Based on Mr. Hubbard's own hand printing, Richfont Medium is an extremely casual design. Actually light in weight, it renders best at 14 point and above. Richfont Light and Bold are available from the designer.

The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and Case-Sensitive Forms. Clarendon BT is an updated revival of the square serif (also called Ionic or Egyptienne styles) with bracketed serifs, ball terminals and high xheights. These attributes give Clarendon BT a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.

Melina Plain and Melina Fancy are characterized by graceful lines, strong contrast and nostalgic overtones. These typefaces are patterned after two members of a type family named Greco, released by Fundición Tipográfica Richard Gans of Madrid, Spain, in the 1920s. Melina Plain is a refined version of Greco Bold, and Melina Fancy is based on Greco Adornado, with the notable addition of a lowercase, which was not a part of the original design. Melina is based on two typefaces (ca. 1920) from the Fundición Tipográfica Richard Gans in Madrid, Spain. Nick Curtis first found Greco Adornado in a type specimen at the Library of Congress. It was a cap only design. He made a cut of the original (Melina Fancy) and created his own lowercase, and many other characters to support contemporary character sets. Later he came across Greco Bold, which had a lowercase, but he chose not to use it and instead, adapted his Melina Fancy to create Melina Plain.

Futuristic and spacey, Tannarin is a modular, cap-only typeface. Many letters are constructed of repeated components with the added twist of the round characters being shorter than the square characters.

The boss of extended typefaces, Brian Bonislawsky, has belted out this ultra wide design, EuroMachina, that looks like an odd meld of OCR-A, Microgramma and Bank Gothic. And if that wasn't enough, Brian then felt the need to distort it in various ways, creating Broken, Eroded and OverGreased. A little something for everyone.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

Ingram BT might be described as Deco, or Arts & Crafts, in style. Created by Alex Marshall, it is a very condensed design with high-waisted uppercase glyphs that feature dots rather than straight lines for the middle hairlines. There are two sets of alternate glyphs accessible via stylistic and contextual OpenType features. The contextual alternates offer the most interesting glyph substitutions. There are also oldstyle and tabular figures, superiors and inferiors, as well as unlimited fractions. Ingram is a very handsome, casual typeface, with a slightly rough finish. The compact lowercase remains very readable at text sizes and it is a pleasure to turn on the earth tone colors and typeset left and right justified paragraphs! The extended character set supports Baltic and Central European languages.

Ronna Penner's Sketchley is a 2001 winner of ATypI's bukva:raz! design competition, held recently in Moscow. Inspired by handwriting samples and unable to find a typeface to satisfy her needs, Ms. Penner decided to create her own. The result is this warm, casual script. The compliment of characters demanded the creation of two fonts. Sketchley is considered the base font and should be used for basic layouts. Sketchley Swash has numerous initial, medial and final swash characters that, when used thoughtfully with Sketchley, can recreate the look of hand drawn calligraphy.

Perhaps one of the more difficult typeface styles to space convincingly, Irakly, a serif-sans by Russian designer Oleg Karpinsky imparts an unfamiliar elegance. The odd mixture of superficial details such as the half serifs and the protruding horizontal strokes confuse your visual senses, yet the simple geometric roots of the letterforms are apparent and ultimately reassuring. Irakly Light and Bold make a great addition to any library. The OpenType versions have alternates that are more conservative in design and broaden the usefulness of the typefaces

Chianti was designed at Bitstream by senior designer Dennis Pasternak in 1991 and initially released in 1995. The intent behind the design was to provide a humanist sanserif of high readability at a wide range of sizes and weights. Humanist sanserifs (others that fall into this category are Linotype’s Frutiger and Optima, and Monotype’s Gill Sans) are an attempt to improve the readability of sanserifs by applying classical roman structure to the letterforms. To enhance its versatility, Mr. Pasternak designed a wide variety of alternate characters, rare ligatures, ornaments and swashes. Chianti is a friendly sanserif useful for a broad range of typographic needs.

The hand-hewn Islander looks like it could have been liberated from granite blocks.These demonstrative letter forms leave no doubt when it comes to conveying your message, yet they remain playful.

Introducing VeraCruz BT, a fanciful display typeface by Ray Cruz. A tasteful, flair serif design, VeraCruz BT is available as an OpenType font. By selecting the Contextual Alternates feature in OT savvy applications, many of the cap and lowercase characters will change automatically as you type to give the text an informal, animated look. There are also tabular and proportional figure sets, and the extended glyph set supports Central Europe.

Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion. The Ecliptica family is an unusual layout of styles and all work equally well with one another. The OpenType versions of the Ecliptica fonts support an extended Latin character set that includes a full array of fractions as well as additional ligatures. The Sans and Cursive fonts contain some cap and lowercase alternates.

A meeting of Byzantine and Art Deco forms, Aphasia began as a series of handwritten captions to accompany drawings in the early 1990s. The drawings were abandoned to allow the lettering to become the real composition. Playfully set in blocks of verse with each line shaped through free-association, the only visual rule was that all the lines of capitals be of equal length. The challenge of the game required extensive abbreviations, ligatures, small caps, and superiors. With the advent of Letraset’s FontStudio program, the project moved into the typographic realm.

Here’s another wild and wacky typeface based on handlettering found on Hallmark Studio Cards of the 1950s. All possible letter combinations have been kerned, so you can mix and match upper and lowercase letters to create just the balance you’re looking for. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

A lot of time and effort has been put into the process of creation the Boos Font. A careful analysis of the current font market and overly increasing customer needs have shaped Boos' final appearance and content. We don't have a precise target audience for Boos, since the amazing amount and structure of the chosen characters enables a very wide utilization. It will be best suited for headlines for classy magazines. It's look and feel came from a different designing approach, so that it can successfully satisfy the needs of even the neediest. Shining with calm and dignity, while in the roots being aggressive, it has successfully connected classic and modern styles - representing it's largest value. Medium, bold, black and light versions are included in the complete package, at a discounted price!

Sales Book JNL was recreated from sample letters found in the wood type section of an old printer's supply catalog.

Funny Book Sans includes these codepages: 1252 Latin 1; 1250 Latin 2: Eastern Europe; 1251 Cyrillic; 1253 Greek; 1254 Turkish; 1255 Hebrew; 1257 Windows Baltic; 1258 Windows Vietnamese.

Here's another stencil font designed from and inspired by the lettering guides used for years by teachers, school children, merchants and others.

This is the elaborately expanded version of what is arguably the most classic and popular of all historic Dutch faces: Sjoerd Hendrik de Roos's Hollandse Mediaeval from 1912. Over the decades, many pressmen and typography connoisseurs have gushed loving prose about this typeface. An extended family of two weights, corresponding italics, small caps, four condensed fonts, four book fonts, a set of initials and some very Dutch ornaments, Dutch Mediaeval is a versatile workhorse that flows comfortably and artistically, with the elegance of the main weights nicely complemented by the sturdiness of the bolds. Very few text faces are this clean and inviting while being crafty as well. The Dutch Mediaeval family comes with quite a few OpenType features and extended Latin language support.

A thin Roman typeface with slab serifs shown in various editions of the American Type Founders’ Specimen Book as either Lining Antique or Lining Central Antique was the model for Specimen Book JNL which is available in both regular and oblique versions. This is the 1700th design released by Jeff Levine Fonts since its inception in January, 2006 and was named Specimen Book JNL to celebrate the era when metal type and letterpress were the modern technology of their time.

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

KIDS BOOK olstd Font will look gorgeous on all your designs, kids invitation, kids poster design, kids book design, branding materials, kids logo's, and all project design other. WHAT'S INCLUDED KIDS BOOK olstd Font contains standard characters, Uppercase, Lowercase, numbers, punctuation, ligatures and international glyphs. Happy Designed.! regard olexstudio

bb-book mono is a monospaced version of bb-book A and bb-book B . language: all latin glyphs

Zapf Book font is the work of German designer Hermann Zapf, a blend of the characteristics of Walbaum, Melior and the contrasting weights of Bodoni. It is a typical Zapf font, distinction without eccentricity and superb sensitivity and letterfit, and clearly demonstrates his concern that an alphabet work not just as a collection of single letters, but also have a sense of unity in itself.

A font family in continuation of the bb-book A , also kicking up weight, width and contrast, but upside down. 4 styles: condensed, regular, expanded and ultra-expanded.

bb-book A — breaking rules typeface Expressive book serif (triangular and curved) kicking up weight, width and contrast — in 4 styles: light, regular, medium and bold.

The pen lettered opening credits for the 1937 film “The Awful Truth” inspired Date Book JNL, which is available in both regular and oblique versions. A hybrid of both Art Nouveau and Art Deco influences, this casual type design is perfect for any project that wants to convey its message in a pleasant, informal manner.

Mantika Book expands the Mantika super family: a contemporary serif font with a soft, yet robust character and a classic lookMantika Book, an Antiqua, is the third member of the Mantika super family, which consists of the Mantika Sans and Mantika Informal. Designer Jürgen Weltin has gone back to the roots of his font, which he had originally derived from a Renaissance Antiqua. These origins are recognizable in the first member of the Mantika family, Mantika Sans, in the form of carefully suggested line use and a contrast in the weights that recalls the Antiqua. This solid sans serif, optimized for use in text, also has a particularly energetic and dynamically designed italic. Mantika Informal also brings to mind a cursive font at first glance; ultimately, however, it is not easily categorized. Its light, organic shapes combine the informally flowing style of cursive handwriting with the open and airy form and contrast of a humanist sans serif. The shapes in the serif Mantika Book are also based on the Renaissance Antiqua, just like the other members of the Mantika super family. However, the contrast in the weights is somewhat stronger than is conventional for this genre, and the serifs are characteristically asymmetrical, with slanted ends. Lightly grooved stems with an implied curvature in the lower-case letters as well as dots whose shape flirts with a fountain pen lend the Mantika Book a dynamic and particularly friendly character. Details like the open "g" or the contoured foot of the "k" emphasize this dynamism. The letters of Mantika Book have the same large x-height as the other members of the super family, but are equipped with somewhat longer ascenders and descenders.

Packing more copy in a narrow space is the main reason for using a condensed type. Characters with a more ovular shape tend to be less wide than their circular counterparts and will allow for more letters per line. In narrow columns for example, this typeface can provide up to 25% more copy than the regular typeface in the same space. Another reason is when a larger type size is called for — used sparingly it is useful for headings or headlines. For emphasis, narrower letters can provide a stark contrast in the flow of reading, creating impact while retaining typographic character. Condensed types can specially useful in tables and charts because typically both use few words in each block. If space now allows, you may think about the luxury of a larger point size. This optimizes space while keeping your typography more easily legible.

bb-book text is a text version of bb-book A and bb-book B . language: all latin glyphs

bb-book contrasted is a display and contrasted version of bb-book A .

Stinky School Book was created to letter the adventures of a particular Mr. Stinky the Elf, but you can use it for that informal look when used for body copy or as a display face for headlines.

A circa-1940s textbook for the Esterbrook Drawlet Pens (similar to Speedball pens) offered numerous samples of lettering that could be obtained by following the simple directions and using the book as a guide. One example was a classic Art Deco design made with a round nib pen, and it has been redrawn digitally as Lettering Book JNL in both regular and oblique versions.

HS Future Sans is the sans serif version of HS Future. It has three weights and was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The smoothing of this font and the combination of straight and curved parts without the serif gave the user additional option beside HS Future family. It made it a beautiful typeface appropriate to the titles, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.