Baldufa is a charming typeface with strong personality, which looks very comfortable in text. There is a search to obtain complicated curves and detailed features, which give the typeface a touch of beauty and elegance. However, this is also a self-conscious design that claims appreciation for quirkiness and human imperfection through the rounded serifs and irregular vertical stems. The typeface family is also a multi script project, containing Latin and Arabic scripts. The Latin consists of Regular, Bold and Italic styles, including Small Caps and many other typographic features. Whereas Arabic Naskh includes Regular and Bold weights. The whole family has been designed to work harmoniously together to help to produce catalogues and small publications of cultural content. We believe that Baldufa is a tiny but nice contribution to build bridges between cultures and this make us very happy. The letterforms in the Latin are inspired by the slight distortions and idiosyncrasies that came with old printing methods. It has distinct, features such as rounded serifs, irregular vertical streams, ink traps and extremely thin junctions. In the Italic, serifs have been removed to enhance movement and expressivity. These experiments in form have not come at the cost of legibility: The typeface remains suitable for both small and display text. To certain extent, the design of the Arabic gathers the same interest for experimentation than its Latin companion. Baldufa Arabic respects the basic features of Arabic script such as thick stokes in the baseline, multiple vertical axis, genuine stem modulation and good linking between words. However, it steps away from traditional Calligraphic Style. It has rounded top terminals and the traditional contrast between curves and straight stokes has been softened. Letter shapes sometimes slightly differs from tradition in order to obtain more expressivity. Overall, Arabic has been designed to acquire the same elegant and quirky aspect of the Latin.

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

KT Nirma Sans Nirma is a typeface with 9 Weight Sans Serif from thin to Black, inspired by Founders Grotesk, This project start from April 2022 and start from the stretch until shaped the solid character to represent the Dynamic Sans Serif. Nirma has total 462 glyph and 218 Support language. Nirma support Latin Basic, Latin-1 Supplement, Latin Extended A-B, Spacing Modifier Letters, and Combining Diacritical Marks. The Solid Character has multi function Display Sans & Body text based on Display Grotesk. Especially in te Thin to Regular is more legible for body text and the black one good for Display Sans, with dinamyc shape and more wide.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

Stuffed Shirt JNL acquires its name from a term popularized during the years when the Art Deco period flourished. The Great Depression further widened the gap between the 'haves' and the 'have nots'. Occasionally, some of those that 'had' (and some who pretended they did) came off as standoffish, egotistical and pompously arrogant. Such individuals were referred to as a "stuffed shirt"; a blowhard who thought he was better than others. In this case, Stuffed Shirt JNL is no more than a dual-line adaptation of Playwright JNL, itself an interpretation of the classic Broadway type design in a way that emulates the hand lettering of old-time sign painters.

Bellagia Display is a blend of two hand calligraphy typefaces and vintage serifs with a natural bond consisting of 7 weights from Thin to Black. All the wildcards and binders are specially designed to bring out the letters that are unique, and interesting. This makes it a very versatile font that works in both large and small sizes. Perfectly supports your creativity in making various design projects such as logo designs, branding, posters, magazines, labels, merchandise, invitations, long and short texts, and many of your other needs. Bellagia Display Features: - 7 Weights (from Thin to Black) - 1 Variable font - Alternates & Ligatures - OpenType support - Multilingual - PUA Encoded.

Introducing original Longtype font family. Elongated in height and fully balanced in width. This font looks unusual and evokes a flight of imagination. Typeface in combination with the simplest graphic design techniques instantly turns into a modern object that attracts attention. Use it in short texts or headlines, add some color to enhance the effect. Fits well with modern minimal abstract design. Longtype is a stand-alone typeface that can be the centerpiece of a cover. And 3 types of thickness included in the family will give more freedom for creativity. Features: Elongated form 6 fonts in family: - Thin, Thin Italic - Regular, Italic - Bold, Bold Italic Kerning ld.luxfont@gmail.com

We are pleased to offer a unique typewriter font. Consists of two versions, namely regular and italic, Smart Chameleon has more than 650 glyphs and can be used in more than 150 languages. We present it in a handwritten version with untidy curve that makes you even more exasperated. Smart Chameleon has a vintage style that is packaged in the current version. Suitable for all styles, you only need to replace the color and background of the design and the appearance will totally change, from children's style to fancy, retro or modern youth style. Just like a chameleon that changes according to the conditions. Enjoy.

Hilmar Sans is a neo-grotrsque typeface family in 7 weights, support most European Languages and features. The typeface is versatile to blend in your design- with 7 weight, ranging from thin, extra light, light, regular, medium, semi bold, bold variable type. Perfect anywhere you need a right finas touches for branding, publishing, titles, book, magazine , and use on UI/UX design.The typeface is versatile to blend in your design- with 7 weight, ranging from thin, extra light, light, regular, medium, semi bold, bold variable type. Perfect anywhere you need a right finas touches for branding, publishing, titles, book, magazine , and use on UI/UX design.

A happy, and delicate family, available in 5 weights. Being very legible in small sizes, it pays tribute to French designer Roger Excoffon, particularly to his Antique Olive type. Antique Olive combines two features which inspired the design of Quimera: a large x-height with open counters which ensures legibility at tiny body sizes; and letterforms with a horizontal stress which contradicts the logics of calligraphic tradition (thick verticals, thin horizontals). Quimera has a typical sanserif stroke modulation, but letters have a very thin, capricious serif, which helps to keep the texline's continuity. This 'genetic' contradiction is the reason for its name: Khimera, as it would be a 'sanserif avec'!

Neotoxic Font Family has been published since 2022, and can be downloaded for free on the dafont website. This font supports interesting features such as small caps, ligatures, salts, etc. also consists of 6 font styles including thin, light, regular, bold, black, outline. WHAT YOU GET Features : Small Caps, Ligatures, Ligatures Contextual, Salt. 6 versions normal & italic (ttf + otf) 24 types of font files include Regular, Bold, Light, Hollows/Outlines, thin, Italic, light PUA Encode Characters, fully accessible without additional design software. Includes a range of multilingual characters. Neotoxic is suitable typeface for various purposes like logotype, signage, label, poster, dropcap, titles, letterhead, book cover and etc. Thank you!

Honess is a luxurious handwritten script font with a thick classic feel this font is perfect for craft artists to elevate their work into beautiful masterpieces. Honess is also great for graphic designers looking for a cute font for their work. includes : - uppercase, - lowercase, - standard punctuation, - standard ligature, - bigining swash. - ending swash - numbers. - multi lingual to use a character with a line prefix is quite easy, that is, simply by typing an unterscore is added to the desired character, for example (_a) then the character a will have a line at the beginning, as well as a ending swash, type the character then followed by an underscore (a_).

The font has a truly futuristic nature. It perfectly conveys the atmosphere of technology and futurism and it's the best choice for sci-fi and hi-tech topics and pictures. The font letters are unrounded, it's build is very simple and straight. The font includes 7 styles: thin, extra light, light, regular, medium, bold, and black. With the variety of font widths, there is the ability to make different combinations in graphic or web design projects as well. Carefully kerned letters look well in paragraphs and titles. Special attention to uppercase headings. The font counts 477 glyphs for each style. The thin style is free to use.

InduXtrial was developed for a poster project which needed a modern, degenerated look. We actually designed a custom variant of our Savoyard font with some unique characters and a somewhat different look for a number of the characters. We then degenerated the character outlines in Photoshop, ultimately running them through several permutations to produce two different versions of each character for the main font, plus an additional font with stylized initial capitals and customized small caps. Then, just to cap things off we produced a set of drop-cap initials and unique outline characters. The result is just what you need to express the concept of industrial decay in print.

Introducing Amstrong Signature Script font. Hi Designers, come again to complete your script font collection! This is a classic thin font with an italic style. This font comes with several modern swirly alternates that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greeting cards, and all your other beautiful projects. Amstrong Signature Script font, includes various language support. You can use this font for your work very easily because it contains many features. Contains a complete set of upper and lowercase letters, punctuation, numbers and multilingual support. This font also includes several ligatures and alternative styles Set Stylistic For those of you who have software that is able to work OpenType (Corel Draw / Photoshop / Illustrator / InDesign). Files include: Amstrong Signature Script.OTF If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Chancery Lane is a condensed cursive with a breezy, flowing feel. Many of the lowercase characters join up, some uppercase ones too, and the two fonts are slantier than many other chancery-inspired faces, inclined at almost 20°. Each glyph has slightly rounded corners to bestow softness and warmth. The typeface emerged from a study of pen lettering, italic scripts and chancery hands – down a rabbit hole and along the Chancery Lane. The research ranged from early cancellaresca manuscripts to contemporary fonts, and also calligraphic work, most notably that of Indian artist Mayank Baranwal whose lowercase letters inspired many of the Chancery Lane glyphs. Uppercase characters have been designed to harmonise with the lowercase rather than providing overly ornamental openers, true to origins that were functional rather than fancy. Both the capitals and the uppercase alternates are unfussy and relatively simple, and the lowercase swash characters are similarly understated, only modestly flourished. Stylistic alternates and lowercase swash characters can be accessed using OpenType-aware applications or font management software.

Opulenio – A Thin Elegant Serif Typeface Opulenio, a thin and elegant serif typeface, epitomizes sophistication with its refined design and delicate strokes. The slender serifs and gracefully elongated letterforms create an air of timeless grace, making Opulenio a perfect choice for projects that demand a touch of luxury and class. The precise balance between thin lines and subtle detailing contributes to its understated beauty, ensuring legibility while exuding a sense of modern opulence. Whether employed in editorial design, branding, or invitations, Opulenio effortlessly communicates a sense of style and exclusivity, captivating the eye with its slender yet impactful presence. This typeface seamlessly blends modern aesthetics with classic charm, offering a versatile and distinguished typographic solution for those seeking an elegant and refined visual language. Opulenio is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

DT Portal: This stylised, partially serifed font, made with a slightly rounded square form, may have been inspired initially by old cathode ray tubes and computer screens. Although not intended to be purely a ‘tech’ font, it can have a strong tech feel to it. More suited to being a headline font than body text. It also appears to have a monospaced look to it, since most letters, (other than letters like ‘i, l and t’), do have the same width. There is some automatic contextual shape adjustment happening in places, to avoid taking up too much space, so contextual ligatures should be turned on. As is the case with most of my fonts, when given the choice, ‘metric’ spacing should be used in preference to ‘optical’. Initially this font was going to be called ‘DT Portal’, because its form was similar to that of a window or doorway. But due to other fonts already having that name, I chose to rename it as ‘DT Partel’, for no reason other than it is only a very small change visually.

Delpina is inspired by the vintage old American which has two styles, Clean and Rough also come with a lot alternative characters. Made carefully to create the perfect texture and suitable for each of your projects also great for Logotype, Branding Design, Logo Design, Digital Lettering Arts, T-Shirt/Apparel, Poster, Magazine, Signs, Advertising Design, and any vintage design needs. Software for use this font: Adobe Illustrator, Adobe Photoshop, Adobe Indesign, Word, Corel draw, inkscape). Cheers ! Chandra - Vultype Co

While it is obvious that this is an ornamental style font, it is more than that: it is a Celtic Knotwork design tool! Irish, Scottish, Welsh, even Norse and Viking cultures have used knotwork designs for millenia. These ancient traditional interwoven designs are experiencing a revival as Celtic culture gains exposure in the modern world. Intricate Celtic knots are featured everywhere from jewelry to tattoos. While many enjoy them simply for their beauty and fascinating twists, they can also be used to add an air of myth, magic and mystery to any project. The interlaced lines make them perfect for wedding invitations, borders, dividers and rules, web graphics, and logos. I began using Celtic knotwork designs in my own work as part of my knifemaking and jewelry making hobbies. I read all of the books I could find about Celtic knots and at first I drew them by hand with pencil and paper. Then as I realized how nice it would be to have "undos" I switched over to using Corel Draw. Draw proved to be a natural for this type of artwork with tools like contour and the trim function. But even with these great tools, it was still tedious to create these designs. I noticed that I was able to reuse a lot of parts in repetitive sections. I developed a small library of reusable bits and chunks of Celtic designs. I found them so useful and fun to work with that I began thinking about ways to market my Celtic design kit. I thought about CDR and EPS formats, but then I thought of creating this toolset as a True Type Font. That way anyone with ANY program that uses fonts could easily create Celtic knotwork designs. Word processors, embroidery programs, engraving programs, jewelry design programs, CAD/CAM programs...almost every program can use fonts. I was also interested in CNC work and thought that this font would work well for applications such as laser etching, vinyl signs, and machining. With that in mind, I designed each character of the font with extremes of accuracy. If one character from the font is used at one inch tall, every control point will be placed to an accuracy of better than 0.0001 inch. I wanted every piece to meet exactly with the next, with no possibility for misalignment. The different styles are all very carefully created to fit accurately with each other. So the Filled Style fits exactly into the Outline Style, and the Inverse Style fits precisely around the Outline Style so as to make up the background behind the knotwork. Combining the styles allows you to have complete creative control. By assembling the nearly 200 pieces it is quite easy to produce very complex designs. It is actually a bit like playing with a puzzle and many people really enjoy putting the pieces together to make designs. In fact, I have had many customers tell me of how they love playing with this font and making knots into the wee hours of morning. If you like puzzles then you will absolutely love this font! And creating the patterns is just the beginning of the fun! If you apply your favorite Photoshop tricks on them you can make anything from dazzling chrome knotwork to carved stone. Photoshop plug-ins like SuperBladePro are great for converting knotwork text into corroded bronze or rusted iron. Use your knotwork to add texture to a virtual landscape, or add them as surface embelishments on architecture and furniture. You can also make round knotwork by using this font with "WordArt" (WordArt is included with every copy of Microsoft Word. See http://clanbadge.com/round_knots.htm for a tutorial on how to make round knotwork). For Crafters there are limitless uses for this font. It has been used for embroidery, jewelry, leatherwork, stencils, stained glass, quilting, painting, pyrography, woodcarving and lots more. We have even sold copies to monks for use in decorating handmade books!

Copperplate Alt is the sister font to Copperplate Wide. The »Alt« version stands for alternative and has lowercase letters that are slightly smaller than the uppercase. It gives you another possibility to use this elegant typeface. Your forever inventive type designer - Gert Wiescher

The hand lettered opening title for the 1935 movie “Thanks a Million” is rendered in a condensed, thick and thin Art Deco sans serif design. It is now available as the digital typeface Stocks and Bonds JNL – in both regular and oblique versions.

In 1992, Red Rooster Typefounders created Block Gothic Extra Condensed based on the TP Collection Block Gothic. In 1994, the company created and produced Block Gothic Condensed loosely based on the Extra Condensed; the weight range is markedly different than the earlier release.

Ladies is a gorgeous yet thin and simple handwritten font. Ladies will add a luxury spark to design project that you wish to create! This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

Florensa was designed carefully with love and passion, created for type poster design, graphic design, logotype, branding, and choose everything you want. Contains more than 50 beautiful ligatures to produce a modern look and playful typography, upgrade your design creativity with Florensa.

Vocalist JNL is a bit of a novelty Art Deco typeface based on hand lettering from some 1940s sheet music. Using the classic "thick and thin" style of the day, a number of letters and numbers have wedges cut out of their designs.

Besthiny Signature Font is an elegant and delicate handwritten script font. Its thin strokes and graceful curves create a beautiful and stylish appearance. Whether used for invitations, logos, or branding materials, Besthiny Signature Font adds a charming and distinctive flair to any design.

A piece of sheet music for “Broken Blossoms” circa the 1920s or early 1930s has its cover title hand lettered in a wide thick-and-thin Art Deco design. This is now available as Flower Shop JNL, in both regular and oblique versions.

The concept of this letter is health. Eat well, sleep well, exercise comfortably, have strong muscles and endurance. It makes people feel quite positive. It will give great strength to sentences that have meaning that people can understand, rather than inflammatory messages.

The Magellan font family is a roman in the Swedish Grace tradition. And since the Swedish language has long words, Magellan is a bit narrower than most romans. Magellan was an honorable prize winner in the Morisawa (Japan) international typeface design competition 1993.

Love Princes is a handwritten script font that was written using a marker on paper and then I made it into a charming and very natural font, with two very cool writing characters if paired or used in one of your works

Sweet Tea is a thin, handwritten and simplistic font reminds me of the simple, yet serene days on the front porch swing with a Summer breeze. Sipping an ice cold glass of sweet tea on a hot, sunny day -- there's nothing better.

Hors is name of Arian God, also it is an ancient name of Mercury. Hors is display font font family with 6 styles, including filled, outline, shadowed and others. Hors is a handmade type. Here are more than 500 glyphs and opentype features.

This font should be used with all three formats. It is recommended to use it in big font sizes due to the thin hairline of Fansy A. Have fun playing with the new modern and fancy display font designed by Jörg Schmitt.

Ving Smith is a Script Font with Handwritten Style. The Ving Smith font made with digital brush pen strokes that making this font look authentic. This font is perfect for fashion brand, wedding invitation, business card, logo brand, signature, and then calligraphy.

Friedrich Kleukens font design, influenced by the then prevailing Art Deco style, and released by Stempel in 1926, has been revived for modern use. To get access to all ligatures, it is recommended to activate both OT features standard and discretionary ligatures.