Iza W and Intellecta Design are proud to announce Invitation Script, a modern and clean revival of the classic work of the Portuguese master penman Manuel de Andrade de Figueiredo, whose work can be seen in “Nova Escola para aprender a ler, escrever, e contar (...)'' (1722). Invitation Script is the third script superfamily published by Intellecta Design, after Penabico and Van den Velde Script. Invitation Script has original letters designed by Iza W. Creative direction and core programming were provided by Paulo W. Chyrllene K assisted with some work on unusual and archaic styles, resulting in a special font - Invitation Script Archaic (soon available). Invitation started out from Andrade’s script style and evolved into a voluptuous script font family. The result is a typeface ideal for beautiful headings, signatures, art work typography, titles and short pieces of hand-lettered text. Invitation family includes two multi-table Opentype fonts, three supplementary fonts for ornaments and fleurons, and the Archaic font with some of the Andrade’s original characters. Embedded in the regular fonts are additional sets of letters. Over 40 variations are available for certain letters via the Special Sets Opentype table. The two regular versions of Invitation Script contains the following: (i) An extensive set of ligatures providing letterform variations that make eye-popping designs or simulate real handwriting. These are accessible via contextual alternates and other open-type features. (ii) Many stylistic alternates for each letter (upper and lowercase, accessed via the glyph palette, encoded in the ranges of the Special Set Opentype feature). Since there are over 1100 glyphs in each font, we suggest using the glyph palette. (iii) A set of ornaments and fleurons accessed with the glyph palette or using the Ornaments feature. Additional ornaments can be found in the two Invitation Script Ornaments fonts. (iv) Initial and final letters with artistic variations accessible using the initial and final form open-type features. (v) Major kerning work: over 6000 kerning pairs, hand-set to avoid collisions and to create intricate combinations of letters, using swashes and other resources. These powerful features are all accessible in InDesign, Illustrator, QuarkXpress and similar software. We recommend exploring the magic of this font using the glyph palette. Our sample illustrations and PDF brochures showcase the power and pizzazz of this calligraphic script. Let your imagination go wild and use Invitation Script in ways that Andrade could not have foreseen. In non-OpenType-savvy applications, Invitation Script is still an exceptionally beautiful calligraphic typeface that stands up to the competition. The regular fonts contains the complete Latin alphabet, including Central European, Vietnamese, Baltic and Turkish, with a full set of diacritics and punctuation marks. --- 1 FIGUEIREDO, Manuel de Andrade de, 1670-1735 Nova Escola para aprender a ler, escrever, e contar. Offerecida á Augusta Magestade do Senhor Dom Joaõ V. Rey de Portugal. Primeira parte / por Manoel de Andrade de Figueiredo, Mestre desta Arte nas cidades de Lisboa Occidental, e Oriental. - Lisboa Occidental: na Officina de Bernardo da Costa de Carvalho, Impressor do Serenissimo Senhor Infante, 1722. - [18], 156 p., 44 f. grav. a buril : il., ; 2º (31 cm)Engraved royal coat of arms supported by angels over the city of Lisbon, engraved portrait of the author (both of the foregoing by Bernard Picart), (12)ff., 156pp., engraved calligraphic section title, 44 engraved plates. Wood-engraved culs-de-lampe and lettrines. Sm. folio. “Andrade de Figueiredo was born in Espirito Santo, where his father was Governor of the ‘Capitania.’ The fine portrait is dated 1721 and is showing Figueiredo at the age of 48. He was an eminent calligrapher and a creator of the Portuguese handwriting until the reign of Don José I (ca. 1755). His work follows the style of the great Italian masters in its use of clubbed ascenders and descenders, and of Diaz Morante, the famous Spanish writing master, in its very elaborate show of command of hand. By his contemporaries, he was known as the ‘Morante portugues’” (Ekström). “Ce livre est un manuel, composé de quatre parties, destiné à apprendre à lire, à écrire, à conter ainsi que l’orthographe. Les planches comportent des examples d’écritures, d’alphabets et de textes ornés de remarquables traits de plume exécutés d’une main sûre et enjouée” (Jammes).

Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, attracting the reader’s attention with measured tension in its curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate letters and numbers that propose a broad palette of tools to the designer. The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the letter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfortably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pocketbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with numbers and punctuation. The four main text weights of Abril Text were also manually hinted which grants the possibility of a smooth transition from printed media to web platform. Abril consists of 8 text styles and 12 display styles, all of them containing the standard TypeTogether character set that supports over 50 languages including those from Central and Northern Europe.

Brillig is a loose and informal handwriting font. It comes in four flavors, each of which has a very different feel. Brillig Gimble: more formal in that the characters are interconnected as in cursive script. To further enhance this effect, the characters have been created with a slightly "blobby" pen which provides a suggestion of precision. Brillig Earth: is bold and strong. It is more "down-to-earth" than the other styles, however, the boldness is tempered with quite wispy ends (terminuses) to the characters. It conveys a suggestion of speed and strength. Brillig Aire: is the most delicate and ethereal of the styles. Think of fairies, dandelions and dragonflies and you have an idea of what Brillig Aire conveys. Not only are the characters very light in weight, but they terminate in a wispy, delicate end. In spite of all this, Brillig Aire is very readable and can be used in a variety of contexts. Brillig Brave: is quite like Gimble in its feel with one important difference -- the characters are not connected as in cursive script. Each character stands alone. Brillig Line: is a clean, lightweight style using a mono width line for an informal, handwritten feel. There is a collection of the above four styles that is attractively priced and gives you the ability to use these four fonts in a variety of ways within the same document. The font is particularly useable for the promotion of products aimed at designers of: wedding invitations, party invitations, young clothing ranges, magazines, cosmetic packaging. It has been carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

We always wanted to design a gothic typeface. Our most similar typefaces are Rude and Firme, but Rude has some very delicate curves especially visible in the vertical strokes and Firme introduces a type family with reasonably big ascenders and descenders. On the other hand, Isento has a much more straightforward approach to the particular genre. Loosely inspired by Times Gothic, introduced in the American Type Founders Specimen Book and Catalogue from 1923, soon followed its very own path. Is our first typeface that clearly shows a distinct weight difference between the uppercase and the lowercase and the spacing is very open to provide a much more mechanical feeling. Isento and Isento Slab ranges from Thin to ExtraBold with perfectly matching italics. Immediately seemed very clear that a slab serif companion would follow the sans, therefore Isento Slab is the perfect companion to Isento, with very strong rectangular serifs, ideal to set short passages of text or to become the key actor in a big headline.

The Clearface types were originally designed by Morris Fuller Benton in 1907. Their forms expressed the Zeitgeist of the turn of the 20th century; typical and distinguishing characteristics are the forms of the a" and the "k." The ATF version did not include an accompanying Italic. In 1978, ITC's Victor Caruso was licensed by ATF to develop a new serif typeface and matching italic based on the forms of Clearface. The result was ITC Clearface, a serif typeface with marked stroke contrast and italic weights. The teardrop-formed endings of the lowercase a, c and f (also found in Caslon) define the character of the face. The type's design is also distinguished by its small -- almost slab -- serifs, a large x-height, and little stroke contrast. ITC Clearface, with its historical touch, is good for both texts and headlines, but its slightly condensed nature performs at its best when it is allowed its space.

The Adagio Family is a part of Mateusz Machalski’s, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanisław Wieczorek and his brave PHD Jakub Wróblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each one of them has its own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties which are stylistically consistent. Adagio Serif - Characterises with strong contrast and high detail in calligraphic character cuts, what gives it a light feeling. Unlike the Slab version, serif variety has asymmetrical serifs. Thanks to large X length, and highly stretched descenders, it also works correct in longer text, while its strong detail is good for headlines. The Serif version is a great complement for Adagio Sans and Adagio Slab.

The Adagio Family is a part of Mateusz Machalski's, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanisław Wieczorek and his brave PHD Jakub Wróblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each one of them has it's own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties which are stylistically consistent. Adagio Sans - In its character, inspired by classical English typefaces. Sharp chamfers add a strong character. Thanks to delicate contrast and proportions of capitals, this variety has features of humanist grotesque. Thanks to large x length, and highly stretched descenders, it also works correct in longer text, while it’s strong detail is good for headlines. The Sans version is a great complement for Adagio Serif and Adagio Slab.

Although better known for his residential buildings, Richard Neutra’s commercial projects nevertheless resonate the same holistic ecology—unity with the surrounding landscape and uncompromising functionalism. His attention to detail even extended to the selection of signage for his buildings. It is no wonder that Neutra specified lettering that was open and unobtrusive, the same characteristics which typified his progressive architecture. House Industries brings the same linear geometry to Neutraface without sacrificing an unmistakably warm and human feel. FEATURES LIGATURES: This feature is on by default. It will substitute a long list of “f” and “t” ligatures. For example, open InDesign or Photoshop and type “ff” or “tt”. NEUTRAFACE DISPLAY ALTERNATES: Neutraface Display contains several stylistic alternate characters useful when a purely geometric setting is desired. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

The Adagio Family is a part of Mateusz Machalski’s, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanisław Wieczorek and his brave PhD student Jakub Wróblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each has its own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties that are stylistically consistent. Adagio Slab - Slab variety combines qualities of the Sans and Serif varieties. It has the same contrast as Sans. As distinct from Serif, Adagio Slab contains strong, beamy and symmetrical serifs in the form of pillows. Thanks to large X height, and highly stretched descenders, it also works correctly in longer text, while its strong detail is good for headlines. Slab version is a great complement for Adagio Serif and Adagio Sans.

We always wanted to design a gothic typeface. Our most similar typefaces are Rude and Firme, but Rude has some very delicate curves especially visible in the vertical strokes and Firme introduces a type family with reasonably big ascenders and descenders. On the other hand, Isento has a much more straightforward approach to the particular genre. Loosely inspired by Times Gothic, introduced in the American Type Founders Specimen Book and Catalogue from 1923, soon followed its very own path. Is our first typeface that clearly shows a distinct weight difference between the uppercase and the lowercase and the spacing is very open to provide a much more mechanical feeling. Isento and Isento Slab ranges from Thin to ExtraBold with perfectly matching italics. Immediately seemed very clear that a slab serif companion would follow the sans, therefore Isento Slab is the perfect companion to Isento, with very strong rectangular serifs, ideal to set short passages of text or to become the key actor in a big headline.

Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details. It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs. Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike. Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.

The theme in these illustrations is the pleasure of books and reading wherever you are, at any time. This series collects illustrations of people enjoying the pleasure of reading in the most diverse places and situations, some of them frankly absurd and funny, ranging from children reading tales to a witch with her magic brewing manual. A fraction of the contained images comes from other Whimbats, but most of them are exclusive. We hope you will feel like reading and start reading a good book! These illustrations are ready to use at any size and in any application (their vectorial format ensures they can be scaled to any size with no loss of sharpness). They can be used out of the box, or easily customized in any graphics program, adding colour or texture, resizing, combining... the variety of suggested uses is huge, from small spot illustrations to full-page layouts. Use them to great effect in magazine spreads, advertisements, stationery, packaging, bulletins or poster creative designs.

Kulturista is an unmistakeable linear slab serif typeface with pronounced rectangular serifs. The drawings are based on the sans-serif Nudista typeface, and Kulturista also inherits Nudista’s distinctive narrowed character proportions, range of weights and glyph sets. The italics are inclined sufficiently, and have the same width and colouring as the plain styles. They aren’t just a mechanically-slanted version of the basic styles, as is often the case for typefaces derived from geometrical images — a whole range of characters have their own drawn variants, which greatly strengthens their highlight function. The italics are therefore an equal partner for the roman styles. Kulturista is definitely a good choice for a headline typeface for magazines and book covers. The range of boldness can come in handy when editing sections, headlines and supplements. The typeface understandably proves itself as a healthy foundation for a unified visual style, and holds up at display sizes as well as on shorter texts.

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

D.I.Y. Time is a hand drawn type system designed by Luciano and Coto inspired by the DIY philosophy which has been transformed into a whole global counterculture movement, identifying the new generations that reprice the handwork, paying attention to quality, processes and materials used in the manufacture of goods and objects, food, clothing, furniture etc. This beautiful philosophy inspires us every day. Is present in our homes, in our lifestyle and this time we have given him way through a typeface family that mixes different styles but integrates them through language handmade. The result is a typeface based on hand lettering drawing with different brushes and pens on paper. With versions ranging from organic proposals as DIY time hand to other based on the classic proportions of Gill as DIY time sans. To accompany a set of compound words designed on the needs of small farmers and a set of ornaments illustrated, everything you need to begin to make your own.

Exuberantly delicious and lusciously sweet! VLNL Bon Bon embodies the perfect after dinner treat. Chocolate is a known aphrodisiac and bonbons are its most romantic carrier. Bonbon is not for nothing the French word for ‘good’ twice! You could definitely consider VLNL Bonbon the typographic equivalent of these exquisite chocolate sweets. Inspired by lettering on an Amsterdam church facade and a ladies clothing store window, Donald DBXL Beekman started drawing the first incarnation of Bon Bon already in 2004. The original idea was an alphabet design with slanted oval inner shapes and extremely long and striking serifs. This proved to be a quite demanding design job, so It took Bon Bon some time to get finished. But now it’s here in all its extravagant glory. Most recently a number of lowercase characters were added to make Bon Bon more versatile. Totally insane and over-top-the-top it has been called. But hey, we all love Bon Bon. Don't we?

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

Maple Drive is a bold rounded serif typeface with a warm and familiar feel built-in. Maple Drive delivers a recognizable nostalgic feeling polished for modern day use. Maple Drive works great as a logotype, in magazines, headlines, posters, advertising and packaging. As a product of the modern era, Maple Drive is fully equipped with plenty of OpenType goodness: Standard Ligatures are automatically on and they step in on certain letter combinations, such as ff and fi. In addition it has a wide range of, Stylistic, Swash and Titling Alternates as well as Discretionary Ligatures that you can trigger on or off from OpenType controls in any OpenType savvy program, or manually select the suitable variations from the character window. Try these alternates for more eloquent designs. Alternates are best to treat like you would treat a really strong spice: just a bit at a time. See the full range of the alternative glyphs on the specimen posters.

Although originally conceived as a magazine face – with strong serifs and open character shapes for good legibility in small sizes, and compact letter forms optimized for narrow columns and tight headlines – Marat evolved into a comprehensive family for general use. This specific construction and the round forms of the letters create an elegant, soft and friendly appearance. The typeface suits a wide range of typography, e.g. editorial, brochures, packaging and corporate design. In particular, in bold weights it works surprisingly well, which is not always the case with serif faces. Marat includes oldstyle and lining figures (both proportional and tabular), a wide range of language support and various OpenType features (e.g. ligatures, case-sensitive forms, fractions, superiors and inferiors). It is the perfect companion for Marat Sans, a clean and lively sans serif typeface. Marat has been selected by the Type Directors Club of New York to receive the Certificate of Excellence in Type Design 2008.

As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility. DAVISON SPENCERIAN CREDITS: Typeface Design: Meyer “Dave” Davison Typeface Digitization: Mitja Miklavčič Typeface Direction: Ben Kiel and Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Worthington Arcade is a classically-proportioned capitals-only type incorporating a selection of ligatures and alternates. It loosely resembles the hand-painted architectural lettering of the 30s to the 50s, exemplified by the likes of Percy Smith’s interior signage for the BBC or George Mansell’s lettering for the University of London and the signs found on London’s bridges. However, rather than a slavish copy of any historical model, it is more an examination and evocation of certain idiosyncratic quirks of civic lettering of the period, and an attempt to create a peculiarly English titling typeface. The round letters, for example the O, Q and C, are wider than the perfect circle usually found in such designs, while the straight-sided characters, usually drawn on a square, are narrower. This lends the whole a subtle elegance that is also emphasized by the raised crossbars on the H, E and F and extended lower leg of the E. Includes old-style numerals.

Linotype Textra is a clever twist on the sans serif genre, designed by Jochen Schuss and Jörg Herz in 2002. Schuss says this about Linotype Textra: "Two in one! The same Linotype Textra, which is so neutral and practical for long text passages turns into an eye-catching headline type when used in larger point sizes. The trick? It's all in the details. The type's clear, robust forms give it a high degree of legibility when used in smaller point sizes for texts. When used in larger sizes, the angular, slightly irregular forms that give the type its strong character become apparent. Hence the name Linotype Textra: pure text with a little something extra!" With 15 weights, the Linotype Textra family provides graphic designers with a good basis for almost any type of work. The five regular weights have matching true italics and old style figures, and the five small cap weights include tabular figures.

"Old is Gold".. Perhaps that's the best words to represent this typeface called Fragtude - a pair of vintage display typeface consist of bold script and serif. One of our finest typeface, crafted carefully to make sure its quality. Inspired by 40s 50s lettering and signage, the nostalgic feels will bring you back to the good ol' days. This typeface is perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual swash and ligatures alternates PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

Tellumo, a new humanist geometric sans serif typeface, has all the attributes you need for a workhorse sans with a few surprising details. It has moderate proportions, a low stroke contrast, open apertures, and an x-height that makes it drive with ease in running text. A modest range of six weights, from Thin to ExtraBold, make it versatile without being overwhelming. The lightest and heaviest weights are best saved for headlines and subheads. It features a set of swash caps that can add magnitude and sparkle to short headlines, making it excel in packaging designs. Tellumo feels at home with Mid-century Modern and Art Deco aesthetics. It looks precise, tidy, and welcoming for architecture and home goods. It looks clean, fresh and modern for beauty and wellness, or elegant and approachable for fashion. It has a balance of clarity and personality, suitable for branding and advertising of all kinds, print & digital design alike. Tellumo radiates warmth, charm, and joyfulness from its geometric foundation.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

It can be tricky to find typefaces that can convey the feeling of personal warmth that comes from a handwritten note, custom brandings, special series of products, especially as we type more and more and write with a pen or pencil less and less. To add some more of that warmth to a font, I’ve made Ronet. A duo font based on the my handwriting. Double eponymous styles of the font —Ronet and Ronet Alternative— each have a unique flavor with its own rhythm and character. It can be used on branding designs, product labels, invitation cards, social purposes which is bloggers, influencers but they were capable of so much more, and I’m happy to share them for general use. Ronet has extraordinary alternative characters, that makes these fonts so impressive. These two styles have dynamic substitution, alternates, and beautiful kerning! Nevertheless, they each support an impressive range of languages using the Extended Latin alphabets and because they were designed to work well in a simple tool, a rare feature of these fonts is that they look just as good no matter where you use them. LOTS of writing, and then even more care once I developed and refined digital outlines from the samples. Ronet and Ronet Alternative each wrote pages and pages of letters to produce lots of examples for comparison and selection, in order to get the most authentic overall texture that captured the spirit of my left hand.. Ronet feels friendly and personal, like a neighbor or local shopkeeper who always seems happy to see you. This will perk up your social feeds in a snap. Start with Ronet and just add in your design to make it perfect. What started with a simple pen and paper has become a diverse and ever-expanding creative outlet that blends hand-drawn creativity with cutting-edge technology — and the end results are popping out everywhere, from advertising to design and decor to art and DIY.

Handy Andy Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed. Imperfection perfected Most ‘handwritten’ typefaces are created entirely digitally. Not FS Shepton. From the start, the intention was to create a collection of alphabets of similar character but different texture and style – 100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of market stall signs, dashed off in chalk or paint. FS Shepton Regular, drawn with a wet brush pen, is solid with a rough outer edge and a casual but controlled feel. The dry brush used to create FS Shepton Light gives it more inner texture and a more formal, slanted, calligraphic style. FS Shepton Bold, drawn using a wider, looser dry brush pen, has a woody grain in the middle of its broad strokes and greater solidity where the brush moves more slowly. Fresh as a daisy Think of FS Shepton not as a family of three weights of the same font so much as a collection of three fonts penned by the same author. All of them – the light, regular and bold – were created independently as display fonts that offer something different to labelling, packaging, point-of-sale and advertising. Lovingly crafted by hand, they’re a good match for products and settings that share the same artisinal qualities: organic foods, drinks and healthcare products, as well as premium chocolate, coffee and condiments.

A. R. Bosco made Romany for ATF in 1934, when there was much demand for script types in advertising and publishing. It was the high times of Speedball lettering, and a casual script in that fashion was naturally very welcome. It became an instant hit and was used widely for a good part of the 1930s and 1940s. Apricot is not only a revival of Bosco's work, but also a major expansion of it. It contains very effective solutions to the many problems presented by the original metal type, which had to always be tracked too wide because of the forms of some of its letters. Solving these problems was not an easy task. A comprehensive set of alternates was designed to give the user the ability to replace some forms in certain uses, and a large set of two-, three-, and even four-letter ligatures was added to solve the awkwardness of some of the more common letter pairings. The resulting work is quite delightful, especially for those who like to take advantage of OpenType technology. Apricot is the rarest kind of script in digital type these days, the kind that is upright, round, bold, feminine, and distinctly young in appearance. A birthday cake for a teenage girl can certainly benefit from these letters. So can greeting cards, family show posters, diary covers, party invitations, women's shirts, toy packaging, celebration literature, and almost anything that needs that special touch of shiny happy youth. Apricot is available in all common font formats. The Postscript and True Type versions come in 4 fonts, which include one for alternates and two for ligatures alongside the main font. The OpenType version is one font that contains more than 380 glyphs and all the necessary programming for the palettes of OpenType-supporting applications. If you liked Canada Type's hugely popular font Dominique, you will love Apricot.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. The world is a very big place, the world is for travelling. And that’s what Francisco did, travel. Though born in Spain, he was raised in Brazil, where he worked as a graphic designer. He spent years hitchhiking round South America, his eagerness to see and learn new things preventing him from settling in one place. He returned to Spain an old man, to find his roots. Francisco never dreamed he’d end up in the street: “The experience of the street has taken away my vanity,” or that he would grow as a person there. “The only thing I’ve learnt in life is that in life you have to learn, because if you spend your life without learning you haven’t lived.” In Barcelona, the street changed his life and taught him just how tough it can be. Tough, but full of good people. He says that’s the best thing about the street.

As designers, we seek perfection and originality. The more we step back and look at our work, the more changes we tend to find necessary. Drastic modifications are inevitable. The same is true of Grayfel. Grayfel began as an exercise at insigne to explore the crowded space of neutral sans. While the world of sans serifs is admittedly crowded, I still managed to find something new and different. The final Grayfel consists of 42 full-featured OpenType fonts containing three widths: Regular, Condensed, and Extended. Every width consists of 14 fonts--seven weights with matching italics, making it a good companion for setting clear text and headlines for print and screen. OpenType features are also available. There’s figure choices, such as proportional and old style figures. Additionally, Greyfel includes sophisticated typographic attributes: ligatures, fractions, alternate characters, small caps, superscripts and subscripts. Its extended character set supports Central, Western and Eastern European languages. Optical compensations also mean the outcome of this family is a hybrid of humanistic proportions. It’s a well-finished design with optimized kerning gives it a friendly look. If you like sans serifs within the tradition of Futura, Helvetica, Avant Garde and Avenir, then you’ll love Greyfel, too. Grayfel works well in a variety of applications. Subtly neutral yet fun, it’s suitable for headlines of all sizes as well as for text. Put it to the task for marketing, packaging, editorial work, branding and even on-screen projects. Try it out: it’s not just fun and playful; it’s Grayfel.

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

Introducing Regave, a typeface inspired by Danish style lettering based off the work of Knud Valdemar Engelhardt (1882–1931) who designed the street signs for the Copenhagen suburb of Gentofte. The Engelhardt's design was loosely based on the lettering of two Danish architects of the time: Thorvald Bindesbøll (designer of the Carlsberg logo) and Anton Rosen. The signs were so successful that they’re still in use today. The most noticeable characteristic of Danish style are: a flat apex of the A the widening of diagonal terminals a double-storey g with its loop terminating before it forms the bottom most stroke (Erik Spiekermann coined this a Danish g) a single-story g with a stumpy tail a K with an almost laterally moved crotch, connected to the stem by an extra horizontal stroke widened diagonal connecting strokes forming flat apex or baseline strokes Regave comes in 11 weights from Thin to ExtraBlack with matching italics and also available in Variable Font format for more flexibility in weight selection. This family also equipped with useful OpenType features such as Ordinals, Superscripts, Subscripts, Stylistic Alternates, Stylistic Sets, Proportional Lining, Standard Ligatures, Fractions, Numerators & Denominators. Each font has 490+ glyphs which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Regave will be suitable for many creative projects. This masculine, strong and unique typeface will be suitable for logos, posters, presentations, headlines, lettering, branding, quotes, titles, magazines, headings, web banners, mobile applications, art quotes, advertising, packaging design, book title, and more!

Almoneda: Sale at public auction of movable goods, generally used. And also: private and voluntary sale of jewelry and junk that is made without the intervention of justice. Formerly, it was nothing more than the market or sale of things and spoils won from the enemy in war. Nowadays, the almoneda is practically associated with spaces where the sale of "old things" takes place and, in Madrid, they are usually concentrated in the area of El Rastro, an open-air market that is set up on Sundays and some holidays in the center of Madrid. There, you can find everything and, if you walk around a lot and look hard enough, great typographic finds. It is there where I find a large number of elements (usually from the late nineteenth and early twentieth century) such as boxes, posters, books, etc.. in which appear uppercase letters with a variety of shapes, letters embedded, rare ligatures ... In addition, many elements extracted from street signs, tiles from bars and commemorative elements of Madrid have been used to complete this font design made with care and patience. Thus was born Almoneda, a modern typeface with a marked axis and great contrast, and an uppercase with several sets of characters to play with and enjoy. It also includes a large number of ligatures and discretionary ligatures. A Variable font is included with the full package license. Almoneda, a typeface that will not leave you indifferent. They take it out of my hands, hey!

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Tazugane Info is a screen-ready Japanese font family, that follows on the debut of Monotype's first original Japanese typeface – Tazugane Gothic. It offers a more restrained personality, with calligraphic design details pared back to create a geometric letterform – a good alternative for designers looking for a matter-of-fact alternative to the warmer Tazugane Gothic tone of voice. Tazugane Info was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Info includes Reiwa designed as a single ligature and is encoded as U+32FF. “While Tazugane Gothic fits perfectly when your job requires an organic and friendly tone of voice, Tazugane Info provides a more solid look,” says Kobayashi. “I hope that having two options will make it easier to choose an appropriate tone of voice to convey information or brand messaging.” Its strokes create a smooth uninterrupted flow that's designed for use on-screen. Although books, newspapers and magazines are traditionally set vertically in Japan, smartphones, information panels and car navigation systems are all set horizontally – and Tazugane Info has been tailored to this environment, featuring a new set of kana phonetic symbols. Tazugane Info is available in 10 weights, and includes the complete set of kanji and latin found in Tazugane Gothic.

And the day in which I introduce my second typographic family has arrived. In order to do this, I borrowed several passages from this beautiful book by Maurice Maeterlinck, “Life and Flowers”. His poetic observation of Nature made me reflect about the small discoveries behind the flow of my pen on paper. About that quick, spontaneous, overwhelmed stroke, with some awkwardness as well as certainty in it. About the writing that looms line after line. About the mischievous stains of ink flooding my writing tool. Lady Dodó was born as a product of these drawings, pieces of writing and reflections. Following the steps of its ancestor and friend, Lady René, it takes advantage of the goodness of the Open Type technology to propose a systematized as well as a personalized writing font. Both friendly and challenging. Due to the large number of alternate characters (both for lower and upper case as well as for numbers) and to its precise programming, it proposes to design diverse and rich typographical sets with multiple strokes in a simple way. However, Lady Dodó is not just made of typographical signs; it also proposes a set of modules to make patterns and another one to design frames. From the combination of these modular signs, an infinite universe of possibilities for decoration arises. Here is Lady Dodó, ready to get started and write its destiny. July 2015.