Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

Essay is an elegant serif typeface intended for setting books, with many stylistic alternates and other typographic goodies, designed by Stefan Ellmer. It is a highly legible text face with a natural flow of reading. This is enhanced by a slight slant of the roman, the combination of open and closed apertures and the amalgamation of organic strokes and counters with a static, fully straight baseline. Essay Text Regular looks back to the spirit of the french Renaissance, when the roman typographic letterforms came to full emancipation. Departing from that historical reference, Essay Text gets rid of all sentimental antiquity and becomes a contemporary interpretation of the “archetypes” of that period. Essay Text Italic refers to that more vaguely, resulting in a formalised look with fairly upright and open shapes and little cursiveness. As in the Renaissance, before the mating of roman and italic, Essay Text Italic works as a separate text face and a perfect secondary type. The name Essay derives from the literary meaning of the word, attempt or trial. Therefore, the typeface Essay can be seen as an attempt to express an opinion about reading, the omnipresence of history, the importance of calligraphy and the importance to deviate from that calligraphic source; as well as an attempt to crystallise lettershapes in balance between convention and the designer’s personal idiom.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

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

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

Fonton is a contemporary and modern bigger display font, inspired on bigger ton barrel shape, designed as posters font, with very soft curves drawing each stroke, The project regards 2 weight sizes, regular & small. Is useful in poster but also in covers and headings, letterhead, magazines, POP & Graphic culture, hip-hop topics, urban representations, and big sizes prints, Volumetric 3D shapes, etc. Now decorative ligatures, alternates and figures as the same graphic style as Fonton all powered by OTF technology.

Round Squeeze Monogram Font is a perfect round shaped monogram font consisting of 78 letters and 3 frames. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Round Squeeze Monogram Font comes with font file in .otf format. It features all the modern advanced font features such as contextual alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Hollistic is a sweet, versatile, unique and flexible handwritten font. Warm, jovial and compromise. This font will turn any of your project ideas into anything true works of art! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! These fonts include: OTF files. Displayed fonts: Uppercase, Lowercase, Numbers, Symbols, Accents, Styles, Swashes and Ligatures also Multilingual Support Enjoy the font, feel free to comment or feedback, send me a PM or email. Thank You!

Bannertype is – at least for my feeling – the most German of all fonts. It was used heavily mostly in newsprint and advertising in the early 1900s. I designed a dirty version of the narrow font in 4 stages of dirtiness, plus one free shadow font. Since the font has too many points I cannot generate a OTF-version, I am over the limit for that. But I have tried this TrueType version and it works like a jiffy in MacOS 10.8.2!

Gilmore Sans Extra Bold Extra Condensed Titling is a sans serif typeface that was inspired from early designs by the renowned English typographer Eric Gill. It was designed in 1992 by A. Pat Hickson (P&P Hickson) and Steve Jackaman (ITF) exclusively for the Red Rooster Collection. It has a clean, fresh, sturdy feel that is exceptionally powerful at display size. The typeface lends itself well to a variety of projects, including everything from packaging to signage to high-profile advertising campaigns.

This quasi-Chancery classic is a revival of Walter MacKay’s Heritage typeface, made for ATF in 1952. Walter is clean and legible free-flowing calligraphy with a subdued, conservative and traditional letterform base that can be used in large sizes for posters, covers and packaging, as well as in relatively small sizes for personalized letters, poetry and quotables. Walter comes with 430 glyphs and support the majority of Latin-based languages. Plenty of alternates and ligatures are sprinkled throughout the font.

Cats OTF color font. Creative set of characters, kittens pictured in a variety of poses. 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/

Introducing Bigtime! If you are looking for a powerfull signature font for your branding and project design, Bigtime script is the best choice. Bigtime script creates a natural, modern and luxury style. A powerful identity will give more value for your work, so you need this in your branding. What's Included: Bigtime file in OTF Swash glyph (a-z) Alternate glyph (g,j,yz,r,t,) Multilingual support Numbering and punctuation. Easy to use Let's make your designs great! Best, Donis

This family was inspired by a font carved circa 1590 for a Polish editor. We don't know who was the punchcutter, nor the printer's name. We have added the special East European diacritics (Czech, Hungarian, Romanian, Croatian, Slovak, Slovenian, Sorbian )as the original font has only the Polish accents. It is a Garamond type, like our 1592 GLC Garamond or 1589 Humane Bordeaux, rough and a little approximate, but attractive. We recommend using OTF version with Windows Vista, providing a best compatibility.

Introducing Lethbridge a luxury handwritten font with a personal touch. Lethbridge script is ideal for a variety of projects that require a handwritten touch, such as branding and logo designs, wedding invitations and stationery, social media posts and advertisements. Lethbridge Script (Regular, Caps, and Tails) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures Multilingual Support for ä ö ü Ä Ö Ü … OTF file format Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Ratieka is a stylish, modern font that is perfect for use in fashion-related design projects. Its elegant letterforms make it ideal for branding and logo design, while its high level of legibility makes it perfect for use in websites, advertising, and other types of communication. Features. Supports all languages in the world (37) Versatile Single Font. One font for all needs. OTF File Ratieka is perfect for modern fashion brands or any projects that require a high-end feel.

Assembled for those less commercialized holidays, LTC Holiday Ornaments features over 80 printers' ornaments from Lanston Monotype and other historical foundries such as BBS and ATF. Holidays include Easter, Valentine's Day, St. Patrick's Day, April Fool's Day, Thanksgiving and 4th of July. There¹s even a pirate to represent international "Talk Like a Pirate" day. LTC Holiday Ornaments joins the Lanston Collection alongside the popular LTC Halloween and Christmas Ornaments. LTC Holiday Ornaments contains additional Halloween and Christmas ornaments as well.

Six Sided Monogram Font is a perfect shaped monogram font consisting of 78 letters and 1 basic frame. With just a single font file you will be able to create beautiful monograms in just a matter of minutes after the purchase! Six Sided Monogram Font comes with font file in OTF format. It features all the modern advanced font features such as Contextual Alternates, effectively eliminating the need to use multiple separate font files for left, center and right letters.

Regain - Beautiful Serif Font Regain that is a font mix of old and new. This typeface has been made carefully to make sure its premium quality and luxury feel. The combination with the width of each letter forms a modern feel and is suitable for various magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Feature - Regain (TTF) - Uppercase & Lowercase - Numerals & Punctuation - Multilingual - Ligature Drop any message if you any question, Thank you! Fridaytype

Quiller is another catch from the hot metal days, another one that managed to slip through the fingers of both the photo-typers and digitizers of last 4 decades. JJ Sierke’s Privat design from 1966 is now resurrected and heavily extended to be used by computer users everywhere. The original design was revived, and two whole new fonts were added to it - one with very unique swash caps and alternates, and one with many many ligatures and letter-combination ornaments. Quiller is a cross between brush calligraphy and very casual fast handwriting. It even has a slight Arabic simulation to it. Given such traits, the addition of a swash font and a multitude of ligatures comes in very handy to keep the natural flow of the font and maintain the elegance of its spirit. Those who like the auto-magic of OpenType’s intelligent substitution should like the fact that the OTF version is a single font with all the bells and whistles ready to go in the swash and discretionary ligatures features. If you use the latest versions of Adobe programs, the OTF version of Quiller is highly recommended.

PTx Flowers Font Family 2 fonts: regular and silhouette each font - 6 glyphs TTF format Bear in mind that each glyph of the font PTx Flowers Regular is close to the maximum limit of points possible in ttf, which means that despite being tested in several programs, illustrator, photoshop, among others including word, some bugs may occur, depending on the rendering capability of the program you are working on. I found however that most of the time, that by the way the bugs, when tested, were only verified in word, that changing the size of the letter/glyph or even the zoom of the document, the letter/glyph was rendered correctly. These fonts have a very limited number of glyphs because, due to the glyphs having too many points, it can take some time to render. This will depend on the capacity of the machine's graphics card (computer, tablet, mobile phone). Hence a low number to take as little time as possible. See at work in word: https://youtu.be/PIMBlja2I5k See ar work in illustrator: https://youtu.be/RJp9X9TQ4so See at work in photoshop: https://youtu.be/yvrBmCJ80pc

Bitelover is an enchanting font duo brush script typeface with sans serif. clad in an exquisite accents, casual-chic, perfect for you who want a perfect and fabulous font! Suitable for many design projects such as logo design, branding, packaging, blog graphics, stylizing quotes, wedding stationery, art prints, collateral design, packaging, social media, and so on. I’ve truly enjoyed the process of creating this font collection and hope that it will bring some magic into your projects! Whats i get? Bitelover. OTF Bitelover Sans. OTF Whats Includes: Uppercase and Lowercase, Numbers and punctuation, Stylistic Alternate, Discretionary Ligatures, Multilingual Languages Support, Symbols and more. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer and also equipped with Multilingual support. So, let's get it! Thanks and enjoy your day ...!. :)

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia. The new font, although not significantly detached from the classical Roman form, introduced decorative elements that allowed its use in both rational and artistic compositions. This font appears very clear and easy to read, with very high ascenders and some decorations that make it distinctly retrò. Finally, after almost 100 years, this peculiar character has been digitized taking it as a model the shapes of the 16 points size (other dimensions have significantly different contrasts and proportions). To adapt it to modern use, some glyphs have been modified, but all the originals are available as Stylistic Alternate OTF, as well as all the swashed variants while the missing ones were added.