Japanese type designer Akira Kobayashi created this serif FontFont in 1999. The family has 6 weights, (including italics) and is ideally suited for book text, editorial and publishing as well as small text. FF Clifford provides advanced typographical support with features such as ligatures, small capitals, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. FF Clifford received several awards: the U&lc Type Design NY award in 1998 and the TDC2 award in 2000.

Polish type designer Lukasz Dziedzic created this display and sans FontFont in 2009. The family has 18 weights, ranging from Thin to Black in Condensed, Normal, and Wide and is ideally suited for editorial and publishing, music and nightlife as well as poster and billboards. FF Mach provides advanced typographical support with features such as ligatures, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system.

German type designer Albert-Jan Pool created this sans FontFont in 1995. The family contains 3 weights: Light, Regular, and Bold and is ideally suited for film and tv, small text as well as software and gaming. FF OCR-F provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic writing system.

French type designer Xavier Dupré created this script FontFont between 2002 and 2007. The family contains 3 weights: Regular, Bold, and Black and is ideally suited for advertising and packaging, logo, branding and creative industries as well as sports. FF Tartine Script provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Greek writing system.

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

SCR fonts are screen optimized (also called 'pixel fonts'). Unlike standard fonts (and like the few well-hinted fonts like Verdana or Arial), they give a crisp look on screen at very small sizes, thus increasing legibility. The perfect applications for those fonts are web pages and software user interfaces (computer, cellular phones, console games and any other system that uses a screen interface). Unlike most pixel fonts, SCR fonts contain kerning information. Kerning is the adjustment of space between certain pairs of characters (like 'AV') to make text look more fluid, thus increasing legibility and appeal. To benefit from this feature, auto-kerning must be activated in the application. In Photoshop, kerning must be set to 'Metrics'. Although SCR fonts are optimized for screen, they can be used for print (in Illustrator or Indesign for example) for a decorative 'computer text' effect. In this case, there is no constraint: they can be used as any other font. For screen use (in Photoshop, Fireworks, Flash... ), they have to keep aligned with the screen pixel grid not to look blurred or distorted. To achieve this, here are the guidelines to follow: RESOLUTION If the application permits it (Photoshop, Fireworks), document resolution must be set to 72 pixels per inch. SIZE The font size must be set to 10 (or multiples of 10) points. POSITIONING & ALIGNMENT The reference points of text fields and text blocks (upper left corner for left aligned text, upper right for right aligned text) must be positioned at integer values of pixels. In Photoshop, text can be precisely moved with [Edit Free Transform]. In Flash, movie clips containing text fields must also be positioned at integer values on the stage. Text must be aligned to the left or right only. Center alignment can be simulated with left alignment by adding spaces at the begin of each line. To dispense with the positioning and alignment constraints, text anti-aliasing can be turned off if the application permits it (Photoshop, Flash MX 2004). OTHER SETTINGS Leading (line spacing), tracking (letter spacing), manual kerning and baseline shift must be set either to integer values of points or to multiples of 100 units (depending on the application). Vertical and horizontal scaling must be set to 100%. Faux bold or Faux italic must not be used. The document must neither be resized on export, nor allow resizing (Flash Movies).

Rapier, designed by Martin Wait for ITC in 1989, is an impulsive, energetic script font with strong ties to the brush and advertisement typefaces of hte 1940s. The zestful capitals contrast with small, narrow lower case letters, lending the font its dynamism and liveliness. Desinger Wait reached the energetic, almost aggressive feel of Rapier with snappy base forms and especially with ascending strokes. For an optimal look it is advisable to set Rapier's forms near to one another, so that the ends of the strokes of one figure touch the beginning of the next. Rapier is best used for headlines and short texts.

Legan, created by PeGGO Fonts, is a typeface with a large number of glyphs. The uppercase letters follow the classical Trajan pattern. It is designed with several geometrical proportions such as root five, divine proportion (Golden Ratio), regular square, and others, just like the Greek Trajan letters used on Trajan’s Column. The major innovation is a lowercase that is designed in accordance with the same Trajan rules. My concern for the global community is reflected by the large number of diacritics I have provided, first on the basic alphabet, then on extended latin languages, as well as ones for Cyrillic and Greek. Because it is OpenType, there are various setup possibilities including traditional ligatures, as well as various alternates. Altogether you will find this a very playful, fashionable, and elegant typeface.

Bechtlers is a sharp geometric display sans font with roman proportion. Every character is in essence built from a rectangle (square), a circle and a triangle, and with just a little adjustment to make them appear optically equivalent. This font is equipped with some OpenType Layout Features such as fractions and ligatures, with the default layout for numbers being proportional lining. Tabular lining figures are also available to feature a more even spacing.

Easy Mind - Retro Script Font is a captivating retro script typeface designed to transport your designs to a bold and vintage world. Its distinctive style showcases the perfect blend of boldness and retro aesthetics, making it an ideal choice for various creative applications. This font comes with an extensive set of alternative characters, each offering a multitude of unique shapes and swashes, adding versatility and flair to your designs. Perfect for logos, packaging, invitations, greeting cards, posters, magazines, titles, business branding, and all projects with a retro or vintage theme, Easy Mind infuses your designs with a sense of nostalgia and timeless charm. With its bold and retro style, this font allows you to effortlessly channel the spirit of the past into your creative projects, giving them a distinctive and classic touch.

Introducing Bolt Display – picture this: uppercase letters with rounded corners, inviting you in with a warm, approachable embrace. Or, if you're feeling adventurous, the outlined uppercase stylistic set that adds that contemporary edge to your work. On the flip side, lowercase letters with sharp corners confidently declare their presence, while the lowercase outlined stylistic set strikes the perfect balance between structure and artistic freedom.

Monolith Pro is a futuristic heavy display that steals the show. This typeface is inspired by the popular Kubrick’s movie 2001: a space odyssey, from which the iconic monolith scene. The glyphs, in fact, have been designed to fill the rectangular shape, with the addition of minimal inlays to differentiate them consistently. While the uppercase is perfect for impactful headings and titles, the lowercase completes the main headline masterfully - but can also stand out alone due to its own distinguishable personality. The family includes 4 styles: regular, italic, outline and outline italic, to give more dynamism and sense of lightness when needed, in contrast with the heavy weight. Multilingual support is available.

The tale of Okiku Of The Nine Plates is an old Japanese story full of lust, deceit, murder and revenge. It tells of Okiku, a beautiful servant whose master lusts after her. After she refuses his amorous advances, he accuses her of stealing a costly plate and has her thrown down a well, where she dies. She then turns into an Onryō (a vengeful spirit). Okiku font is a thin, all caps, scratched typeface. Upper and lower case differ and can be interchanged. Okiku comes with an afterlife of diacritics.

flawless is a experimental typographic that combines san serif and groovy fonts, with the liquify technique, to create an elastic and fun impression, can be combined with sans serif, fixed width, script fonts, suit for branding, titles, clothing.

The Adelle family continues its stylistic expansion with the release of Adelle Mono and Adelle Mono Flex by Veronika Burian and José Scaglione. Monospaced typefaces are the default choice for developers and programmers and are also an aesthetic choice for many designers and communicators. The Adelle Mono font family has two widths to serve both breeds and a variable font for the flexible spectrum in between. Monospaced typefaces are born of necessity rather than purely aesthetic values. Each glyph is constrained to a strict box, making the naturally smaller ones the same width as the naturally wider ones. While this serves the functional purpose of keeping text aligned in vertical and horizontal rows, it is completely unnatural in terms of readability. A monospaced ‘l, i’ are overblown compromises while ‘m, w’ become compressed mutations. The Adelle Mono family was therefore designed with both the developer and the aesthete in mind. Adelle Mono respects its necessary constraints while still being visually appealing and easily read. Activate it for use in Sublime, Swift, Terminal, or your IDE of choice and see how well it performs. Clarity will lead to less developer mistakes, and its aesthetic appeal will make your work enjoyable. Adelle Mono Flex is the proportional width version that works for any kind of normal text reading or a design intended to invoke “system or information aesthetics”. Opposite the demands of the monospace family, Flex is reader friendly and intended for branding, annual reports, paragraphs, UI, logos, posters, screens, tables, captions, and more. Employ the Mono version where monospace is needed and the Flex version where reading or coherence is priority. Adelle Mono’s experimental 20-style design explores the space between proportional and monospaced types. It boosts creativity and coherence by providing flexible options in the same family, including italics and the variable font format with an axis of weight and a spectrum axis between multi-width and monospaced characters. Combining Adelle Mono with either Adelle or Adelle Sans adds more layers and adaptability to your work.

Snow Atisen is a festive and fun handwritten font. Perfect for adding a touch of holiday magic to Christmas cards, New Year's decorations, winter designs and other fun projects. Comes with 3 styles that you can mix and match. This font has the potential to become your favorite font of choice, whatever the occasion, spread the joy of the season with this unique font.

A handwritten font with long conections and small aperture and counter, a graceful and fresh rhythm to catch the eye attention. This script family is based on italian “bella scrittura”. The letterforms have been careful designed to grant this typeface with an effortless sense. Check the Opentype features window and discover an extended set of swashes to help you to give emphasis to the message.

Aglio was developed from letterforms originally painted by muralist/artist Tanya Zabinski. Aglio maintains the character of bold brushstrokes with random gaps and marks, and there are flourishes of articulated endstrokes. This typeface merges the looseness and freedom of hand painting with a decorative artistic sensitivity. Aglio (the Italian word for garlic) has an organic construction that evokes the spirit of this most assertive culinary favorite.

When drawing a new font, there is a time when the final form is found – almost – but the curves are not slick and clean yet, that's what I call the "raw" form. Raw – no sweeteners added! In this family I tried to redefine this moment in type development for the eternally beautiful "Franklin Gothic". I call the design "Franklin Gothic Raw", not to be confounded with "rough". The family can be used like any good normal typeface, you hardly see any difference to a conventionally cut "Franklin Gothic" in small sizes. The charm of the design becomes obvious the bigger it becomes, then it enhances your design with its imperfections in the outline. "Franklin Gothic Raw" is therefore an extremely versatile family. I created the cuts, that I considered necessary for the seasoned designer who knows what he's doing. Enjoy!

Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

Rollbox Rollbox is a font inspired by the development of technological modernization in the world of the digital visual industry, By adopting a modern style and a little combined with the beauty of the monospace style that can be found in small letters, Rollbox with 20 font weights & the addition of several alternative letters, this will be more enriching & more extensive exploration. Not only that rollbox letters can also be used in logo characters, writing short paragraphs will all work well with beautiful combination portions. Let's start design. With love & be happy.

"Natures" is a display font with decorative floral motifs encircling the ends of each character. This font brings a touch of nature and natural beauty into your typography. The letterforms adorned with circular flowers provide an artistic and organic appearance, making it suitable for designs that aim to express the beauty of nature or natural elements. The "Natures" font can be used in various design projects, such as nature-themed posters, wedding invitations with a natural theme, products focusing on environmental conservation, and more. With floral decorations surrounding its characters, this font can add a special touch to your designs.

Honess is a luxurious handwritten script font with a thick classic feel this font is perfect for craft artists to elevate their work into beautiful masterpieces. Honess is also great for graphic designers looking for a cute font for their work. includes : - uppercase, - lowercase, - standard punctuation, - standard ligature, - bigining swash. - ending swash - numbers. - multi lingual to use a character with a line prefix is quite easy, that is, simply by typing an unterscore is added to the desired character, for example (_a) then the character a will have a line at the beginning, as well as a ending swash, type the character then followed by an underscore (a_).

Hardipe is logo fonts with unique side that will make your logo and design looks more simple and stylish. With the unique characteristic lowercase, this font can make your logo even more stunning. You can use this font for any purpose, especially to make logotype. You can mix and match the uppercase and lowercase to make your logo more stand out. Hardipe also comes with italic version that have different vibes. This font also comes with number, symbol, and multilingual support!

Add imagination and spice to your next design project with the Blagak font. This elegant font can be used in any project. With a wide variety of fasteners and alternatives, Blagak brings a bit of vintage charm to any design project. Take a trip down memory lane with the Blagak font. This elegant font combines vintage appeal with contemporary design sensibilities to create a whimsical yet professional look. Use this font in any design project to add your own sense of nostalgia.

Introducing, Glendale - an extreme expanded sans family! Glendale is a basic sans font with unique lowercase form. With expanded lowercase, this font will standout and make a great choice for your next project! The important things is, you can access the special features with any software. You can use this font for any designs. Cool for logos and powerful for posters! With light, regular, and bold version, you can make your headline text more standout! This font also support Multi Language.

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day. At the root of Salden’s design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there. This set covers the gamut of Salden’s lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling. All the fonts in this set include Pan-European glyph sets. They’re also loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts. These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden’s original drawings, access to which was graciously provided by Museum Meermanno in The Hague. The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.

She may not be the heaviest font on the street but Thickset can throw her weight around with the best of them. Designed as a display font, Thickset is a solid slab-serif with thin counters that makes it ideal for publications like fashion and editorial magazines. But don’t get me wrong, she’s more than willing to give anything a try. Just as long as you respect her in the morning. In addition to ligatures and fractions, Thickset’s other OpenType features include old style numbers and small caps.

Can you imagine the delight that the printers of the Incunabula era would have had if they had such a tool as this font with a hundred and fifty glyphs of decorative capitals. The printers of that era were lucky to have more than a handful such delights. These Decorated initials and drop caps are all based on early period exemplars, dating to prior to 1525, from a wide range of printers such as Thomas de Blavis to Günther Zainer. Every Proportional Lime Font comes equipped with a complete character map.

Immerse yourself in the beauty of Arabic calligraphy with our new and modern font, inspired by the Kufic script, distinguished by its boldness and contemporary flair. This font is characterized by intricate details that highlight its elegance and strength, making it perfect for prominent headlines and verses from the Holy Quran. A masterpiece that seamlessly blends the rich heritage of Kufic script with the spirit of modern design, showcasing bold characteristics that emphasize the power of the letters and convey simplicity and sophistication. These designs offer a perfect balance between tradition and innovation, where the beauty of traditional fonts harmonizes with the boldness of modernity. This distinctive font highlights the unique details of each letter, making it ideal for emphasizing the beauty of Quranic texts and shedding light on verses with strength and elegance. Enjoy a fresh and modern experience with Alnajdi 01 font, adding a touch of allure and sophistication to your artistic and design projects.

PF Bague Slab Pro draws its inspiration from early 20th century slabs and was designed as a companion to Bague Sans, a versatile monoline typeface with a distinct and eye-catching personality. Following its predecessor’s design guidelines, it overcomes the monotonous and mechanical rigidity of early geometrics by introducing subtle variations in stroke width and semi-wedge serifs rather than square slabs. These striking serifs, along with a mixture of attractive letterforms, exude a strong, modern and energetic personality at display sizes. On the other hand, at small sizes these distinct characteristics become subtle and the simplistic geometric personality of the typeface comes in place to offer a highly readable text. Bague Slab Pro is a very clean and legible typeface with a warm and well-balanced texture which is ideal for editorial design, branding and corporate identity. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. The italics are slightly narrower than the romans with cursive characteristics. Each style consists of 718 glyphs with 13 opentype features and an extended set of characters which supports simultaneously Latin, Cyrillic and Greek. PDF Specimen Bague Slab Pro on Behance

Introducing Sofachrome—the epitome of the modern, the pinnacle of the sleek, and the embodiment of high-tech design. Its extended futuristic letterforms will take your project to the next level, while its streamlined, industrial contours will give your work a feeling of durability and strength. This typeface is not just any ordinary typeface. It has been specifically designed to evoke a sense of futuristic innovation, with its bold thick and thin stroke contrast that provides a striking impact. Its sleek and polished finish will leave an unforgettable impression on anyone who lays their eyes on it, making it perfect for designs that demand a high-speed and technical efficiency. With five sleek weights and italics, Sofachrome is versatile enough to use in a variety of projects. Whether you’re creating a high-tech ad campaign, designing a futuristic poster or even creating an eye-catching logo, this typeface will help you achieve the desired impact. Sofachrome is not just a font, it’s a statement—a statement of quality, precision, and sophistication. So why settle for anything less when you can elevate your designs to the next level with Sofachrome? Choose Sofachrome for your next design project and see the future of design unfold before your very eyes. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A soft spoken sorceress whispers sweet somethings in your shell-like ear. Her words excite and enthrall, tantalize and tease, they soothe and seduce, stimulate and sustain you, they awaken and arouse you, they entice and engorge you, they -- oh, I'm sorry, what was I supposed to be saying? Oh yeah, from the pages of DC Comics' Vertigo title, THE WITCHING HOUR, and Joe Kelly and Chris Bachalo's STEAMPUNK, Comicraft is happy to make available one of our most requested fonts... Hey, what happened to that cute girl with the white hair? And, Hey, Where's my wallet?!?

Graphite was designed by David Siegel, who began thinking about the typeface in 1982, looking for an architect's handwriting with a chiselled pencil" look. The handwriting of San Francisco architect Anthony Celis LaRosa became Siegel's choice. With the assistance of David Berlow and Tom Rickner, Graphite was designed and released as a multiple master typeface with weight and width axes that allow for its use in a dynamic range from light condensed to black extended. Graphite is an upright script with simple lines, and is usable in a large variety of informal copysetting situations."

I designed a Morse-Code font in the mid 1990s, but when I decided to update it, I found enough problems with it to completely redo it. I hope I got all the mistakes out. There are two fonts in the package. One of them shows the letter key with the Morse Code equivalent.

Frutiger® Serif is a re-envisioning of Meridien,a typeface first released by Deberny & Peignot during the 1950s. Working closely with Adrian Frutiger, Linotype's Type Director Akira Kobayashi expanded the original metal type version of Meridien into a new digital family of 20 variants. Renamed Frutiger Serif, this up-to-date Meridien has new weights, widths, and styles that correspond better with several other of Frutiger's designs. Just as Meridien has always been a fine choice for text settings, Frutiger Serif works brilliantly for large amounts of text & also at small point sizes. With its many weights and styles, this family is strong enough for most typographic projects. However, its added versatility is revealed when used in combination with other fonts. Frutiger Serif works well with the original Frutiger, Frutiger Next, and Univers - just to name a few. Paring these serif and sans serif families together is perfect for creating complex hierarchies and clear information design. Working with complicated typographic systems - involving elements such as headlines, captions, pull quotes, multilingual text, etc - is made easy by selecting Frutiger Serif and another of Frutiger's sans serif families. The designer needs simply to mix and match different weights and styles for the various textual elements to create smart and innovative layouts.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

The font that I made last year and was just ready today, is very attractive with the latest trendy style, it will really satisfy you if you use it in all your work, be it on social media or your handiwork. because this font has many alternative letters according to your wishes such as capital letters which have four replacement letters and lower case letters which have various swashes and alternatives and also heart connectors. Of course this font will have many choices of how to use the characters and is also very cute. has 591 glyphs equipped with uppercase letters, lowercase letters, numbers, punctuation marks and also language support. Thank you for checking out and purchasing my font

American type designer Michael Abbink created this sans FontFont between 2006 and 2008. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising, packaging, book text, editorial, publishing, logo, branding, small text as well as wayfinding and signage. FF Milo provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters.It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2011, FF Milo received the Letter.2 award. This FontFont is a member of the FF Milo super family, which also includes FF Milo Serif.

Piano Keybuild is a small font designed for creating piano keyboard layouts. It was inspired by my Yamaha CLP-840, a wonderful digital piano. The face consists entirely of keyboard keys that can be combined to form realistic keyboards. These keys come in four styles: basic outlined keys, filler keys (for adding a second color inside the outlines), keys with note names, and pre-made sets of keys. Keys of a given kind will kern with one another, but only in the order that they would naturally occur on a keyboard. (This makes it easier to spot incorrect key sequences.) It also includes digits 0 through 9 inspired by numerals used in traditional music notation. The user guide (PDF under Gallery tab) demonstrates the locations of all the glyphs as well as how to use them together effectively.