Since the release of his first typeface, Zulia Pro, Joluvian has spent his time dedicatedly experimenting with an array of calligraphic styles and typography, before starting on his second typeface, Salamat. The journey began on a trip to Asia, where Joluvian was inspired by his time in the Philippines. After a series of discarded type sketches, the first stroke of what is now Salamat was then born.   What at first was a quick sketch, over time, evolved into a stylized typography; that lends to humanistic-expressive calligraphy, optimized with wide variety of swash capitals, contextuals ligatures, ascending and descending, starting and ending letters and a wide range of characters for each glyph. Salamat provides the user absolute freedom to play, create words, sentences and even very stylized paragraphs. Giving one the freedom with type, the way the Philippines gave Joluvian the freedom to explore calligraphy and typography.   Joluvian considers Salamat a new benchmark in his career. He now possesses more typography maturity, and a refined focus to put into practice all the knowledge acquired in his recent years of study, for this and much more salamat ('thank you' in Tagalog) to the Philippines.

CA Saygon was originally conceived for a large corporate design project, but as this was never implemented, the way was free to make a public font. As a striking corporate typeface, it transports the fractions of a society after the post-modernist phase. After hundreds of sketches a bunch full of letters were selected, some of them quite twisted, others rather conventional. The combination of these letters reflects a rebellion of individuality but also leads to a coherent typeface. Additionally there are alternative letterforms in the Stylistic Sets or in the glyphs palette, which keeps the font always exciting to the designer. Thanks to the Cyrillic and Latin Extended character sets, a huge language area is covered that even extends to Vietnam! Numerous OpenType features make life easier for the professional typographer: There are fractions, superscript and subscript numbers, as well as proportional and tabular numbers.

Varstate Denim font is inspired by the varsity team name lettering often seen on apparel such as Letterman jackets, t-shirts and hoodies. The font has a denim texture pattern incorporated into the characters. The fonts can be used across a variety of themes and works particularly well in menswear/fashion genres. The font includes Latin basic characters which includes uppercase, lowercase, numbers, punctuation and much more.

The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. Be intimidated, be very intimidated. You don't believe it? Just push the stylistic alternates button and see it disregard the laws and spit pebbles on the sidewalk. Then run to the hills if you want to live.

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

Australian typographer Harry Pears continues to explore ancient type forms while maintaining his consultancy business Typeface Research Pty. Ltd., of Lake Cathie, Australia. Born in Quirindi, Australia, Harry has had a long career in printing and graphic arts and has been the guiding force behind the creation of the Lindisfarne Nova family. Lindisfarne Nova Incised and Lindisfarne Runes are wonderful illustrative companions to the Lindisfarne Nova text fonts. In a unique partnership, Harry develops the concepts, and calligrapher Margaret Layson brings the designs to life. They both then work on the digital incarnation in a true collaboration.

So many designers hate Comic Sans. They think people who don't know design are overusing this funny little friendly font, which is nearly every time out of place. Some years ago, type designer Hannes von Döhren created a free alternative to Comic Sans. The difference: It has serifs and a much cooler look. The big success of the HVD Comic Serif pushed Von Döhren to create a Pro Version with an eastern, central and Western European language support. “The HVD Comic Serif should spread all over and make the world a little bit better.” says Hannes.

Arethusa Pro is a versatile font after the 'transitional' style – a style that has been evolving for 250 years. The balanced design of familiar letter forms blends form with function to create highly readable text. Twelve fonts organised in three sub-families provide a range of weights and styles. Language support includes Greek and Cyrillic and each font contains small capitals, superscript, fractions, ligatures, old-style numerals, case-sensitive forms and other opentype alternatives.

The design for this typeface is based upon four sheets of an old latin book I purchased in Hanover (Germany) a couple of years ago. The letters preserve the rough edges of the original printing, I just added a few missing letters and some ligatures.

When master letterer Hugh Gordon and his student, Ross F. George developed a set of lettering pens between June 16, 1913 and Sept. 1, 1914, they had no idea that their invention (which they named Speed-Ball®) would still be in use nearly a hundred years later. The C. Howard Hunt pen company [originally of Camden, New Jersey] became the original (and sole) distributor of these pens. By 1915 an instructional booklet entitled "Modern Pen Lettering" was produced, and it was copiously illustrated with examples of layouts, lettering techniques and an assortment of alphabets for the user to learn. Nouveau Poster JNL is Jeff Levine's interpretation of a sanserif design found within the pages of this vintage publication.

Dedicated to the XXII summer Olympic Games. I was inspired by the icons of these games when creating font Olymp80. This is an excerpt from the official report of the Moscow Olympics: "Sports pictographs, as we know, are pictographic drawings symbolising sports. They serve as points of reference and help overcome language barrier. Over the past few years, they have been integrated into the decoration of Olympic cities, and have been depicted in Olympic posters, commemorative medals, postage stamps, tickets, souvenirs, etc. On the OCOG-80’s request, graduates from several art colleges took up the design of the pictographs of the insignia as the theme of their dissertations. With the help of the research institute of industrial aesthetics, the Organising Committee chose the work submitted by Nikolai Belkov, Mukhina Art School graduate from Leningrad. The State Committee for Inventions and Discoveries under the USSR Council of Ministers recognised the new design as a production pattern. Though highly stylised, the new signs are easily comprehensible. They are smoother in outline because they are constructed at an angle of 30-60 (previously the angle was 45-90). Another merit of the new system is that the designs can be adapted for use in four representations: direct (solid, black against a white background), reverse (solid, white against a black background), contour (black contour against a white background), and reverse-contour (white contour against a black background), and permit several colour and shade and size variations." All text and pictures you may see on 1980 Moscow, Volume 2, Part 2, Page 420. Monospaced font for names, logotypes, titles, headers, topics etc. Font includes only uppercase letters with two alternative designs for each letter.

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.

Grookey Shawn is a calligraphy script font with many letter styles. This font consists of 4 to 6 alternatives, this combination creates a stunning font style. Feel free to combine a variety of alternatives, you will see a different look for each combination. This font is suitable for anything from new year greeting, invitation, promotional material and handwritten quotes, to product packaging, merchandise and branding projects and more. We also include swashes and ligatures to support the creation of logotypes. I hope you enjoy and feel free of playing with Grookey Shawn. Thank you for your attention, dont forget to comment and send me an email if you need other support.

ITC Aspera is the product of graphic experimentation. Olivera Stojadinovic, who designed the face, recalls, Over the last 15 years, I have made several small prints using Cyrillic characters. Often, I made my first sketches with a special pointed brush which was difficult to manipulate well, but once tamed, gave me interesting results." Stojadinovic decided to see if she could reproduce the unique brush quality in digital form. "The idea was to preserve the look of strokes made by my brush, so I kept the scanned shapes as close as possible to the originals, making interventions just to maintain consistent proportions, slope and weight." While this typeface is not a connecting script, Stojadinovic did create a number of letters, such as the 'o' and 's' that are natural connecting characters. She also drew a set of ligatures and matching ornaments to accompany the design."

Bangersfield is a four-member font family from Robby Woodard. With line treatments clearly inspired by cased meat products, these fonts function as a healtier alternative to Comic Sans. The casual hand lettering works well for light-hearted design and comic lettering. These fonts are stuffed with opentype features, extra ornaments, and a full Central European character set—over 400 characters per serving. Satisfy your hunger for a fresh take on a stale genre!

To celebrate the milestone of our all time bestseller font called Hemera, After four years now we're ready to the next level of it. Please welcome Hemera II. A sophisticated vintage victorian era fonts, inspired from the old advertising and classic sign back in circa 1800 - 1900s. Perfectly fit for your vintage vibes and classic touch on any branding works. Logo, badges, label, headline, retro decoration, you name it.

In researching historic decorative material offered by Lanston Monotype as well as other metal foundries such as Barnhart Brothers and Spindler, there were occasionally ornaments that defied description. Perhaps it was a Victorian sense of humor or someone really thought these were a good idea or perhaps popular taste has just changed so much over the last hundred years, or our forbearers were completely insane. In any case, LTC is somewhat proud to present a collection of the most bizarre, disturbing and baffling printers ornaments we could find. Along with mutant fowl-children and frolicsome amphibians, there are also Masonic and other secret fraternal symbols that may not be creepy to everyone, but just enough to be moderately disturbing.

Tribal Aleut OTF color font. Native Historic font, traditional ethnic characters in style of customs and traditions of national culture. You can use this font for design logos, quotes prints on t-shirts and other. OpenType-SVG Font was designed with Fontself Maker in Illustrator CC. Contains only uppercase letters and digits. WARNING Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/

Years ago, I came across a vintage playbill and was struck by its lettering. The detailed floral pattern surrounded by thick outlines stayed in my mind even though the play's name and cast have faded. I finally tried to recreate the style from memory and Forgotten Playbill is the result. While all letters are actually capitals, the uppercase rotate slightly counterclockwise and the lowercase slightly clockwise. I suggest alternating between the two to reproduce my mystery inspiration.

Base & Bloom is an experimental (but relatively organic) fusion of geometric monoline sans and high-contrast flourish didone. It was inspired by the lack of curious modern display sans as opposed to the uprise of contemporary serifs past couple of years. The idea was to incorporate flourishes not as unnecessary elements like swashes, but as a part of letter structure, which was an especially interesting task considering it was not a serif, which potentially could give more room for that. And after all, the idea pays off by generating many inventive letterform solutions. Base & Bloom has alternates for each letter (up to 11) so you can make endless combinations to find the perfect look. It is a bold choice for posters, album covers, identity and packaging, headlines, oversize typography, and editorial design.

Wonderbar 2 is wacky, retro, and not to be taken too seriously. The wavy nature throughout the characters ensure that you're in for a wild ride. Alternating between upper and lowercase letters is like shifting gears. Uppercase characters take on a more undulating flow with stems that reach out to tickle you. Because of this slight overlap should be expected. In addition to Latin this childlike display font is equipped with Extended Latin for many European languages as well as Cyrillic. Try it in a children’s book, poster, or birthday invitations.

Carve is an African font that was inspired by fonts such as Othello and Neuland designed in the mid-1920s. Rather than attempting to re-create these fonts in a digital form as so many others have done, I have tried to capture the “spirit” of the period and emphasize the “woodcarving” style of the font, while simultaneously giving it a contemporary feel. As a result the characters differ markedly any of the original styles and have much less of an “Art Deco” look to them. To further modernize Carve, I have included all the characters required for a full character set (lower case, as well as all punctuation, numerals, diacritics, special characters etc). The result is a thoroughly modern re-interpretation. The numbers (0 to 9) bear no relation to any originals but, I believe, are fully in keeping with the upper and lower alphabetic characters of my font. Carve comes in two styles: --Regular: contemporary, angular African style --Incised: exaggerating the chunky, hand-carved "woodcut" effect. The "in-line" effect has been hand-crafted to avoid the mechanical effect of computer-generated inline effects.

It took the Italian designer Antonio Pace more than five years to create Linotype Gianotten™, a successful new interpretation of the classic Bodoni types. To re-draw the 200-year-old characters for the world of modern digital technology, Pace studied Giambattista Bodoni's original punches at the Bodoni Museum in Parma. He felt that previous Bodoni interpretations were not well suited for body texts, so he focused his study of Bodoni's "Manuale Typografico" on the types made specifically for text sizes. Consequently, his Bodoni has strong hairlines, rounded transitions and shorter, fluted serifs - elements that help to achieve readability by providing an overall tranquil effect. This contemporary, highly readable family is an excellent choice for text settings in books, newspapers, and magazines. Incidentally, the name Gianotten has nothing to do with Bodoni, but was chosen by Pace and Linotype to honor Dutch typographer, Henk W. J. Gianotten."

This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris. Exactly, we have used the set that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François, (from “Triumph” of Petrarque) in the year 1514. Some letters, lacked, have been reconstructed to propose a complete alphabet. It appears that the printer used some letters to replace others, as V, turned over to make a A, or D to make a Q. The original font’s letters were drawn in white on a black background only, but it was tempting to propose a negative version in black on white. It is used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font. This font supports strong enlargements remaining very smart and fine. It’s original medieval hight is about one inch equivalent to about four lines of characters. This font may be used with all blackletter fonts, but works particularly well with 1543 Humane Jenson, 1557 Italic and 1742 Civilite, without any anachronism.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

Wedge’ is the outcome of a search for the essence of a formal alphabet for text — for 26 letters of the simplest form consistent with ease of reading.. Noted New Zealand architect Bruce Rotherham (1926–2004) was inspired by Herbert Bayer’s ‘universal alphabet’ created at the Bauhaus in 1927. While he admired Bayer’s pure geometry, Rotherham felt it was ‘virtually unreadable’. The Bauhaus-inspired inclination for architectural publications to use sans serif faces provoked Rotherham to consider how a readable Roman book face might be approached using some of Bayer’s same principles of simplification, but also retracing the evolution and use of the Roman form in an analytic manner. The Wedge alphabet was started in 1947 when Rotherham was an architecture student at the University of Auckland. It was worked on and refined over several decades but never commercially released, until now. Over sixty years after it was first conceived, Wedge is available from P22.

For more than 70 years the 10-foot tall letters displaying the word FOSHAY have illuminated the Foshay Tower in the Minneapolis skyline. However, the typestyle has never been made into a font before. This new modern font family, dubbed Fosho Book, is optimized for book print usage as well as functioning as big bold display type on screen. The Fosho fonts are available in three styles: Outlines, Dotted Bulb Inlines and Composite with both. You can use the three styles in overlapping colors for dramatic chromatic effects.

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

This handwritten font is ideal for bringing back 90s nostalgic atmospheres. With its indie nature, this grungy font will add a touch of spontaneity and style to any creative project. This font recreates the atmospheres of our teenage years in the 90s, when we listened to Smashing Pumpkins, wore Chucks, and went to indie gigs. We love thinking about that time of wonder, discovery and imagination, and Teenage Dreams is perfect for bringing them back into our creative projects. Achieve a realistic handwritten effect by mixing the 4 different versions in titles and covers, instantly creating typographic artwork with an alternative, intimate attitude. On top of that, we also added a 5th bonus version of this dreamy font, with scribbles and drawings you can add to your compositions. This way, you will get a grungy scrapbook effect while adding intensity and style to any project. It is awesome when used on dark, noisy backgrounds, or used on top of images and photographs!

Roadline is a professional display font collection of Streamline style for lettering, a style of lettering that was much in vogue from the 30 to the 60. Roadline aligns all your characters on a horizontal baseline and allows headlines or logos into three wide variables. Besides its connectors allow you to create variations ranging from elegant classics to radicals or creative situations, adapting to all target tones of voice message, it brings Roadline a series of pre-programmed parts in Opentype links for easy use and enable very creative and unexpected combinations. For its decorative character this typeface is very useful for headlines and logo creation. Relive the golden years of the brands with Roadline.

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

An elegant and disciplined script popular for fifty years.

This font was created inspired from a handwritten copy of the "Brief story of the second journey in Canada" (1535) by French explorer Jacques Cartier. It is an early "Civilité" manual style, closely looking like the "Civilité" script font carved by Robert Granjon a few years later and still strongly influenced by blackletters forms, clearly visible in the capitals or long s, d, e, f or t forms. (Look at our "1557 Civilite Granjon Pro" and the latest "1638 Civilite Manual"). It is containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. Historical forms, titling alternates and the numerous lower alternates or ligatures made the font looking like a real various hand.

Behance presentation https://www.behance.net/gallery/51305239/Geometrica Geometrica is a low contrast rounded geometric Sans with a mid 19th/early 20th century simplicity air yet modern and minimalist. The font was inspired by the idea of creating a typeface with uppercase/lowercase characters and small caps having the same proportion. The result is a font with a moderate width, generous x-height, and short ascenders and descenders, giving it a compact and clean look. Geometrica comes in 10 weights plus italics—each variant with 589 glyphs—and contains a number of OpenType features that allow you to create very ‘good looking’ designs. Geometrica provides a wide range of choices for any design project and it is especially recommended for UI/UX and app design, branding and corporate design, in 2017 it was selected as one of the 10 best Sans of the year by FontShop.

Uncut Madness is a another horror genre font, inspired by vintage movie posters, books and vinyl covers. Including some bloody extras... ;) Made for logos, headlines, apparel design etc.

Kapelka New is a soft and friendly display face based on the principles of writing with a soft pointed brush. Kapelka is suitable for packaging design, children's books headlines and any other domestic and informal purposes. The typeface was designed by Zakhar Yaschin and released by ParaType in 2015. Inspired by the sweetie paper and soft pointed brush writing Zahar Yaschin designed the first version of Kapelka in 2001. It wasn’t on the shelf all these years and even served some time as a corporate identity of “Domashniy” TV channel. But with the benefit of hindsight the author decided to improve, modernize and extend Kapelka. The result was even better than you would expect. The font became even more soft and gentle and also gained some inward nobility due to more evident calligraphic base.