TT Backwards useful links: Specimen | Graphic presentation | Customization options About TT Backwards: TT Backwards is an experimental font project inspired by the USSR typography and fonts of the late 70s and early 80s. Shop signs, posters, and book design—this is where we drew the inspiration for our project. TT Backwards consists of two complementary font subfamilies, a Script and a Grotesque, each of them includes 5 typefaces in 5 different weights (Thin, Light, Regular, Bold, Black). TT Backwards Script is a noncontrast almost monolinear solid script inspired by shop signs, poster and book design of the USSR. TT Backwards Script features a large number of Latin and Cyrillic ligatures (more than 70 items), which allows to make the script versatile and sophisticated to the max. And thanks to the implementation of a huge number of context alternates, all lowercase letters are joined softly and without breaks, and they meet the uppercase letters beautifully and correctly. TT Backwards Script supports the following OpenType features: liga, case, ordn, frac, sups, sinf, numr, dnom, tnum, onum, pnum. TT Backwards Sans is a narrow grotesque, which takes us back to the book design of late 70s and early 80s with its ductile characters. It is created considering its use in the small text size. TT Backwards Sans has a number of pronounced peculiarities: high x-height, exaggerated extenders, and big visual compensators and ink traps. Apart from the basic visual solution, TT Backwards Sans contains two experimental stylistic sets, which markedly change the overall visual perception of the text. SS01 alters high-frequency symbols of the Cyrillic alphabet, and SS02 significantly changes the high-frequency symbols of the Latin alphabet. FOLLOW US: Instagram | Facebook | Website TT Backwards OpenType features: case, ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, zero, salt, ss01, ss02. TT Backwards language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Greycliff Japanese CF is a Japanese-script adaptation of the original Greycliff CF sans serif typeface. The warm, geometric design includes full suite of 9 weights for beautiful dual-language applications. All 3,220 glyphs – covering hiragana, katakana, Joyo kanji, and romaji – were hand-drawn with a careful eye for detail. All Joyo kanji are included. Future updates will add rare name and geographic kanji. グレイクリフは、すでにリリースしている Greycliff CF サンセリフ書体にひらがなや漢字などの日本語が新しく追加されたフォントです。 大きな特徴として、グレイクリフ日本語フォントはローマ字（ラテン文字）のフォントデザインと統一されたバランスのとれたモダンな美しいデザインになっています。 フォントの太さは細字(Thin)から超極太字(Heavy)までの9種類を揃えており、幅広い用途に使用することができます。 ・合わせて約3,220文字を収録しています。 ・ひらがなとカタカナのフルセット ・常用漢字をすべて収録しました(~2136文字)。 今後のアップデート: ・すべての人名漢字を収録予定 ・地名になどに使用される漢字を収録予定

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

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. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Calgera, is a typeface designed by Teuku Riski Firmana. Calgera is a contemporary serif typeface with a distinctive look. Calgera creates an unique character, with different stylistic sets you can change the feel of your design from more organic to more standard. with 9 weights ranging from Thin to Black. This is an elegant font, with beautiful and harmonious alternate, which makes it ideal for use in magazines, in the fashion industry, branding, logo design, dynamic packaging and countless other projects. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes and detailed elaboration of each character, making your text look great both on paper and on the screens. Calgera in numbers: • 108 styles and 1 variable fonts • 843 glyphs and 441 characters in each style • Support for more than 48+ languages • 27 OpenType features in each style • Amazing Manual TrueType Hinting • 4 variable exes (Weight, Width, Slant, Contrast) Useful OpenType features: Access All Alternates, Historical Forms, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Fractions, Oldstyle Figures, Ordinals, Numerators, Small Capitals, Discretionary Ligatures, Standard Ligatures, Small Capitals From Capitals, Case-Sensitive Forms, Denominators, Scientific Inferiors, Subscript, Superscript, Kerning. Calgera language support: Acehnese, Afrikaans, Albanian, Basque, Bosnian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Malay, Norwegian Bokmål, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu, Tagalog, Serbian, Zazaki, West Frisian, Breton, Gagauz, Scottish Gaelic, Northern Sami, Esperanto, Latin.

Sapore is a script font family, mostly monoline, inspired by the elegant handmade signs in the beautiful city of Venice, Italy, where I work and live. Many of these signs were made at the beginning of the 20th century by skillful craftsmen and artists, carrying that distinct vintage Italian flavour, and this is why I named the font Sapore, which means precisely flavour (also, one of the signs is from a pastry shop that makes the most delicious things). The design takes this retro vibe into the 21st century, making it up-to-date and fresh, while keeping it authentic. It is a script font, but I added some stand alone capitals that you can use in all caps words and texts effortlessly, as the open type code is taking care of using the right set of letters at the right time, I could have made two separate fonts, but I wanted to give you the best value I could and ease of use. Make sure contextual alternates are always on! There are also swashes, alternate styles, stylistic sets, small caps, 2 figure sets and decorative elements, all accessible through open type. I think the font is particularly suited for display use, as in logos, packaging design, branding, but it is readable enough for small text blocks. You can access the non-linking caps by clicking on the discretionary ligatures button. You can access the loopy caps by clicking on the titling alternates button. The main version has straight terminals but I included a round version and a calligraphic one, called “classico”. Hope you like it!

Introducing "Master Rumble" - an exquisite font that embodies the timeless elegance of the Victorian era. With its ornate details and refined aesthetics, this font exudes a sense of grandeur and sophistication. "Master Rumble" offers two distinct versions: the regular and expanded. The regular version maintains the classic proportions and delicate details, perfect for creating elegant headlines and body text. The expanded version, on the other hand, provides a more dramatic and impactful look, making it ideal for titles and display purposes. These two variants offer versatility and flexibility to suit different design needs. With an impressive collection of 646 glyphs, "Master Rumble" empowers you to craft captivating typographic compositions. The font boasts an extensive range of alternative characters, allowing you to experiment with different letterforms and create unique combinations. This abundance of options gives you the freedom to customize and tailor the font to perfectly match your creative vision. Enhancing the font's allure, "Master Rumble" comes with an additional 146 ornamental elements. These ornaments beautifully complement the Victorian style, enabling you to adorn your designs with decorative flourishes, frames, and borders. These intricate details add a touch of opulence and bring a sense of refinement to your typographic creations. In conclusion, "Master Rumble" is a font that epitomizes the Victorian elegance, offering a perfect balance between classic charm and contemporary design. With its regular and expanded versions, extensive glyph set, alternative characters, ornamental elements, and multilingual support, this font empowers designers to create captivating and sophisticated typographic designs that leave a lasting impression. Elevate your creative projects and embrace the timeless beauty of "Master Rumble".

SHE'S DEAD, FRANK It's the year 1991, BC (Before Comicraft) when REM were still making records and Frank Miller’s memorable run on Marvel Comics’ DAREDEVIL was just over ten years old. Comicraft’s Richard Starkings found himself working in Anaheim, California for Graphitti Designs. Graphitti had produced the first hardcover edition of Miller’s Batman tale, DARK KNIGHT RETURNS and was now putting together the sequel to Miller’s DAREDEVIL — ELEKTRA LIVES AGAIN! Richard was not engaged to letter this book, the pages of Frank’s incredible original art that came through Graphitti’s studio were already lettered by Marvel Stalwart, Jim Novak. However, there were some cover elements that needed to be added, based on the logo originally rendered by Frank’s brother, Steve. Starkings set about the task of creating an alphabet that could be used to develop Steve’s idea for the trade dress -- the cover elements, the back cover copy and credits on the interior pages. This was long before Macintosh computers and font programs made this work considerably easier, so Rich sat down with a pencil and a sheet of vellum and rendered an alphabet that could be used as the basis for the text that was needed... Those sketches have languished in a drawer for nearly thirty years, but now, finally, Comicraft’s John Roshell has dusted off those old letterforms and Elektrakuted a font based on those designs, a font we HAD to call ELEKTRAKUTION! As for Elektra; she’s dead, Frank. Features: Ten weights (Light, Regular, Bold; Rough Light, Regular & Bold; Inline, Inline Rough, Outline & Outline Rough) with upper & lowercase characters, Western & Central European accents and Greek characters.

This font has been described as "one of the cutest fonts I've ever seen. I can imagine a beautiful, young 22-year-old fashion design student from Los Angeles, CA with this handwriting as she's writing in her journal." I have cleaned it up a bit, increased the size of all the dots slightly and then designed all the diacritics and expanded the character set. The lowercase "f" has a big overhang and the lowercase "j" goes really far to the left - I have programmed automatic (OpenType) Contextual Alternate versions that automatically substitute with shorter variants when letters collide. These alternate letters can also be switched on using the OpenType palette's Stylistic Alternates or Stylistic set 01 ("j") and 02 ("f"). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

African Paradise a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 251 of glyphs Multilingual Language PUA Encode Ligatures Alternate The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Thanks and happy designing :-) NOTE : The Mock-ups and photos used in the presentation of the font are for Preview Purposes only (Unsplash & Freepik source), not included in main file.

Karoline is a lovely script font with beginning and ending swashes, 31 ligatures that add more beautiful and aesthetic fonts to perfect your extraordinary project. Karoline is a lovely script with handwritten, sophisticated flows. It is perfect for branding, wedding invites, and other romantic projects. "Karoline" includes a full set of uppercase and lowercase letters, multilingual symbols, Alternate,numerals, punctuation and ligatures. Also it includes: -short lowercase beginning and ending swashes which serve to connect two words or letters (This is so perfect for invitations, monograms) All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported.so it would be perfect for all types of printing techniques+you can do embroidery, laser-cut, gold foil, etc. You can mix and match with Opentype feature: Ekstras 31 ligature More than 540 of glyphs Alternates Stylistic sets from ss01 to ss04 If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-)

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. Luis Serra was born in Alicante. There he grew up and even started a family His life was there. But at the age of 35 he split up with his wife and decided to go to Barcelona in search of a new life. And it wasn’t easy for him. He had to turn his hand to all kinds of jobs and didn’t manage to find the stability he needed. Luis is a shy, retiring person who takes great pleasure in the little things in life such as walking in the mountains or celebrating the victories of his football team, Barça. After four years living in Barcelona, Luis found himself in a position he’d never imagined. “The street’s much worse now, there’s more trouble, there’s more tension,” says Luís. In the street he had to learn, as he always had, to move fast, to find a place to sleep and something to eat. Luís is one of those people who don’t let circumstances mould him, but adapts to them and always tries to do his best.

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

Step into a world of magic and enchantment with Hedgerow, the phenomenal calligraphic typeface. Inspired by the liner notes of Led Zeppelin IV, Hedgerow captures the mysticism and wonder of a bygone era. With its Art Nouveau tone and intricate interlocking letters, Hedgerow adds a touch of elegance and sophistication to any design. But it’s not just beautiful; in OpenType savvy applications, Hedgerow’s capricious character pairs will surprise and delight you, taking your words to the next level. Hedgerow is more than just a typeface; it’s a journey through time. Let it add a touch of magic to your designs and captivate your audience with its bewitching voice. 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.

‘Thwaites’ typeface is fully dedicated to one of my best Canadian friends who I do cherish and value highly. This great and industrious Canadian friend is ‘James Douglas Thwaites’ who lives along with his good-natured family in British Columbia, Canada. For me, James is like a source of inspiration and I do consider him as an ideal in my life. Our strong friendship has started since 1999 and I hope that it will endure just to the last moment of my life. Sometimes I see him as the writer and poet that I learn a lot from, sometimes I see him as a devoted religious minister that I try to understand more about his teachings, and other times I see him as the educator that I strive to imitate verbatim in my life. When I want to talk more about this Canadian friend, I will not be able to give him his due in full. Thus, I will instead mention some excerpts of his biography that he wrote himself saying that: “James D. Thwaites is a self-accomplished man. Having worked in various fields including restaurant management and cleaning, he has achieved his goals of being a full-time teacher, past-time writer, and volunteer religious minister for the Christian Congregation of Jehovah's Witnesses. His personal and academic pursuits have led him to be published in various magazines, newspapers, self-published books, and websites, including his now defunct ‘poetryofthemonth.com’ website. He continues to learn and augment the craft of writing while working primarily in early literacy and delayed literacy learners, teaching reading and literature to a wide age range of students. He views his religious endeavors as an extension of his academic ones. He teaches others both as a public speaker and in one-on-one situations, teaching about the benefits of submission to God and to His teachings. His future goals include expanding his ministry and continuing his writing.” The name ‘Thwaites’ itself comes from Great Britain and originated from the last Viking raids upon England, being an Anglicized version of a Scandinavian term meaning—depending on the source material—either "a place that is difficult to approach" or "a small thicket of trees." Another recitation mentions that ‘Thwaites’ can be described also as an English surname but one of pre 7th century Norse-Viking origins. It may be either topographical or locational, and is derived from the word "thveit", meaning a clearing or farm. As a locational surname it originates from any one of the various places called "Thwaite", found in several parts of Northern England and East Anglia to the south. The various modern spelling forms include Thwaite, Thwaites, Thwaytes, Thoytes, Twaite, Twatt, Twaites, Tweats and Twite. The name, although often appearing unique to outsiders, can often be found within other famous names like Braithwaite, Goldthwaites, or Misslethwaites. With various spellings, some families not including the ‘e’ or the ‘s’ at the end, Thwaites and its derivations—although not exceedingly common—is a name found worldwide. ‘Thwaites’ typeface is simply a sans-serif streamlined, stylish, and versatile font. It is designed using a combination of thick and thin strokes for its +585 characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish language. The typeface is appropriate for any type of typographic and graphic designs in web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in headlines, posters, titles, products’ surfaces, logos, medical packages, product and corporate branding, and also signage. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. ‘Thwaites’ typeface is really the cannot-miss choice for anyone who wants to possess unique artistic and modern designs produced using this streamlined typeface.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Amherst is a family of blackletter-inspired typefaces. This family, created by British designer Richard Yeend in 2002, is unique in that it mains the feel of blackletter/medieval type without relying directly on historical forms. Amherst is split into two different sub-families, Amherst and Amherst Gothic. Amherst is very geometric interpretation of Fraktur. Fraktur was a style of German type very popular in central Europe from 1517 until the early 20th Century. Its letters appear "broken" at certain angles and joints. Still, we recommend using it primarily for display purposes. Amherst is available in three weights: Regular, Bold, and Heavy. Amherst Gothic is very loosely inspired by late medieval letterforms, often called Texturas or Gothics. However, the letterforms of Amherst Gothic seem just as inspired by the Art Deco movements of the 1920s and by contemporary sans serif type design as anything else. Nevertheless, certain letters in this typeface do appear more "gothic" than others, especially A, D, M, Y, d, r, and x. Amherst Gothic is made up of three fonts, Amherst Gothic Split, Amherst Gothic Split Alternate, and Amherst Gothic Italic. Amherst Gothic Split has in-lined characters, and appears very ornamented. The alternate characters in Amherst Gothic Split Alternate are quite medieval in their appearance. Amherst Gothic Italic is the least medieval-looking of the set; its characters are very round, and more geometric. All six styles of the Amherst Family are OpenType format fonts, and include old style figures.

Temet Nosce - Serif font family - Multilingual - 6 Styles Temet Nosce Serif font family help you develop your creative projects with its 6 styles and multilingual supports. It was inspired by the famous saying from ancient Greek mythology. The characters that make up its structure were influenced by the carved letters in the old stone inscriptions. According to ancient Greek and Roman authors, there were three maxims prominently inscribed upon the Temple of Apollo at Delphi: "know thyself", "nothing too much" and "give a pledge and trouble is at hand". Their exact location is uncertain; they are variously stated to have been on the wall of the pronaos (forecourt), on a column, on a doorpost, on the temple front, or on the propylaea (gateway). The date of their inscription is also unknown, but they were present at least as early as the 5th century BC. Although the temple was destroyed and rebuilt several times over the years, the maxims appear to have persisted into the Roman era (1st century AD), at which time, according to Pliny the Elder, they were written in letters of gold. This font comes with uppercase, lowercase, punctuation, symbols and numbers, ligatures and multilingual supports. Ideal for books and magazines, editorials, headlines, websites, logos, branding, advertising and more. This font family can meet your needs in all creative projects, modern and classic. With this font you can create your unique designs. Have a good time.

🔥 NEW UPDATE - Uppercase characters are now included for the Wild Star blackletter font. Along with 11 new 'flourished' lowercase characters, and 8 new fun icons - that's 45 new glyphs in total! Wild Star is a font duo not to be tamed – this pairing of modern blackletter font & unrestrained script font aren’t afraid to make your message heard loud & clear. It’s a bold choice for merchandise, album artwork, logo designs, quotes & more. This family contains; Wild Star • A modern blackletter font containing upper and lowercase characters, plus numerals and a full range of punctuation. There are 17 alternate stylistic versions for letters g, l, y, p, k, f, h, n, t, m, b, r, h, j which contain a bottom or top flourish. To access these, simply turn on 'Stylistic Alternates', or access them via a Glyphs panel. Type the following characters to generate one of 8 fun icons { } [ ] ( ) . (The standard versions of these characters can be found in the Glyphs panel). Wild Star Outline • A second version of the Wild Star font with an outline effect added. Wild Star Script • A rough, hand-scratched font containing 2 sets of uppercase characters, numerals and a full set of punctuation. Simply turn your caps lock on & off to switch between the 2 sets of characters. Language Support • All Wild Star fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Megaverse VF Design 2023, Volker Schnebel JP-Fonts GmbH, Hamburg, Germany Megaverse VF opens up a universe that is beyond others. Not only its style is mega and the scope of the supported languages is beyond others, but the variety of variants opens up a design space that is unique. The complete family includes at least 90 fonts in 5 width levels from UltraCondensed to ExtraExpanded, each in 9 weights from Thin to Black, both upright and italic. It is a universal font that can be used for almost anything. From the official announcement or the informal letter to the letterpress and to the screen display as a corporate font: Megaverse is always convincing. Her character is quite graceful, but also neutral. She seems likeable, but also serious. She impresses with sharpness and precision and yet remains down-to-earth. Her wide range of variants is unique, both in terms of boldness and width. The very different forms of appearance fit together harmoniously as a whole, which gives the user an enormous freedom of design. Megaverse VF is a must-have for anyone who wants to keep adapting a typeface to different circumstances and who enjoys using variants that make the layout more colorful and perfect. All the advantages of the new variable font technology can be optimally applied with Megaverse VF, including optical scaling. Kerning, hinting and other technical requirements are carefully implemented so that the fonts work perfectly under any condition.

STF Eclectic One is a visual cornucopia of symbols, like the junk drawer in your kitchen. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. As one of the first dingbat fonts available on the web, it gain popularity after its design in the early 1990s. With over 150 characters in the complete set, you'll find yourself using Eclectic One almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcOne features complete hour, quarter, and half-hour notations in an analog clock design glyph, recycled/recyclable symbols, a registration mark, a toaster, globes, sideways diamond arrows, spaceships, stoplights, the "running man," several atomic references, da buzz saw, target icons, the unusual smiley face floating in a ball (with a drop shadow, no less!), and the fish skeleton which complements the fallout shelter symbol, and more. Make your own juxtapositions! One reviewer proclaims "for whatever you do, Eclectic One is an excellent dingbat source." Available in Mac and PC formats. License it today!

South Picene (also known as Paleo-Sabellic, Mid-Adriatic or Eastern Italic) is an extinct Italic language belonging to the Sabellic subfamily. It is apparently unrelated to the North Picene language, which is not understood and therefore unclassified. South Picene texts were at first relatively inscrutable even though some words were clearly Indo-European. The discovery in 1983 that two of the apparently redundant punctuation marks were in reality simplified letters led to an incremental improvement in their understanding and a first translation in 1985. Difficulties remain. It may represent a third branch of Sabellic, along with Oscan and Umbrian (and their dialects), or the whole Sabellic linguistic area may be best regarded as a linguistic continuum. The paucity of evidence from most of the 'minor dialects' contributes to these difficulties. The corpus of South Picene inscriptions consists of 23 inscriptions on stone or bronze dating from as early as the 6th century BC to as late as the 4th century BC. The dating is estimated according to the features of the letters and in some cases the archaeological context. As the known history of the Picentes does not begin until their subjugation by Rome in the 3rd century, the inscriptions open an earlier window onto their culture as far back as the late Roman Kingdom. Most are stelai or cippi of sandstone or limestone in whole or fragmentary condition sculpted for funerary contexts, but some are monumental statues.

The idea that mathematical precision and the supposed "purity" of geometric forms are part of the discourse of us graphic designers is not new. Studying typography for some time now and learning about all the small alterations and adjustments that this geometry undergoes to better adapt to the imperfect human eye, I found myself with a new way of seeing things. Compasso is, in a way, a result of my growth as a designer. Established and recognized fonts like Futura, Avenir, and their predecessors (including Tempo - published by the Ludlow foundry in the early 20th century) informed the result of Compasso at some level. Others opened my mind to possibilities. Mallory, Azo Sans, the font designed for Audi by Bold Monday, and many other contemporary sans-serif fonts that left me speechless are also responsible for details present in this font. From the first sketch, the family grew on both sides, gaining condensed and extended counterparts. From there - and from a brilliant insight from designer Nicole Rauen - I learned that Compasso was not about geometry. Compasso is about rhythm. It's about the rhythmic movement that provides a foundation, supports, and also makes you dance and swing. My musical taste is too eclectic, I can go from classical to funk in less than two songs on Spotify. Compasso is also eclectic. It's a font to take your project anywhere, a record to listen to on any occasion.

Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.
 No matter how you use Workhorse it always looks and reads well.

The most exciting new feature of DynaGotesk is the Vintage Italics stylistic set, which activates the decorative forms. It includes the looped "w", curved ascenders and descenders of many lowercase letters. These can significantly change the feel of a poster or invitation. DynaGrotesk may look like a revival of an old typeface, but it is not. It uses only some historical reminiscences, sharp edges and curved shapes, but it’s completely original design aimed at ease of use. The bigger the size, the more evident and pronounced are the spicy details. In smaller and even smallest sizes it’s appearance is qieter, very well suited even for long portions of text. DynaGrotesk was created in 1995 with the use of Multiple Master interpolation. But the MM fonts never achieved the desired application in industry, so designers returned back to single fonts. Over the following decades, the font was modified several times as an old house, and the present re-animation includes the Variable font format. Since its first release in the mid-nineties, it is widely used in all areas of graphic industry from small publishing to international corporate identity. The warm character of DynaGrotesk derives from early sans-serif typefaces, those which appeared before Helvetica. All 60 styles contain common OTF features like Small Caps, various sorts of figures, ligatures, Cyrillics, Greek, and full Latin diacritics. Perfect for branding systems and corporate identities, lettering, as well as cultural posters and catalogs.

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.