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."

Mustang is a powerfully expressive brush font that combines an edgy urban aesthetic with a smooth feminine flow. Some have suggested that Mustang is romantic. Some say it has something to do with speed or freedom. While precisely what Mustang expresses is up to debate, there’s no doubt that it’s expressing it with intensity. The style was born in my high school years, when I would wreck my notebooks with multiple layers of graffiti tags which would start in the margins and then creep in to cover the entire page. I developed a sensibility towards a very fast, expressive use of my hand, which later easily and naturally translated into brush. I used this style typographically on several projects throughout the years, and even turned it into a signature illustration style. Mustang is the second font, after Streetbrush, to use this brushwork as its inspiration. Mustang will be especially evocative at large sizes, where the details and sharpness of the shapes really come to life. It also holds together well for use as body copy, but may lose some of its aesthetic integrity at really small sizes.

Ciseaux was inspired and is dedicated to the art of paper cutting. Early paper cutting artists were often royalty, but it soon became a folk art practiced by commoners whose cutouts decorated their homes. By the seventeenth century it had spread throughout the world. The Japanese called it Mon-kiri, the German's Scherenschnitte and Turkey even boasted a guild devoted to the art form. In Poland the designs were traditionally symmetrical and often used layers of colors to form pictorial collages. When Russian invaders confiscated scissors, villagers were found to cut their intricate designs with sheep shears! The art form later developed into cutting out elaborate designs of nature scenes and people, celebrating special occasions and even decorating legal documents. Ciseaux letterforms mimic paper cutting art in its shapes with a rather loose and almost joyous rhythm. The overall effect is somewhat earthy and natural yet it has an element of sophistication that cannot be ignored. Just like paper cutting, Ciseaux can be used for special occasions like invitations, brochures, identities, restaurant menus, and if you dare, some awesome looking paper graffiti. Available in TT, PS and Opentype for Mac and Windows.

Proudly Present Railway Gank - Street Marker Type, created by ikiiko The free-spirited brush strokes of hand lettering and the strong, urban attitude of street markings combine electrifyingly to create Railway Gank. This font effortlessly jumps out and attracts attention because it embodies the fervor of the streets and the unvarnished reality of graffiti. Railway Gank's brush-style aesthetics give it a handcrafted, real charm. Its flaws and differences give it a unique personality and capture the actual spirit of street art, where each stroke is distinctive. Railway Gank uppercase letters exude confidence and flare, while the lowercase letters give off a more laid-back and welcoming vibe. It is a versatile option for numerous design concepts because of the contrast's ability to create a pleasing equilibrium. This typeface is perfect for an poster event, book cover, movie title, streetwear stuff, magazine layout, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates Multilingual Support Works on PC & Mac Get also a good offer & FREEBIE at our site : www.ikiiko.com Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Lemon Squish is a fun and funky sans-serif font that is perfect for adding a touch of humor and whimsy to any design. This font is inspired by the 70s hippie culture and has a retro feel that is reminiscent of comic books and graffiti. Lemon Squish comes in ten different styles, including Bold, Bold Italic, Italic, Light, Light Italic, Regular, and four Outline variations. These various styles provide versatility and allow you to create dynamic and eye-catching designs. The playful and lighthearted nature of Lemon Squish makes it ideal for anything from branding and logos to social media posts and advertisements. Its fun and quirky design will add a touch of humor and personality to your projects and bring a smile to your audience's face. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Lunanic is a geometric novelty typeface family with a touch of graffiti. The letters are formed from a circle with a notch or nick taken out, a shape that reminds me of a partial lunar eclipse. Half of the family have the nick on the left and half on the right. The faces are monospaced and so tightly spaced that there is no space between most of the letters so the filled styles cannot be used alone without tweaking. There are several ways to tweak them to make them readable: adjacent letters can be colored differently, the characters spacing can be increased, or an outlined style can be layered on top of the filled letters. The family does not have a true lower case. Most of the characters in the lower-case slots are alternates for those on the upper-case keys and they can be mixed in whatever way the user finds best. The family has twelve members: two orientations with three weights each and each of these six has an outline style to go with it. Lunanic is fun, bizarre, weird, and obviously a decorative display font.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Making your brand visible, interesting and recognizable without having to get in the way of your customer’s experience is hard. It takes a lot of time, money and effort to make a clear brand. And maintaining it through all your customer touchpoints is even harder. Introducing, Marker Makers is a versatile marker font that takes inspiration from the boldness of graffiti and the playfulness of primary colors. It's a joy to use for any design project where you want your audience to pay attention, this is your go-to font and take your next project from good to WOW! Marker Makers comes with more than 400 glyphs, including punctuation, numbers and upper and lower-case letters you’ll have all the tools you need to create invigoratingly unique content. Whether it’s included on posters at trade shows or on the walls of any room in your office, no one will ever think it was boring! A Million Thanks Colllab Studio www.colllabstudio.com

Escalope is a hand-drawn font with a quirky and unique personality: low midline, unicase, all-caps, matching icons, textures, and the playful Stylistic Sets. 'Escalope Soft' has smooth outlines and sharp terminals. 'Escalope Crust One' is relatively clean but rugged, with an ink stamp outcome. 'Escalope Crust Two' is harsh in texture, with large coarse grains in its jagged outlines. 'Escalope Crust Three' is rather heavy-built, stout, defined, and less grainy. This type family has three alternating alphabets that slightly differ from one another. Thanks to the Contextual Alternates, the alphabets are automatically replaced, in turn, repeatedly to avoid the same letterforms and textures appearing next to each other. Stylistic Sets are also available. SS01 has underlined characters, SS02 has double-underlined characters, and SS03 has a mixture of graphic ornaments. These Sets can be used separately or combined. If the Contextual Alternates are running, the Stylistic Sets will alternate automatically. Escalope includes a set of 150 icons consistent with the four styles of the typeface. They share weight, texture, and font characteristics for a perfect match.

Normal and upright italic script fonts line a well-trodden path; left-leaning fonts (or "rightalics" as they're confusingly called), on the other hand, are a rarity. Here at Eclectotype Fonts we don't like to do things too conventionally, so here's Backstroke, a laid back script with a unique voice. With contextual alternates for start and end forms of certain characters, swash versions of L, Q and Z (surely the most used initial caps!), and a handful of stylistic sets, Backstroke is a restrained script. Stylistic sets are: 1. the start forms of i, j, m, n, and p are used always instead of only at word starts. 2. lower case ascenders get a whole lot loopier. 3. alternate versions of G, N and Y. 4. swash L, Q and Z. 5. swaps the default Polish script lslash for a more familiar version While fonts that lean the wrong way may be a bit more difficult to fit into your layouts than boring old regular italics, they will reward you with their individuality. Why not give it a go?

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

Mikha, designed by Carine de Wandeleer, is a delightfully handwritten family font which keeps the casual drawing of a marker with clean strokes. Its slight bounce and intentional irregularity, gives your words a wonderful flow. This new font family with 736 glyphs, includes Regular, Condensed and Sans. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to five Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Mikha Sans it is possible to write all in capitals. Mikha looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Enjoy it!

First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura’s long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical — and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. NEW: the new Futura W1G versions features a Pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets Futura® font field guide including best practices, font pairings and alternatives.

Roster is a strong brush script family of two weights, caps and a set of ornaments. Roster is great for any kind display use from advertising to packaging and from online to branding. Roster is clear and legible even in smaller sizes and works for longer texts too, but is at it’s best when used for shorter sentences or even just for one or two word display or logo use. Roster is equipped with plenty of Ligatures and Contextual alternates that are automatically activated as long as you keep Standard Ligatures feature on. These features help to maintain the flow and add on some variation when writing with Roster. If you need more than that there is at least three Alternates for each basic character: click on Swash, Stylistic or Titling Alternates in any OpentType savvy program or check out for even more alternates from the Glyph Palette. Since uppercase letters in Roster are mainly designed as initials I made Roster Caps for an all caps version of the capital letters. Roster Caps can be used on it’s own or to support Roster Script. Roster Ornaments is a set of swashes and brush strokes designed to support the font.

The gorgeous back-glass artwork for the iconic pinball game Xenon influenced Cyclopentane. The peculiar letter interactions are challenging to employ but pay off handsomely when they communicate your message in such an unusual manner. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

At first glance, »Angulosa M.8« is one of those fonts that a technician or engineer would probably draw. And yet it differs fundamentally from typefaces constructed in this way. The right angle forms the basic element of the »Angulosa M.8«, but that's about it with the pure mathematics. Serif-like upstrokes and downstrokes on some letters improve readability, and carefully used slants makes the appearance a little friendlier. The proportions are not based on any mathematical principle, but are derived from freehand writing of the letterforms with a broad quill. In terms of style, »Angulosa M.8« belongs most closely to the modernist, constructivist typeface attempts, such as those undertaken at the Bauhaus in the 1930s. The styles of »Angulosa M.8« range from "Condensed" to "Expanded", from "Light" to "Black", plus the respective oblique form, which in this font is slanted to the left. All variants can be adjusted continuously in the variable font: the font width ranges from 50 to 150, font weight from 300 to 900, upright [0] and italic [1]. The »Angulosa M.8« supports all European languages including Eastern and Central European, Turkish, Greek and Cyrillic.

Baby Angelonia is a modern, handwritten, modern calligraphy font. The shape is modern and unique and the writing style is very natural. Baby Angelonia features a varied baseline, smooth lines, gorgeous glyphs, and stunning alternatives. Hand-drawn design elements allow you to create many beautiful typographic designs in an instant like branding, web design and editorial, prints, crafts, quotes, It's great for logotypes, wedding invitations, romantic cards, labels, packaging, spelling of names and others. Baby Angelonia includes OpenType stylistic alternates, ligatures and International support for most Western Languages. To enable the OpenType Stylistic alternates, you need a program that supports as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Baby Angelonia is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Fragile Bombers is a military-themed display typeface. Its crisp letterforms will instill a sense of technological precision in your message. It comes in Regular and two rusted metal finishes. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Say hello to the freshly baked beautiful and neat vintage serif font! Amazing handwritten font Nieves :) The unusual, freshly baked font is perfect for greetings, illustrations, children's books, delicious packaging, labels, logos and much more :) This beautiful neat retro font with imperfect ink edges and slightly sloppy shading is inspired by nature. Eco-friendly fashion takes into account the health of consumers, the health of the planet. The font "Nieves" is perfectly combined with any stylized graphics, watercolors, and also looks great on its own within the framework of a minimalist design. Play with letters to get different effects. Font features: A-Z; character set a-z; 1 language (English); numbers and punctuation marks, symbols. A font containing uppercase and lowercase letters, numbers, and a wide range of punctuation marks. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for checking this out and feel free to write me a message if you have any questions! ~ Anastasia

Sans meets serif. Would you like to express tradition by using a contemporary font? Sintesi might be exactly what you are looking for. Sintesi stands for synthesis: the unification of serif and sans-serif into a contemporary font, which surprises with different facets depending on its application. In copy size Sintesi performs like a sans-serif. It is a compact and well readable font that fulfills all requirements of modern digital media. In larger sizes, Sintesi unfolds its traditional character. Now, its strong contrast and the perceptible feather-ductus stand out clearly, as we appreciate it in a historical old style face. Sintesi is completed by a suitable italic. Its cursive character has more to do with writing-speed than to moderate inclination. Therefore Sintesi may be well-suited for many other purposes, not only for emphasis. The whole font family consists of 20 styles and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. Sintesi (Serif) builds together with Sintesi Semi and Sintesi Sans an extended family. Start combining antiquity with modernity! Download a free trial version of Sintesi with a reduced character set. Check it out!

I'm happy to present you my new Romanesque font from the Codex Gigas. The manuscript was created in the early 13th century in the Benedictine monastery of Podlažice in Bohemia. The codex was written in a handwriting atypical for the 13th century, which is actually a late version of the Carolingian minuscule. Texts about repentance and exorcism were written in large Majuscule (Square Capitals (Imperial Roman capitals written with a brush)). Majuscules first incised in stone more than two millennia ago, married to minuscule letterforms that evolved from manuscript hands of the eighth and ninth centuries. Majuscule font is the name given to a type of decorative upper-case letters used in inscriptions and, typically, at the start of a section of text in medieval manuscripts. They are characterized by their straight forms unlike rounded in Lombardic capitals with thick, curved stems. Majuscule capitals were also used to write words or entire phrases. The text is divided into words, punctuation marks are used consistently – periods indicate the end of a sentence and the middle of a phrase. You will get: * Uppercase glyphs * Numbers and symbols * Multilingual support * Ligatures * Free future updates Thank you!

We live only to discover beauty, all else is a form of waiting. --- Khalil Gibran Wait no more, this beautiful font can be yours right now! This custom made font was specifically designed to fit whatever you need! The curvature of the Casira Script was fully thought out to easily meld inside your designs. These fonts make a good foundation of what you want it to be! Discover the beauty in your own imagination while this font gives you a quick kickstart to what it can be. Everything’s well with cursive! Show your opulence and decadence with this fancy font and blow your audience’s mind away as you put these cursive letters in your projects. Communicate the extent of your mind so that whoever views your designs understand not just what you write, but also the tone and feel of it! The Casira Script makes a perfect addition for your collection of fonts, show love and bring out the true you! Feel free to contact us if you need anything else! If you have a request on what kind of fonts you’d like to see, tell us that too!

Lemonado is a type family drawn with a dry brush pen. It includes upright and italic scripts and all caps fonts with brush texture or with smooth edges. Lemonado Script is playful and slightly bouncing connecting script. It includes two sets of lower cases to increase the hand writing effect. By enabling Contextual Alternates from OpenType panel you can cycle these two sets and achieve variation. Lemonado Script also includes set of lowercases without connecting stroke, you can use those in the middle of words or automatically add them at the end of words by enabling Stylistic Set 1 at the OpenType panel. There are also set of lower cases with end swashes, you can automatically add these swashes to end of words by enabling Stylistic Set 2 at the OpenType panel. Also other alternate characters and underlines are included to give you even more possibilities to play with. Lemonado Caps has two sets of upper case letters, high and low ones. You can achieve this fun looking bouncing effect by varying them. Just enable Contextual Alternates from OpenType panel and those two sets will cycle.

BaBa Rounded is a sans-serif font family designed by Naghi Naghashian in three weights. BaBa Rounded Light, Baba Rounded Regular and Baba Rounded Bold. This font family is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. BaBa Rounded supports Arabic, Persian (Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. BaBa Rounded design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BaBa Rounded’s simplified forms may be artificial oblilqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BaBa Rounded was developed for multiple languages and writing conventions. BaBa Rounded supports Arabic, Persian(Farsi) and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! So, you know the fonts that look like handwriting in the movies by Disney? Well, ours is like that! But it can also be used for other purposes, and it's fun to write with. Daddy The Comicaze is fun handwriting font, it was inspired by our love of cartoons and comic books, but as always, we wanted to add a little bit of humor to it. So we played around with the kerning and spacing until we came up with something that was both fun-looking and easy to read. What else is special about Daddy The Comicaze? Well, for one thing, it includes a lot of different characters! There are tons of punctuation marks and accented letters you won't find in normal fonts. And since it's based on our handwriting style, each character has its own unique personality. Basically, we've taken the best parts of our handwriting and turned them into a beautiful font. A Million Thanks Colllab Studio www.colllabstudio.com

Tertius, with its high ascenders and clubbed serifs, is a modern interpretation of the classic Carolingian style (7th - 9th centuries AD). There was no capital form in the Carolinian hand and Roman square capitals were originally used with it. The Carolingian hand began, after a while, to develop more cursive tendencies as people looked for a way to speed up the writing process. I have “capitalized” on this trend and have devised an appropriate and dramatic set of flowing capitals for this family. With its elegant swashes and bold letter shapes, Tertius embodies the romance of medieval life, of knights, castles, and chivalry. Tertius comes in four styles:- -- Regular: with elegant, smoothly penned characters; -- Crenellated: written with a scratchy pen over rough parchment -- many drops of ink and blotches have been left on the parchment (“Crenellated” means battlements -- the rough protrusions on the top of castle walls); and -- Romantic: the capitals have been loosely overwritten generating a contemporary version of illuminated capitals. -- Illuminated: richly decorated illuminated capitals for use with Tertius Regular (28 characters) All fonts have been carefully crafted, letterspaced and kerned and contain full character sets of 237 characters.

Dealova Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. Dealova Script provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and composition for specific brands, beautiful titles, paragraphs, fonts and short text intended for read only with the eye or intended to be whispered into someone's ear. Dealova Script has 691+ glyphs and 440 alternate characters, including multiple language support. It features OpenType with alternate styles and elegant binding. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Artist and calligrapher Daniel Reeve, well known for the lettering and maps in The Lord of the Rings films, is creating hand-crafted fonts of some of his writing styles - Kereru is the inaugural release, allowing users to emulate some of his much-admired calligraphy. Nominally a half-uncial style, clever arrangements of the stylistic sets allow Kereru to be set as full uncial or standard roman, as well as offering numerous alternates, ligatures, swashes and flourishes, ornaments, unlimited fractions, scientific inferiors and numeric superscript, all accessible via OpenType features. Cyrillic and Greek alphabets are included, in addition to the letters required for all the languages of Western, Central and Eastern Europe, Scandinavia and the Baltic. Kereru is very legible and easy on the eye, without sacrificing calligraphic flair. A pdf description of the Stylistic Sets and their usage is included with the font package, which comprises regular, bold and italic variations. Kereru Italic supercedes and improves upon its previous incarnation, Shire Regular. The name Kereru comes from New Zealand's Maori language - it is our native wood pigeon, a bird of generous and rounded form, like the font itself.

Everybody likes to have a picnic: some fresh fruits, cheese, ham, wine and so on. Like a “typographic picnic,” Typnic font system gathers many fonts with different flavors too, and you can enjoy them mixed or on their own. Typnic was drawn and calligraphed by hand and is made with eighteen typefaces, including three totally compatible yet different styles. It also has enhancement sets containing labels, dingbats, patterns and ornaments. The Headline style has six layered fonts that can be mixed in a wide variety of combinations to obtain powerful mastheads and headlines. It can be used to construct very nice advertising pieces. If you need to write informal texts, then use Typnic Script, which also comes in six variants and additionally has a complementary font with tails, double letters and ornamented ascenders. Finally, use Typnic Roman to add some secondary texts without losing the general appearance of your work. Typnic has a cool and natural feeling and could be used in all sorts of projects. Typnic is a very ambitious project and we will be working on it to further expand the whole system. Please check out our Typnic Headline Slab.

My affection for Slab Serifs began in the early 1960s in Kansas City when Rob Roy Kelly was at the Kansas City Art Institute, teaching and writing his book on American Wood Type. I got to know him just well enough to gain access to his fabulous collection of wood type and wood type catalogs. Later, in the1970s, I tried to re-create a Nebiolo Egiziano for Roger Black at New West magazine. And again for Roger, in the 1980s, I designed a Slab Serif logo for Newsweek Magazine. Finally, in 2003, designed the Sutro Family. There were things I didn't like about it, so, over time, I’ve been adding some things and dressing it up a little. Sutro Shaded has existed for a few years as a one color, outlined, drop-shadowed display font. It seemed like it was just dying for a little color. I added five more fonts: Fill, Gradient, Hatching, Rules and HiLite. These fonts can be used in different combinations to achieve various effects. There is a downloadable SUTRO SHADED USER MANUAL PDF in the Gallery section for this family.

Behtab is a sans-serif font family designed by Naghi Naghashian in tree weights. Behtab Light, Behtab Regular and Behtab Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Behtab supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Behtab design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Behtab was developed for multiple languages and writing conventions. Behtab Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.