Introducing a new font is Bros Rover Classic Sans Serif. Bros Rover good for logotype, poster, badge, wedding invitation, book cover, tshirt design, packaging and any more.

Poing is an exceptionally elegant script, I took my fathers Penn font and pimped it to a higher level. It is perfect for invitations and business cards.

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Out of Line Pro BB is a comic book dialogue typeface with Greek and Cyrillic support, as well as a hefty compliment of European diacritical glyphs. It's the improved remix of Blambot's popular Out of Line BB set. Designed after Blambot letterer, Nate Piekos's hand lettering, it features opentype autoligatures, contextual alternates, and fractions.

Kate Slab Pro Ultra Expanded is a sophisticated and robust modern Slab Serif Typeface that works in a variety of design scenarios. It is designed to work in big attention grabbing headlines as well as in smaller text and even body text. The recognition value of Kate Slab Pro Ultra Expanded is its biggest asset in world of uniformity. Ranging from “100 Thin” all the way to “900 Black” makes Kate Slab Pro Ultra Expanded such an amazing and versatile font family that stands out. Kate Slab Pro Ultra Expanded doesn’t only work great in lifestyle and fashion related contexts but will also look amazing for restaurants, coffee shops or and other use cases that ask for character and identity. To fill all the gaps of a designer’s needs, Kate Slab Pro Ultra Expanded comes with an italic style with every weight. Those italics are equipped with unique and real italic characters and will make you love it. Being a Slab Serif Kate Slab Pro Ultra Expanded manages to remind you of a classic Font Family with a modern and timeless approach that will make you happy for decades. Monday Type can’t wait to see the beautiful designs you are going to create with our Kate Slab Pro Ultra Expanded.

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数多くの新聞社で使われてきた伝統ある「岩田新聞明朝体」を再現した「イワタ新聞明朝体」と、かなを現代風にアレンジした「イワタ新聞明朝体新がな」があります。

Van den Velde Script Pro is the definitive edition of the original Van den Velde Script, by Intellecta Design, a free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). This font has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script, merges modern necessities or better legibility without loosing the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith an evocative and voluptuous style of calligraphic script: Van den Velde Script PRO has - more glyphs than the original Van den Velde Script. We created hundred of new glyphs, deactivated old non-representative glyphs and redesign the remaining library of original glyphs. Van den Velde Pro is more functional, soft and beauty than the original. - to keep the powerful of this unusual kind of script we make a tour-de-force kerning work: 771 glyphs in this font was adjusted in 5400 kerning pairs handly. - hundreds of contextual alternates combinations, some of them with three or more letters, - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; .... and, much better, Van den Velde Scriopt PRO is plus cheap than the original font !!! In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. Van den Velde Script PRO has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Shanks Antique 5 Pro is an iconic antique English typestyle rooted in tradition. It is the historical revival and elaboration of the “Antique No. 5” typeface created by Stevens, Shanks & Sons in 1865. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Reviving history looks and feels good. Perfect for wedding invitations, historical ephemera recreations, and classically elegant text settings.

数多くの新聞社で使われてきた伝統ある「岩田新聞呉竹体」を再現した「イワタ新聞ゴシック体」と、かなを現代風にアレンジした「イワタ新聞ゴシック体新がな」があります。

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

The Data Error Vert AOE Pro family is another spinoff of my Data Error AOE Pro family. Quite simply, it takes on a slightly different feel than the original pin matrix grid by stroking across all vertical glyph lines. The vertical lines break up the readability somewhat of the original grid and lend a more tech vibe to the family. Check out the range of posters created to see the various Capitals, Lowercase, smallcaps and varying styles that the family has to offer and how it both differs from and compliments the original Data Error AOE Pro family.

This font was reworked by request. It is another lovely handwritten font made by Kimberly Geswein - with its long e and c it gets a semi-connected look. Perfect for text with a personal touch. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Might Makes Right Pro BB is an all-purpose comic book dialogue font inspired by Bronze Age comics. It’s designed to compliment a wide variety of art styles. The opentype version has autoligatures to swap out adjacent, identical letter pairs for a more organic look, and a wide variety of European characters are included. This Blambot classic comic book dialogue family has been updated with even more European characters, improved spacing and kerning, contextual alternate correction of errant serif-I, and a fourth weight, plain Bold.

The Data Error Horiz AOE Pro family is a spinoff of my Data Error AOE Pro family. Quite simply, it takes on a slightly different feel than the original pin matrix grid by stroking across all horizontal glyph lines. The horizontal lines add more readability to the original grid and lend a more sci-fi vibe to the family. Check out the range of posters created to see the various Capitals, Lowercase, smallcaps and varying styles that the family has to offer and how it both differs from and compliments the original Data Error AOE Pro family. Be sure to note that the "family" price is the same as the "individual" price, so buy the family for the price of a single font!

Square Sans Pro is one of Parachute’s most popular typefaces. It has been used by the likes of companies such as Samsung and organizations like the European Commission. Now a new version has been released. Square Sans Condensed Pro is a square-shouldered, modern and self-assured text typeface which lends style to a variety of projects. With its generous x-height, full-bodied counters and uniform stroke weight, it provides high legibility and uniform typographic color at all sizes. This is an exceptionally warm and comprehensive type family -with slightly rounded edges and softened curves- which possesses a robust and friendly appearance. The family consists of 12 fonts -from extrablack to thin- including true italics. It supports opentype features like small caps, fractions, ordinals, etc. and offers multilingual support for all European languages including Latin, Greek and Cyrillic. Download its complehensive PDF Specimen Manual for further details.

The M XiangHe Hei Simplified Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and Seol Sans (Korean). M XiangHe Hei is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Simplified Chinese.

Ornes is inspired by the runic alphabet with ornamentation based on the woodcarvings of the Urnes Stave Church (Norway), an old wooden church from approximately 1150 CE. The woodcarvings and their symbolism reach back to the pre-Christian era. The Ornes Pro styles each contain the runic alphabet, ornamented caps, small caps, ornamented small caps and other pro OpenType features (as shown on the "Pro" tab). Ornes Ornamented Rustic Pro features a subtle uneven lowercase, but does not include a set of regular uppercase characters.

Lamberet is a geometric sans-serif typeface, all caps display font. Has a clean, sharp and emphatic form especially suitable for headlines, headings, branding, posters, packaging, titles, logos or whatever. It comes in its italics forms for regular sharp and soft versions. - Uppercase

Garinstae Script Pro, is modern and classic handwritten calligraphy, so soft, perfect for your next designs, such as logos, printed quotes, invitations, cards, product packaging, headers and anything else from your imagination. Garinstae Script Pro allows you to create custom dynamic text. You can access by turning on; Alternative Styles, Swashes and binders in Photoshop, Adobe Illustrator, Adobe InDesign or via the glyph panel like Adobe Illustrator, Photoshop CC, Let's go from regular characters to alternate characters to get the text with the layout of your dreams. Garinstae Script Pro also includes glyphs, punctuation, numbers and multilingual. Thank you for your visit

Neue George Rounded is new geometric contemporary sans serif font family of 8 fonts with Soft edges. Designed with clean and stylized modern European geometry with harmonious appearance for both texts and headlines. Perfect companion for branding, editorial and signage, also works great for bigger applications. This typeface covers all kind of graphic and web design projects.

Superpop is sweet and gentle, a rounded geometric sans with a brushy script twist. Soft and refreshing like a soda, this font gets fizzy when geometric letterforms get mixed with script shapes you wouldn’t expect in a Sans Serif. A display family with two styles ( regular and italic ), 5 weights and an outline version for each style. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages

M Kai is a design inspired by the popular Kaiti developed in contemporary China. MKai adopts many features of Kaishu, one of the many Chinese writing scripts and calligraphic style. Yet writing style and constructions have been well-unified to meet quality as typeface. Its strokes has relatively heavier stroke beginning and finishing, as well as thinner middle part. It is catered for fine print with little conglutination. Its medium weight makes it more visible at distance and pretty versatile in use. Zhonggong are tightly built with ample character spacing for good individual character recognition. It is best suited for formal body text, set upright (non-slanted), non-condensed.