, additional ligatures and fractions available at all styles and small caps at the Roman 55. Black style was added in 2011 by Vladimir Yefimov.

Eurobrush Pro is a new handwriting script designed by German type designer Ralph M. Unger. He produced not only the standard Western character complement, but added all of the Eastern European Latin glyphs and, on top of that, even the complete Cyrillic characters. Born and grown up in Th�ringen, former East Germany, Unger has a fair knowledge of Polish and also Russian (Cyrillic). Eurobrush Pro is a very beautiful, casual, informal and modern handwriting in `brush-style of a contemporary type designer. Even though a digitized handwriting, it keeps a very natural and pleasant look, at the same time being generous and well-readable. The individual characters combine quite easily and perfectly with no need for extra variants (although Unger included a number of ligatures). Eurobrush Pro is well-suited for plenty of applications, e.g. personal correspondence, invitations, greeting cards, headlines etc. Eurobrush Pro is supplied in the complete Latin character set (West + East) including ligatures, plus Cyrillic.

Introducing: Whistle - Signature casual handwritten font with personal charm. With an elegant sweep that is perfect for branding your product needs and brand name. PUA ENCODING SUPPORT Whistle contains upper & lower case letters, numbers and various complete marks while Whistle Alt has an alternative character set with lowercase letters that are completely new. Ligatures available for several lowercase letters (more natural double letters). This can only be accessed through software with different devices or machine panels, eg Photoshop / Illustrator. There he is! I really hope you enjoy it - comments & likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen. Come and say hello on Instagram! https://www.instagram.com/aseprendii.otf/?hl=en

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Zira is a playful hand-drawn font family designed by Daniel Bak (Artcity). It is available in three handy weights: regular, bold and screaming. It contains international language accent marks and diacriticals, including Greek and Cyrillic. Zira can be considered as smoothed serif version of Cornelius font. Zira as Cornelius as well is a chimpanzee character in the novel and movie series Planet of the Apes. Dr. Zira is a chimpanzee psychologist and veterinarian, who specializes in the study of humans, in the novel and subsequent movie series Planet of the Apes. Zira was played in the first three Apes movies by actress Kim Hunter. Unique among the Apes characters, Zira has blue eyes. Zira is the fiancée (later wife) of Cornelius, and both are ultimately responsible to the Minister of Science, Dr. Zaius. Zira's character and role are essentially the same in both the novel and the movies, though some story details differ. Her work in each involves both working with humans under laboratory conditions (e.g. learning and behavioural experiments), and working on them physically (lobotomy and other brain surgeries, vivisection, physical endurance and tolerance experiments, and subsequent autopsies). Zira is an outspoken liberal by nature, deploring war and militancy (and despising the gorillas, who seem to make both a way of life), and eager to seek and develop intelligence anywhere it can be found. Zira literally stands for her principles - or refuses to stand, as the case may be.

Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

Introducing Seafont - serif typeface , 24 fonts + 26 swashes Seafont is elegant and timeless typeface loaded with 24 font styles (narrower, narrow, regular, wide, wider, widest) 26 swashes, 87 languages support and ligature glyphs to make you typography truly unique! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs Narrower - 4 weights Narrow - 4 weights Regular - 4 weights Wide - 4 weights Wider - 4 weights Widest - 4 weights Multilingual support - 87 languages No special software is required to type out the standard characters of the Typeface. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

The typeface Hand of Hannah is designed from 2021 for the font foundry Typo Graphic Design by Hannah Englisch & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Regular, Bold, Heavy & Icons) with 732 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand of Hannah ■ Font Styles: 4 font-styles (Regular, Bold, Heavy, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 732 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 80 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician German Gusii Hungarian Indonesian Irish Italian Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Manx Morisyen North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Zulu ■ Design Date: 2021 ■ Type Desi­gner: Hannah Englisch, Manuel Viergutz

The typeface PIXEL pattern is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired in the past and present. 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) with 830 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: PIXEL pattern ■ Font Styles: 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.ttf (for Print) + .woff (for Web) ■ Glyph Set: 830 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

Marchioness is a typeface that was built on the same basic structure as Lady Edith. I considered making it a subset of Lady Edith but felt that its overall appearance projected a uniqueness that allowed it to stand on its own. Although still maintaining a definite Art Deco form, it differentiates itself from its parent font by possessing a more opulent, if not regal, construction. The bones may be that of Lady Edith, but the typeface itself is most certainly Marchioness. There is no lower case for Marchioness as it is a decorative font. The Upper case version serves both the upper and lower case keys. Marchioness has a glyph count of 389 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu