Introducing Yenisei - a modern serif font inspired by unique typography and lettering found in luxury serif styles, combined with modern typography elements. Yenisei features modern ligatures that allow you to create beautiful lettering and artwork. The font also comes with open type features, including alternate glyphs and end swashes, providing you with creative options for your designs. Yenisei is perfect for a wide range of design projects, such as logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its versatility makes it suitable for various design applications, adding a touch of elegance and modernity. To access the alternate glyphs, you will need a software program that supports OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, or Corel Draw. This allows you to fully utilize the font's design possibilities and create unique compositions. Your zip package will include the Yenisei font files in otf, ttf, and woff formats, providing compatibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, giving you all the essential elements for your designs. Yenisei also supports multilanguage characters, making it suitable for designing in various languages. Whether you're creating designs in English, Spanish, French, or any other language, Yenisei has you covered. In summary, Yenisei is a modern serif font that offers unique typography and lettering with a touch of luxury and modernity. With its open type features, multilanguage support, and versatile design applications, Yenisei is a great choice for your creative projects. Thank you for choosing Yenisei from our collection. Happy designing!

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

Imagine a font that is easier to read the smaller it is – or the further away the text is. There are already many rasterised fonts, I wanted to take it to the extreme and use as few dots as possible. The result is a typeface that lives up to its name. Each individual circle makes no sense on its own; individual letters are only recognisable in the context of all associated circles, individual letters are most likely to be recognised in the context of whole words. Attached to a building wall, text would be readable from a great distance and become increasingly difficult to decipher the closer you get to the building. Placed on the ground or on a large flat roof, text would only be readable from a higher building, an aeroplane or - depending on the size - in Google Earth. Kontext has old style figures, superscript numerals, case-sensitive questiondown and exclamdown and an alternative ampersand, 390 glyphs at all. Use the same value for font size and line spacing to keep the lines in the grid, or change the line spacing in 10% steps. Change the spacing in 100-unit increments to keep the grid. The numbers in the family- and style-names refer to the (ca.) grey value of the respective background and the font itself. Kontext Dot 00-33 has e.g. a white background (0%) and 33% grey value. Kontext Dot 66-33 has a 66% background and 33% grey value. »Positive« styles (first number smaller than the second number) have kerning, »negative« styles (first number bigger than the second number) can have none.

We are very happy to announce the release of our first collaboration with master calligrapher, designer and illustrator Gabriel Martínez Meave from México. The first in the series of new designs is Wordless Script, an emotional calligraphic typeface published by Sudtipos. Speechless. Breathless. Wordless. There are letters that transcend simple functionality and sheer legibility, to be recognized instead by their style, their charm, their emotion. It’s like when we don’t remember the exact sentences, but we recall the tone of the voice of a loved one: it just doesn’t matter WHAT he or she said, but HOW he or she said it. Wordless Script is the font of choice for writing those things that go beyond words. Based on the connected-scripts of late 18th-century England, this typeface preserves the irregular finish and gestural strokes of the pointed nib. It is, so to speak, a personal rendition of the English roundhand as originally executed with the bird’s quill. Imbued with a Rococo, neoclassical, romantic spirit, Wordless radiates the gallantry of a time when the celebrated «douceur de vivre» that Talleyrand was so fond of was still alive and well; echoes of which still haunt us in our eclectic 21st-century, which has once again come to appreciate these magnificent styles of old. Wordless features alternate variants of most letters, ligatures and multiple calligraphic endings, ideal for elegant labels, high-end packaging and personalized stationery, as well as compositions for selected brands, exquisite titlings, verses, letters and short texts, like those meant to be read with the eyes only or intended for whispering into someone’s ear.

Archemy is a restricted and obscure branch of Alchemy that deals specifically with the life, generation and transmutation of Metals. The Archemy font is primarily a magical and alchemical alphabet. It was created on initiative of Senior Zadith, in order to properly quote older alchemical manuscripts, without the need to insert handwritten symbols. The font combines a unique and elegant Roman alphabet with a set of the most frequently used planetary and alchemical symbols that are common in the Western Mystery Tradition, and as used by those involved in the Royal Art. The Archemy font contains a selection of symbols that are still used by practitioners of the Art today, and for the sake of completeness, a selection of less used and more arcane symbols that can be found in older alchemical texts. In addition a Hebrew Alphabet is included, which will supply practitioners of the Art with the glyphs related to Cabalistic studies. The Hebrew Alphabet in this font does not include vowel points, since they have no place in ancient Hebrew, nor in the Western Mystery Tradition. A selection of the most distinct glyphs as used in the Antediluvian font family - the Alphabet of the Ancients - is included for those that wish to include the archetypal and arcane quality of these glyphs from the dawn of history. By our knowledge there exists at this time no font that includes a selection of Alchemical symbols, let alone combines all of the above mentioned archetypal symbols of occult language in a single package. In that respect Archemy can be considered to be an “Arch” font.

Prosper Rules is a distinguished serif font that exudes sophistication and refinement. With its timeless serifs and carefully crafted extended lines, this typeface brings an air of elegance to your designs. The defining feature of Prosper Rules lies in its extended lines, gracefully integrated into select letters. These extended lines add a touch of distinction and visual interest, elevating the font's overall composition. Each letter is meticulously designed to strike the perfect balance between tradition and modernity. Inspired by classic typographic elements, Prosper Rules captures the essence of timeless beauty. The serifs, with their subtle flares, provide a sense of stability and sophistication. The extended lines offer a contemporary twist, infusing the font with a touch of creativity and uniqueness. The uppercase letterforms of Prosper Rules are meticulously crafted, showcasing clean lines and well-balanced proportions. The extended lines, thoughtfully placed in specific letters, create a sense of flow and purpose. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Prosper Rules fits for headings, titles, logos, and any design project that seeks to make a refined and memorable statement. Whether you're working on editorial layouts, branding materials, invitations, or any project that demands a touch of sophistication, this font will lend a sense of timeless beauty. It is particularly well-suited for applications related to luxury, fashion, fine arts, and high-end products. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

Whassup y’all! Me and my bros got this li’l gang together: we is Ringo, and we got da bling, yo! We is da typeface family for ya all! We got some real sweet stuff for ya, some nice characters. We got all ’em OpenType features like fractions and proportional figgers, we even got da cubic root, man! And check out da question mark, man, is real sweet. And the ampersand, yeah! I luv ’em ampersands. Now my brothers over here got some light action for ya, and they got some real bold action for ya. We got some nice foxy curves goin’ on, some nice tension, and some nice relaxation. My bro Light over here is kind of like the subtle guy, ya know. He’s in for the female fans, ya know. Heh! Hell, yeah! And man, we speak like 84 languages: we speak the German, and the French, and the Spanish, and we speak the Polish, and the Czech, and the Hungarian, and we even speak Shambala and Swahili and Rundi, and we got some Esperanto thing as well for ya. And check out my bro Black right over here, he’s like the action superhero, man! He’s got impact, man! Yeah yeah, but you know, my bros Regular and Bold are the real deal. Them is like da word of da street, man! Like da word of you, and you. And we got a message for y’all: life is hard, life is real, but you should work your mojo, be smooth, be nice, chill. We got all them kerning pairs, and all them weights, and we got ’em alternate letters. So check us out, yo!

Beyond broadcast Like Truman Burbank, the star of The Truman Show, FS Truman was born for TV. You’ll know it from Sky One’s on-screen trails and announcements, but it’s just as at home in other media. Its starting point was the skeleton of a highly legible, space-saving, corporate font with some of FS Dillon’s geometric discipline built in. Its distinctive tone of voice and “ownability” are in its boxy but friendly shapes, and characters with hybrid features. FS Truman’s weights and widths were honed to work at TV screen resolutions. A face for TV it may have been, but this is a font that works on every level, on screen, in print, in headlines, in listings, in longer text, in tight corners and open spaces. The space-saver Compact, condensed but crystal clear, FS Truman comes into its own where a lot needs to be said in not a lot of space. Its letter spacing allows the type room to breathe, even at small sizes, while its fulsome x-height and diminutive descenders pave the way for tighter leading. A natural for headlines and titles over three or four lines. “Hybrid” features With every font, Fontsmith look for crafty new ways to imbue letterforms with a consistent character. The idea with FS Truman was to introduce “hybrid” features. In open letters such as “c” and “s”, for example, the top terminals have straight, vertical cuts while their lower terminals have a more angular, cursive finish. Boxy, spacious forms with unusual curves and angles create not just highly legible and efficient letters but strongly distinctive ones, too.

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

I've been learning to read Cyrillic and Greek letters lately, mainly because I've been playing the game GeoGuessr. (If you haven't played it, I highly recommend! It plops you down somewhere in the world in Google Street View, and you have to figure out where you are.) Cyrillic shows up in so many more places than Russia! You can see it in Bulgaria, Mongolia, Serbia, Montenegro, Kyrgyzstan, and more. Because of that, I made sure to include a fun double-uppercase version of those alphabet sets in Sleepy Bear. They're styled the same way as the Latin characters: all uppercase height, with some lowercase-styled letters thrown in at that same height for a fun look for all ages. I've also made two weights of Sleepy Bear: a plump and smooth regular weight, and a lighter weight that's built to stack on top of the regular (though you can use it on its own). Just type out a word in Sleepy Bear, copy it, and then change the copy to Sleepy Bear Light. You'll get a great outline look in seconds! All characters are extensively cleaned up, with smooth curves and rounded ends. Sleepy Bear is great for all print projects, and also cuts out of all materials like a dream. It's a cute and quirky monoline font family that's great for all of your family's designs. Each font contains over 850 glyphs, and includes: - Latin and extended Latin characters to support over 100 languages; - Cyrillic and Greek double-uppercase alphabet sets; - 18 fractions; - Punctuation galore; - 38 double-letter ligatures for variety (including international pairs like KK and II); - And a half-dozen alternates for even more variety!

Chordette Mandolin Chord Fonts are tuned GDAE and support Mandolin, Irish Tenor Banjo and Irish Bouzouki. Create a Mandolin Chord Chart quickly and easily. Mandolin Chord Fonts Chordette contains high quality Mandolin chord fonts. Each mandolin chord is mapped to a specific key on the keyboard, so you can type out chords. It’s a lot easier than dealing with images to create a Mandolin chord chart and song sheets. It’s a favorite tool for teachers, music therapists, and musicians. What instruments are supported? Chordette for Mandolin is tuned GDAE and supports Mandolin, Irish Tenor Banjo, and Irish Bouzouki. Chordette is available in multiple tunings for most stringed instruments. Most versions of Chordette support multiple instruments. App / Instruments Supported / Tuning Chordette for Guitalele / Guitalele, Baritone Guitar / ADGCEA Chordette for Ukulele / Concert Ukulele, Banjolele / GCEA Chordette for Soprano Uke Soprano Ukulele ADF#B Chordette for Baritone Uke / Baritone Ukulele / DGBE Chordette for Mandolin / Mandolin, Irish Tenor Banjo, Irish Bouzouki / GDAE Chordette for Banjo / Banjo /gDGBD Chordette for Tenor Banjo / Tenor Banjo, Tenor Guitar, Mandola / CGDA Chordette for Guitar / Guitar / EADGBE Each version of the Chordette font uses the same chord sets and keyboard mappings. If you play multiple instruments, you can create a chord sheet for one, then use another Chordette font to transpose the song to another. For example, you can create a song for Mandolin, then instantly transpose it for Guitar and Ukulele. Simply by changing fonts! Chordette for Mandolin is priced at $10, which includes the Mandolin chord font sets for both Mac and Windows. For help and support, please visit https://ukefarm.com/chordette/help.html

One of the most widely used typefaces in the world is actually a legacy of 18th century aesthetics, representing the spirit of late Baroque design, architecture, fashion and society. It has been created and printed for millions of readers around the world for more than two and a half centuries. It influenced many modern typographers. It shaped culture, education, entertainment and science, but also the development of typography itself. As a calligrapher and technical innovator, Baskerville invented new design, papermaking and printing methods, and his typography is very natural and legible to this day. Graphic design today calls for clean and minimalistic solutions, where the use of historical typefaces can achieve a vivid contrast with contemporary elements on the page or screen. Baskerville is undoubtedly the best choice for any kind of publishing house. In keeping with the original inventor’s spirit of excellence, we hereby offer its most advanced digital version. This is not a precise remake of rare Baskerville prints or a restoration of the original punches cut by John Handy, but rather our ideal essence of transitional typography. The old masters were limited by the technology of the time, but today we can dare to have very fine lines, unlimited ligatures, size variations and sophisticated OpenType functions. Drawing, programming, proofing and testing took us many years of development and brought thousands of new letters and dozens of language options. We are convinced that your readers will enjoy this font mainly for reading extensive works, but also for creating corporate identity, orientation systems and cultural posters. Baskerville is perfectly modern in its antiquity, striking in its modesty and timeless in its transiency.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

Say hello to another of my hot and trendy scripts, Hot Script! I got the inspiration for this one in the world of sign painters. My neighbourhood, and more specifically the avenue were I live, is very well known for its ''parrillas'': For those who don't know what this means, well, it may be better to live the experience rather than reading these lines. Villa Urquiza is full of restaurants with an argentinian flavour, with a ''gauchezco'' feel. Here you can taste some of the best ''asados'' in the entire world. Ok, this made me hungry, let's go back to type: These amazing venues still mantain genuine elements from the past, and try to preserve the beauty of the handcrafted. Parrillas of Buenos Aires have all their walls, windows and doors lettered with chalk or paint. I've always wanted to make a font out of that, and Hot Script is my first attempt. I believe the results are great! Hot Script follows some rules of the flat brush (see terminals, and tails especially in caps) but its contrast of thicks and thins was manually altered to make the font better for a wider range of uses. Although the sexy curves and versatility of Hot seemed to be enough, I decided to spice it a little more by creating some layers for it: Hot Script Shine Solo or Hot Script Shades Solo combined with Hot Script will give outstanding results. (Look for them combined in the posters above and dare to deny it!) Go make your project more savory! This font is Hot, hot, hot!

Italiano Fushion is part of an expanding project on which we have been working for several years and is the colors ersion of ITALIANO FUSHION. Starts from the study of the great Futurist adventure of the early 1900s by great artists such as DEPERO and MARINETTI, who twisted the world of typography with shapes and colors. Italian Fushion is made up of almost 2,000 glyphs for each weight and in addition to hundreds of alternatives mainly, such as initials and endings of each word but also different alternatives for the letters I, J, Y. Thanks to the characteristics of Open Type, you can change them in automatic many of the alternatives, use it as a simple text font by changing only the I's and J's that have the typical capital dot, and giving the text a more fun breath to the composition. Italiano Fushion is suitable for large texts and to get the most out of it it is compulsory to transform the text into UPPERCASE text using the tabs of graphic applications such as Illustrator, or activate the Alternavive tabs and the various options of SS. You just need do a sandwitch between the 1 ( on the top ) and the 2 ( on the bottom ), choose the 2 different color and you hae finished. by transforming them into traces you can enrich the interaction between the two levels with nuances of pleasure. If you would like to be above layer 2, you can make the text parts transparent without swashes. Ideal for creating Logos, Head Lines, Web Titles, Posters, Epub Covers, Tatoo Projects, T-Shirts, Drink Labels ...

Who doesn't want or need an expansive contemporary extended sans that has a sense of style and swagger… what if it had a lowercase, small caps and various numeral options… how could you say no? This was the foundational argument I made for myself when I drew the initial alphabet on my birthday last year (something I do each year, draw a new font, kind of a fun OCD thing). I wanted to see a wide, utilitarian sans that had more to it than just a basic character set and didn't resemble standard geometric models. As I continued sketching, the letterforms were being influenced more by my 'lettering tendencies' than the normal mechanical trappings of drawing flat, wide letters. The letters have retained aspects of letters created by hand — stresses, modulation, naturally ending terminals. Truncation and quick clipping of strokes became antithetical to the letterforms I drew, so I continued this once I brought the design into the computer. I kept it precise and dependable, but made every attempt to keep a conscientiously crafted typeface and not let it devolve into a grid-based drone. As such, it works just as well looking back in time as much as it does assuming a lead role in a sci-fi movie. Halogen does deliver and opts not to take a short cut and provide an anemic offering of glyphs — a modern typeface offered today must provide more than just the basics and this one does — lowercase, smallcaps, old style numerals, tabular forms, stylistic and titling alternates, fractions, case-sensitive features, and even an alternate uppercase ordinal set is included. So go make cool print and digital things with it, now.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

Makika Sun enhances the handwritten expressive possibilities of an architect mom and a graphic designer dad in Bogotá, Colombia. In other words, it is a versatile handwritten font family designed for writing short messages in children's contexts. Makika Sun shines for its conceptualization and logic, combining ideas from the American calligrapher Austin Norman Palmer and the Italian calligrapher Ludovico degli Arrighi. Makika Sun, a creative font family specializing in titles and paragraphs for children's books, emerged in 2009 and has developed over the years. Its essence lies in the simplicity of handwriting. In 2023, Makika Sun was applied in the book "Secret Files Tardigrades 1" for children ages 5-6 on Amazon from MyMicroSchool. The main goal of Makika Sun is to emulate handwriting that is legible and accessible to everyone. Makika Sun stands out for its readability and uncomplicated, artisanal style. It offers four typographic styles that simulate different calibers of markers: thick tip (Makika Sun Black), medium tip (Makika Sun Bold), normal tip (Makika Sun Regular) and Makika Sun Dingbats, a set of arrows and figures perfect to enrich your writing. . In short, Makika Sun's versatility and stylistic uniformity make it easy to create writing in various typographic settings. Its typographic heart communicates harmony in messages meticulously designed for spontaneous contexts that require high readability. Makika Sun offers a dynamic range of styles in 4 fonts notable for their outstanding performance in the field of children's book design and the creation of playful brand identities.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

High-contrast & all handmade – the powerful Sofa Sans. Sofa Sans is a hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, food- and logo-design and will best stand out in huge grades. Its handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. Two optical sizes and extra shadow-, 3D-, inline- and hatched-styles make Sofa Sans a flexible solution for any display need. Sofa Sans now has a sister: view Sofa Serif here. · The family boasts 4 weights from a monolinear Thin to Black, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. · High contrast is one of Sofa Sans’ key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. · Sofa Sans includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings, Stylistic-Sets for even more alternative glyphs as well as a “random-double-letter-feature” with “Discretionary Ligatures” activated. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Sans do the rest. Please download the SofaSans-OpenType Feature Guide from the gallery for further details. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Sans Hand/ 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Anna Gagarin is the loving matriarch of the Gagarin Family. Her life was full of love and passion. She had several affairs with Futurist and Contstructivist artist in the beginning of the 20th century. She was in love with the Russian poet Vladimir Majakovski (born on July 19th, 1893 and died in Moscow on the April 14th, 1930). She gave birth to his son Boris. She called him 'a cloud with trousers'. After this love story, Anna Gagarin met the designer and artist Gustav Klucis in Italy. His radical and political ideas were much too childish for her. After a period of love and passion Anna gave birth to his son. At that time they were in Italy, which explains his italic forms. After her return to Moscow in the beginning of the 1920's Anna was introduced by Alexander Rodchenko. They were heavenly in love but Ilja Stepanova was very jealous on her husband. Anna once said that 'Alexander fills mine construction with love...' That phrase can be an explanation for the term Constructuvism as an art movement. Alexander was the great love of Anna. She gave birth to their love-baby Dimitri Gagarin. That night Alexander designed his most famous poster. A decade before that Anna told it was
'a time for a change'. In a local bar in Sint Petersburg she met Gregory Rasputin. At that time Rasputin was a well known person and a respected member of the Sint Petersburg upper class.His diabolic character influenced Anna and after several months she gave birth to their son Kurt. He inherited the main characteristics of his father. The Gagarin Family wants to give love and wants be loved...

Haboro is a powerful workhorse. It’s a neoclassical font developed for numerous uses, ranging from editorial and corporate to web pages and apps. This new face from insigne Design takes a modern twist on the high-contrast typeface genre known as the Didone. Recognized for their ability to convey clarity, the geometric simplification of the Didone genre adds a level-headed rationality to whichever work it’s applied. Didones are used to lend style and sophistication to a wide number of applications—everything from style or cosmetic labels to annual reports. With its unique take on this classic genre, Haboro—with its slight wedge-shaped serifs and unique terminals—is still defined by elegance, tradition and timelessness. Even more to its versatility, this multi-purpose text face features whimsical terminals, which liven up even the most serious texts. If you desire, you can also opt for the more usual ball terminals by activating OpenType alternates. The Haboro family consists of seven weights from a Thin to a Black along with matching italics. The contrast from the letters’ thick strokes and thin strokes draws the eye to your design, making Haboro a powerful visual tool for communicating your message. The typeface also contains numerous ligatures and alternates. Choose between serif variants such as ball terminals or standard serifs by utilizing OpenType alternates. We recommend using the default contextual alternates and discretionary ligatures in order to benefit from all members of this fantastic font family. In addition, Haboro has a sizable set of option glyphs and numerous other OpenType variables to give your text the unique touches it needs. Haboro has all of the attributes you need to undertake your next project. Use its modified elegance to shape and mold your next design, whether a web site, app, branding package, or magazine. You’ll find there’s no job Haboro can’t take on.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.