Introducing Goldwyre, an extraordinary typeface meticulously crafted to captivate and inspire. With its seamless blend of elements from medieval to modern times, Goldwyre stands out as a truly unique font that embodies the essence of timelessness and elegance. Drawing inspiration from the intricate beauty of Gothic Blackletter and enriched with bold calligraphic strokes, this typeface exudes a mesmerizing charm that effortlessly bridges the gap between the past and the present. What sets Goldwyre apart from other typefaces is its ability to seamlessly combine medieval and modern aesthetics. By skillfully integrating the ornate and elaborate forms of Gothic Blackletter with contemporary design elements, Goldwyre offers a truly captivating typographic experience. This fusion of styles creates a font that is both classic and contemporary, making it an exceptional choice for projects that require a touch of sophistication and versatility. In addition to its captivating design, Goldwyre is available in two weights: regular and bold. The regular weight showcases the delicate intricacies of the typeface, while the bold weight accentuates its bold calligraphic strokes, adding a sense of strength and impact to any design. This versatility allows designers to explore a range of creative possibilities, whether it's designing eye-catching posters, compelling marketing materials, engaging titles, stylish T-shirt designs, or attention-grabbing headlines. Goldwyre is also a highly functional typeface, offering extensive multilingual support to cater to diverse audiences. It features a wide range of characters and diacritical marks, ensuring that it can effectively communicate in various languages and scripts. This broad language coverage expands the possibilities for global projects, making Goldwyre an excellent choice for international brands, publications, and design agencies. When conceptualizing Goldwyre, our design team aimed to create a typeface that harmoniously blends the grandeur of medieval typography with the sleekness of modern design. We wanted to pay homage to the rich history of typography while infusing it with a contemporary twist, resulting in a font that seamlessly integrates into both traditional and modern contexts. The deliberate fusion of styles and the meticulous attention to detail in Goldwyre's creation reflect our passion for typography and our commitment to delivering exceptional design solutions. Goldwyre was born out of a desire to provide designers and creatives with a captivating and stylish typographic solution that effortlessly merges the beauty of the past with the demands of the present. We believe that design is a powerful tool for self-expression, and with Goldwyre, we sought to empower designers to create visually striking and evocative designs that leave a lasting impression. Its timeless appeal and versatile nature make it the perfect choice for those who seek to elevate their projects and make a bold statement. Pairing Goldwyre with related families or other typefaces can further enhance its visual impact. It complements well with minimalist sans-serif fonts, such as Futura or Helvetica, providing a striking contrast between the intricate forms of Goldwyre and the clean lines of the sans-serif typefaces. This combination creates a harmonious balance, allowing designers to play with different aesthetics and create visually dynamic compositions. In conclusion, Goldwyre is more than just a typeface; it's a captivating journey through time. With its seamless blend of medieval and modern elements, extensive multilingual support, and versatile weights, Goldwyre empowers designers to create visually stunning designs across a wide range of applications. Whether you're designing posters, marketing materials, titles, T-shirt designs, or headlines, Goldwyre is the ultimate choice for those seeking to infuse their projects with a touch of timeless elegance and captivating beauty. Experience the magic of Goldwyre and unlock the true potential of your designs.

Step back in time with Antihistory, the ultimate vintage typeface. Unlike other aged fonts that mimic designs from the early 1900s, Antihistory is inspired by typography from the late twentieth century and beyond. With its distressed look and feel, this typeface is perfect for adding an authentic, retro touch to your designs. Whether you’re working on a vintage-inspired logo, poster, or website, Antihistory will transport your audience to a future bygone era. Available in Regular and Italic styles, Antihistory is incredibly versatile. Use the Regular style for bold headlines and eye-catching titles, while the Italic style adds a touch of elegance and sophistication to your designs. Plus, with its unique look and feel, Antihistory is sure to make your work stand out from the crowd. So, why settle for boring, modern fonts when you can add a touch of alternate universe history to your designs with Antihistory? Get your hands on this one-of-a-kind typeface today and start creating stunning gonzo-vintage designs that will leave a lasting impression. Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A classic sans-serif typeface made with perfection and readability in focus, Stage Grotesk is your simple choice for textual representation at its level best. Created with a special focus on minimalism and simplicity in typography, this typeface can transform your design projects to another level of visual appeal. Stage Grotesk typeface family comes with a total of 14 fonts having 7 weights (Thin / Light / Regular / Bold / ExtraBold / Black) including upright as well as Italic versions of all weights. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 618 glyphs are included covering extra symbols, punctuations, and marks. Stage Grotesk is a perfect choice for graphic design, text presentation, web design, print, and display use. The typeface can be an amazing option for beautiful branding, logo/logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the upright capital letters will make this font perfect for minimal headlines and logotypes as shown in promo images here.

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

Introducing new classic display typeface it's call Moody Blue. Moody Blue typeface Inspired by Classic typografi design, vintage art, cover book and novel. OpenType features some characters that allows you to mix and match pairs of letters to fit in your designs. To access the alternat glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS and Adobe Indesign No matter how is your design concept to looking serious. it can be FUN , scary, mystical, chilling, dark or light. With MOODY BLUE typeface, your design will more quieter, relax, enjoy, etc. You can use this font for various purposes.such as book cover, product packaging, labeling, logo, classic shop, badges, movie title, t-shirt, wedding invitation, posters, lable, greeting card, letterhead,logo, Titles Branding, etc. Open Type featuring Discretionary Ligatures Stylistic Alternates Above the description of this font, I hope you're satisfied with what I have created. if there's anyone who purchase and find some problem, don`t hesitate to using product support or email me storictype@gmail.com Thanks and enjoy designing.

Duvall is an idealization created from the Edward J. Duvall lettering. Mr. Duvall was a teacher in lettering, who was well known for his book “Modern Sign Painting” in the late 40s and early 50s. Duvall cursive script is presented in five weights, Duvall 1, as a light version, to Duvall 5 as a bold version, and Duvall Style a decorative typeface with Inline, ideal for set in color layers combined with Duvall 5. Duvall is a Script font with low contrast, not intended to be used as a type of reading, but is however well adapted to small sizes because its simple form is easy to read. It is advisable to use this font for large to medium sizes. Duvall is ideal for composition, ordinal, superior and inferior numbers, and thanks to the OpenType features you can compose with alternate characters, old style numbers and with a complete set of glyphs for Eastern and Western European languages. The Duvall set comes with a font called Duvall Ribbons, a dingbats font with which you can create interesting headlines with the taste of the advertising of the 50s. Duvall FunWords is a dingbats playing with funny words in English, French and Spanish phrases. Duvall is ideal for packaging, signs, banners, branding and graphic design in general and can be combined harmonically with your favorite sans fonts.

Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

Rainy Stars is an irresistibly adorable, naive sans-serif font that captures the magic of a child's imagination. With its round, cute, and cartoon-like letterforms, this font adds a touch of whimsy and playfulness to your designs, perfect for projects aimed at children, nature, or rustic themes. The soft, bold strokes and charming personality of Rainy Stars make it a delightful choice for comic books, illustrations, and any creative work that aims to evoke the innocent joy of a toddler's world. The Rainy Stars font family includes six delightful styles to suit various design needs: The weights Light, Regular and Bold for balancing and impact, as well as each thickness as Italic for a touch of movement. Use asterisk * to make a star. Use multiple asterisks to make different space symbols. Example: Magic**Planet (Download required) Built with advanced OpenType functionality, Rainy Stars ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs as unique and enchanting as the font itself. Rainy Stars offers extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Giom Mod is a unique and elegant display font with a distinctive serif style. This font offers nine different thickness options, ranging from Thin to Black, providing a wide range of choices for various applications. Each thickness of Giom Mod has its own unique characteristics, allowing you to select the one that best suits your design aesthetics. For example, Thin may be suitable for light and elegant designs, while Black can be used for more dramatic and bold appearances. Furthermore, Giom Mod comes equipped with various OpenType features. These include features such as ligatures, which allow specific characters to combine beautifully, and alternative letterforms that provide more design options. With these features, you can create more engaging and unique text elements in your designs. Additionally, Giom Mod is designed to support multiple languages, making it suitable for use in many countries. This makes it highly versatile and appropriate for a wide range of multilingual design projects. So, if you are looking for a font that combines the beauty of serif with various thickness options, useful OpenType features, and multilingual support, Giom Mod is the perfect choice to meet your design needs.

Kefir™ is charismatic, cheerful and full of character. It is inspired by such classics as Cooper and Windsor and serves as their modern alternative. It is a display font family with very strong personality and feels at home in editorial design, all kinds of headlines, posters, badges, websites and branding. Its light weights let you set friendly and legible paragraphs of text as well! Kefir has beautifully flowing lines, its nature is soft, rounded and elegant with charming retro vibes. The letterforms were crafted with much passion and love in order to send powerful positive message whenever used! Kefir has two additional stylistic sets to adjust the font to your liking and decide if you choose upright or sloping stems (in characters like h, m ,n , a) or go even more playful with some super-friendly letterforms. Kefir family consists of 7 styles + 1 variable font, letting you adjust the weight to your exact needs. It has extended latin language support as well as broad number of OpenType features, such as stylistic sets case sensitive forms, ligatures, swash caps, final forms, contextual alternates, lining & oldstyle figures, basic fractions, superscript and subscript, ordinals, currencies and symbols.

LunchBox is a uniquely hand-drawn typeface that gives infinite customizable options and a fully authentic look. Using Lunchbox’s OpenType features gives access to over 1,500 different characters. Contextual alternatives give each letter 4 different character styles, all cycling through each other to ensure that no two letters ever show up together. There is also a custom set of small caps, each with 4 style variations as well. Stylistic alternatives give an extra hand-drawn flourish, loop and slight variation, also with 4 different styles per letter. Discretionary ligatures pertain to both regular all caps Lunchbox as well as stylistic alternatives. It takes special letters and gives a unique interaction with the characters around them, giving your design a unique and personalized look. Swashes also have four style variations to both the regular and stylistic alternatives, as well as lowercase letters with ascenders and descenders. All of these options are available in Light, Regular and Bold and can be purchased with Lunchbox Ornaments for an extra element. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want. Enjoy!

Vigrand is a stunning handwritten font with a vintage feel. Vigrand give you luxurious vibes as much as casual vibes, elegant but simple, strong but light. Use Vigrand to add a unique charm to any design project. With 6 stylistic, regular, regular rough, regular aged, bold, bold rough, and bold aged. Up to 5 level alternates. Opentype, swash, ligatures, multilingual support, ( Western European characters and works with following languages: English, French, Italian, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Indonesian, Filipino, Malay. ) PUA encoded, easy to use. No need for special software. Extras : Editable logo and Floral Ornament. It's very well suited for logotypes, wedding invitations, product labels, fashion and cloting product, and other type design.

Sagan was designed as an alternate to Ramsey ; you could call them brothers. It was drawn, redrawn, and expanded on, to put it lightly. It boasts 770 glyphs in each weight, covering all European languages, and also contains an extended Cyrillic. Sagan provides advanced typographical support with features such as case-sensitive forms, old style numerals, fractions, and many alternate glyphs. Like all of our typefaces, Sagan is fun to use. Sagan has 7 weights, with accompanying italics for each weight, ranging from Extra Light to Black. It is ideally suited for branding, editorials, advertising, packaging, posters, billboards and digital screen design. Sagan will work hard for your brand or project. Make a statement that demands notice.

Ragazzi is well balanced serif with display impact. Contains 2 widths – Normal and Condensed and matching Italics for Normal in weight distribution from Light to Black. With gently rounded serifs, teardrop terminals, elegant hairline, equal ascender and descender heights, playful ear and smooth spur, Ragazzi represent distinctive serif family for respectable area of usage. Family's display elements are especially noticeable in headlines, but they handle longer paragraphs with same success, not effecting on legibility keeping right dose of display touch present. Ragazzi contains OpenType features: Small Caps, Initials, Standard Ligatures, Ordinals, Fractions, Superscript, Subscript, Oldstyle Figures, Tabular Figures and two decorative dingbats. Condensed and Italics font files don't contain Initials and dingbats. Ragazzi is our 104th release.

Apricosa – A beautiful bold serif with vintage swashes, alternate letters and ligatures. Apricosa is a delightful, modern take on a vintage font. Packed with plenty of alternates and ligatures to really bring it to life! Create stunning designs that are truly unique to your brand. Vary between a light and heavy vintage look based on how many letters you alter. Due to its large selection of alternate letters and ligatures, Apricosa is very versatile, covering a wide range of project types, from unique branding, to bold magazine design, to vintage wedding invitations, and so much more. FEATURES Uppercase alphabet Lowercase alphabet 41 alternate glyphs 36 ligatures big range of numbers, symbols & punctuation comprehensive language support

Introducing Chalga Serif Typeface - 3 weighs - Latin and Cyrillic support Chalga is elegant, vintage typeface that contains 3 weights to enchant your next project. They have basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets. Very versatile fonts that works great in large and small sizes. Chalga is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Light Regular Bold Basic and advanced latin character sets Basic and advanced Cyrillic character sets Alternate Glyphs Ligature Glyphs Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

A serif that we created special for elegant branding needs, with extra ligature and alternates in unique shape will be ready to add value of your brand. It so nice to leverage designer or product owner that need solutions to make their design look more classy and modern. And specially for Calista font, We prepared any ligatures, and any alternate characters to help you create unlimited variations for your creative needs. Calisia sans serif font ready with: Any options to get creative variations (combination of Alternate and Ligatures) Ready 3 Weights (Light, Regular, and Bold) Preview as a inspirations that you can do with Calisia font Ready with Lowercase and Uppercase characters Wish you enjoy our font. :)

Introducing Ablation Sans Serif Typeface - 6 weighs Ablation is casual, clean typeface that contains 6 weights to enchant your next project. They have basic latin, advanced latin, basic Cyrillic and advanced Cyrillic character sets. Very versatile fonts that works great in large and small sizes. Ablation is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Extra Bold Black Basic and advanced latin character sets Basic and advanced Cyrillic character sets Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Welcome to Happy Letters shop :) Happy St. Valentine's Day! Lovingly includes unique heart flourishes that give a charm and romantic love holiday mood ornaments, Valentine greeting cards, invitations, etc. Thin, elegant calligraphic lines like a light breeze give freshness and dreaminess to your handmade creations. Ornament font Lovingly is mapped to regular keyboard keys, so you don't need any additional programs to use them. Just install font, type and go! Lovingly is perfect for: decorating your albums, for holidays, logos, phrases, gift shops, Valentine's Day card, gift cards, tags, labels, stickers, wedding invitations, header images, Etsy presentations, ideal for handmade, scrap booking, printed paper items, promoting seasonal blog posts, social media posts, Pinterest, Instagram and much more.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Japanese Pro family has 6 fonts in total. It spans four weights from ultra light to bold, and has two condensed weights to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability, combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects — pose no stumbling blocks to the family’s typographic dexterity.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

Really No. 2 is a redesign and update of Linotype Really, a typeface that Gary Munch first designed in 1999. The new Really No. 2 offers seven weights (Light to Extra Bold), each with an Italic companion. Additionally, Really No. 2 offers significantly expanded language support possibilities. Customers may choose the Really No. 2 W1G fonts, which support a character set that will cover Greek and Cyrillic in addition to virtually all European languages. These are true pan-European fonts, capable of setting texts that will travel between Ireland and Russia, and from Norway to Turkey. Customers who do not require this level of language support may choose from the Really No. 2 Pro fonts (just the Latin script), the Really No. 2 Greek Pro fonts (which include both Latin and Greek), or the Really No. 2 Cyrillic Pro fonts (Latin and Cyrillic). Each weight in the Really No. 2 family includes small capitals and optional oldstyle figures, as well as several other OpenType features. Really No. 2's vertical measurements are slightly different than the old Linotype Really's; customers should not mix fonts from the two families together. As to the design of Really No. 2's letters, like Linotype Really, the characters' moderate-to-strong contrast of its strokes recalls the Transitional and Modern styles of Baskerville and Bodoni. A subtly oblique axis recalls the old-style faces of Caslon. Finally, sturdy serifs complete the typeface's realist sensibility: a clear, readable, no-nonsense text face, whose clean details offer the designer a high-impact selection.

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Zanna is a modern typeface with lots of style and elegance. The Zanna typeface was inspired by the high contrast Didot look, which has been synonymous with fashion for decades. The Zanna typeface also has a very thin hairline and short non-bracketed serifs, which gives it a nostalgic and modern look. The Zanna typeface comes in two styles Regular and Stencil, each style has an oblique version. The Zanna typeface has over 140 ligatures and alternate characters, this makes it perfect for creating modern and elegant feminine logos. With so many ligatures and alternates characters to choose from, you can definitely create stunning designs for your brand or clients. The Zanna typeface can be paired with a beautiful minimal sans serif or light script font, this combination will make your next project look elegant and classy. The Zanna typeface is very versatile and can cover a wide range of project such as: fashion branding, mastheads, magazines, feminine logos, facebook banners, wedding invitations, Instagram posts, websites, blog posts, pull quotes, editorials, product packaging, trendy social media posts, advertisements and much more. If you are looking for something modern, nostalgic and chic for you next project, Zanna is the font for you. What you get: Zanna Regular.otf Zanna Oblique.otf Zanna Stencil.otf Zanna Stencil oblique.otf Zanna includes a full set of: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternate characters. Small Caps. Multilingual symbols. We hope you enjoy using the Zanna typeface.

Buntype’s new Bunday™ Sans Font Family consists of four main states with different moods: the crisp and distinctive sans, the cute script styled upright and the matching italics (these upright styles are currently not available). All states of Bunday™ Sans share the same contemporary, clear and open base forms and create a space-saving and homogeneous text colour. Despite the fact that the overall width is space-saving or narrow, Bunday™ Sans offers good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media.  Bunday™ Sans ships with 9 standard, 9 upright italic, 16 italic styles from a considerable thin “Hair” to a pretty fat “Heavy” weight. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localised forms and more.  Please take a look at the other members of the Bunday superfamily: Bunday™ Clean Bunday™ Slab Further information: Bunday Sans Specimen PDF Bunday Sans OpenType® Quickguide Feature Summary: 9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy 4 Moods: Sans, Upright, Sans Italic and Upright Italic Overall width: Narrow or Space-Saving Advanced “f” ligature set* “s” and “c” ligatures* Alternates Characters: a, ç, e, f, g, l, t, y and more* Capital German Esszett* Supports at least 99 Languages * Available only in applications with advanced OpenType® support