About the font family Cumhuriyet is an Arabic concept that means "the form of government in which the nation holds the sovereignty and uses it through the deputies elected for certain periods". The reason why I gave this name to the font is that 2023 is the centennial anniversary of the Republic of Turkey, which was founded by Atatürk. This typeface, which is sans serif, consists of three families: ▪ Cumhuriyet: Font family with Latin letters ▪ Cumhuriyet Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Cumhuriyet World: Font family including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Cumhuriyet is a family of multi-purpose typefaces designed in a geometric style. This font is an extremely useful font for media and digital media as well as for printed products. In this respect, the Cumhuriyet font can be used as a text and title font in publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites.

With this charming new layered typeface, the possibilities are endless with your vision behind it. Accomplish the effect you've been searching for by layering these exceptional fonts and altering opacity and color, for a unique custom appearance that yells “hello there!” Play around a bit with the potential of Le Havre Layers. Build effects which include realistic 3D appearances reminiscent of the storefronts of old and adding centerlines, dotted centerlines, and shadow variations. Inspired by the affable appearance of vintage signage from the 1930s to the 1960s, Le Havre Layers spacing is altered from Le Havre Titling’s to accommodate shadows and other options properly. With its generous width it sends a message of refinement and grace. The geometric and art deco curves are a beautiful addition to your work. Mix and match with the other members of the Le Havre Hyperfamily. There are many amazing design solutions for you to discover. See what you could build with Le Havre Layers!

“Due Giorni”, two days in italian language, express a measurement of time, it can be little or a lot, depending on who or what it is used for. “Due Giorni” is a script font very expressive, fresh, agile and dynamic, hand-drawn with connected forms on slanted angle of 23º This font contain 542 glyphs with plenty OpenType features: Standard and discretionary ligatures, stylistic alternates, swashes, Old style figures, small caps, case sensitives and ornaments. It come also, with three kind of capitals: Roman Capitals, Small Caps (different proportions) and Swashes. Roman Capitals are inspired on the beautiful inscription found in the Augustorium’s house in Ercolano, Naples.those letters have been carefully drawn and sculpted. Swashed Cursive Capitals are similar to 18th century penmanship. “Due Giorni” is a versatile font that may give you the chance to create original logos and headlines, specially by many stylistic sets, ligatures and alternates that can be combined with them.

Handsome was the first digital typeface to resemble nice, ordinary, fully cursive handwriting. Or neon. In 2005, Handsome Pro was one of the first script typefaces to utilize the OpenType format to simulate the natural quality of writing, by automatically substituting alternate contextual glyphs. The effect follows the conventional “joining rules” of calligraphy, which are a formalization of the way in which letter forms are modified in cursive handwriting for the sake of speed and efficiency—and also perhaps to make life more interesting. For the look of real handwriting, Handsome is most convincing at around 15 pts. At much smaller or larger sizes it works differently. At display size, the feel of the non-nib styles is very slick, more like a speedball Kauffman, owing to the smoothness of the finish. As script fonts go, Handsome has a relatively large x-height, which can be useful if you don't want the “writing” to look too small.

The PM Doorbuster Collection is based on retro hand-painted paper signs primarily seen in grocery stores from the 1940s through today. We meticulously hand-drew each font, modeling the spacing and uneven baseline found in vintage sign painting. The purposely organic ascenders and descenders, along with a huge set of ligatures/contextual alternates to avoid the same letters repeating when paired, give it a real hand-lettered look. PM Doorbuster Casual is perfect for both vintage-inspired and contemporary marketing, branding, and packaging designs. It's a classic uppercase sign painter font that has been used from the 1950s thru today. You've probably seen hand-lettered versions used in tattoo studios, workshops, and chalkboard menus. Now it's available in a digital format with all of the authentic look and feel of actual hand-painted letters. Check out a few of the samples included in the thumbnails to see what can be done with it.

P22 Casual Script Pro is a flexible OpenType font based on mid-20th Century hand drawn advertising lettering scripts. As an alternate to thicker casual script styles, this free-flowing thin brush style is evocative of vintage product advertisements and packaging lettering and is highly suitable for a retro flavor. The Pro font includes over 500 glyphs with at least 2 of all upper and lower case characters with OpenType scripting and ligatures for a more natural and random effect. There is also a unique feature not found in other script fonts: Small Caps! While it may seem unnatural for a script font to have small caps, these work well as an authentic variation of brush script lettering for advertising. Also included in the Pro version is a full Central European character set, swash characters and more. OpenType features include: Small Caps, ligatures, discretionary ligatures, swashes, contextual alternates, stylistic alternates, Old Style/Lining Figures

LTC Goudy Initials has been a best-seller since it was reformatted to font format by P22 in 2005. We decided that while it works very well at medium sizes, when it was used extra large, the outlines were not as true to Frederic Goudy’s 1917 drawings as they could be. We decided to redraw from the ground up—and here we have the NEW LTC Goudy Initials! Meticulously redrawn by Miranda Roth, these ornaments referenced original proofs of large sizes of Cloister Initials. In our quest for artwork for this project, we even arranged a quickly sold out recasting of the 120 point size and have produced a limited edition letterpress print from this casting This new digital version features two additional layers to allow for quick colorizing of the central letter and/or the floriated background. Registered users of the previous version of LTC Goudy Initials may upgrade to the set at a discount.

This font was created while looking at the various shapes my handwriting consistently took, especially in the ways that letters would have breaks in them. Over the course of a few months I continually tweaked the letter forms and shapes, and lo and behold, I developed Deco Sans. This family currently only includes a thin weight, as I'm only one person, and very busy with college. I'm continuing work on a regular, bold, and possibly a future italic weight, but these may not be released for many months to come. As this is a very thin font, it should be used at sizes no smaller than around 16 or 18pt as it tends to get lost in whitespace, and looks best at large sizes. As such, this weight should be considered more of a display font than a text font, however, I predict a regular weight to be very readable and much more useable for the everyday.

Linotype Franosch™ is a three weight display typeface designed by artist/graphic designer Max Franosch. Around the time of making the initial sketches, Franosch was looking a lot at Arabic newspaper and magazine headlines. He was drawn to their bold and very graphic" type. A common feature was the "floating" dots which added a rhythmic quality to the text. This came to influence the use of dots in Linotype Franosch™. Apart from this influence, Linotype Franosch also has a very clean and futuristic feel to it, due mainly to the highly geometric nature of the characters and the uniform stroke weight. More about the usability of this typeface can be seen at the Font of the Week of Linotype Franosch. Linotype Franosch is perfect for party flyers, headlines, and internet banner ads. All three faces in the Linotype Franosch family are part of the Take Type 4 collection from Linotype."

Lightbox 21 is a radical update of my previous version of a geometric sans serif. The design of the original Lightbox was fundamentally based on the idea of incorporating the proportions of the ‘Golden Ratio’ into each letterform; Lightbox 21 greatly improves on this concept by entirely abandoning it. The result is a much more readable, ‘natural’ typeface that retains elements of the original without being bound to it. Overall, Lightbox 21 has been designed to convey that classic feel of a geometric sans that makes the genre so tremendously enduring and versatile, as well as providing an effortless sense of class to whatever they are applied. Primarily intended for editorial work (i.e. short to medium length texts) or display settings, Lightbox 21 has a reasonably extensive character set, including support for Vietnamese, many currency symbols, arrows, and small caps. It also has OpenType support for nut fractions (via a stylistic set) and a barred alternate uppercase i and an alternate curled j.

Carpathian Basin Rovas The Carpathian Basin Rovas script, or Kárpát-medencei rovás in Hungarian, was used in the Carpathian Basin between about the 7th and 11th centuries. Most of the inscriptions are in Hungarian, but some were in Onogur, As-Alan, Slavic or Eurasian Avar. Carpathian Basin Rovas is thought to be a descendent of the Proto-Rovas script, which was used to the east of the Aral Sea between about the 1st century AD and 567, when the tribes who were using it, the Avars and Ogurs, started to move into the Carpathian Basin. That process took until about 670 AD, after which the Proto-Rovas script became the Carpathian Basin Rovas and the Khazarian Rovas scripts. The Proto-Rovas script was perhaps a descendent of the Aramaic script. Since 2009 efforts have been made to revive the use of this alphabet. Some letters were added to it to represent sounds in modern Hungarian that weren't used historically.

Unleash your creativity with Pignatelli and explore its versatility. Whether you're designing stunning wedding invitations, crafting beautiful stationery art, or creating engaging social media posts, this font will add a touch of refinement and charm to your projects. Its seamless blend of uppercase and lowercase characters, combined with its extensive set of numbers and punctuations, ensures a seamless and cohesive visual experience. Pignatelli Script Font is not bound by language barriers. With its multilingual support, you can express your creativity in various languages, reaching a global audience. Additionally, the font is PUA encoded, granting you effortless access to its wide array of amazing glyphs and ligatures. Add a touch of uniqueness to your designs and explore the endless possibilities. Elevate your typography game with Pignatelli Script Font. Its full character set offers a comprehensive range of symbols, ensuring you have everything you need to create visually stunning designs. Embrace the elegance and grace of Pignatelli Script Font and let your designs speak volumes.

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Many years ago I studied American Sign Language in an effort to better communicate with some friends of mine within the deaf community. I found ASL to be a beautifully expressive language from a vibrant and active culture. Out of that attempt came this stylized depiction of the manual alphabet used in finger-spelling. Until recently it had only existed in analog form, born of pen and ink on paper. So now I'm glad to say it’s turned digital. Typing a period (.) will reveal the sign for “I Love You” (a combination of the letters I, L and Y), which fits nicely within the shape of a heart. Holding down the shift key while again typing period (greater symbol) will reveal the heart in its filled-in form, which can serve as an underlay. Use these in an application that supports layering in order to create different color combinations. There’s a stylistic alternate letter “S” and an “OO” ligature which can be accessed in OpenType-savvy apps.

Clarence is a modern, original typeface that has been designed to have a warm and slightly antiquated feel. It is slightly too idiosyncratic for great lengths of continuous text but does work very well at both small and display sizes. The serif structure takes some inspiration from architectural buttresses (a structure built against a wall to provide support or reinforcement). The serifs only protrude a small way from the body of the letter, which serves to ground the letter and, because the serifs bracket (the curve) joins the vertical at a relatively great distance from the tip of the serif, it remains subtle. The italic variant draws on the roman but has a more pronounced and curvier serif structure, analogous to the cursive element expected of an italic. This serif structure is present throughout the italic, even extending into the uppercase, making it more of a true italic than the commonplace sloped roman.

Quars is a text and display typeface family designed to work on magazines. However, it is also suitable for books and other editorial material. It has a strong personality with elegant, sharp and contemporary features. This typeface comes from several subtle influences, from the contrast of the Scotch Romans to the sharpness of contemporary Dutch designers. Quars is a crystal clear and neat typeface full of small details, its structure is bursting with curves and accurate features which gives it its firm personality. Its italic experiments with the boundaries of italics themselves; with just 1 degree of slant Quars Italic accomplishes its purpose of highlighting pieces of text within its Roman. This carefully thought out inclination protects the uppercase from the usual distortion which Italic caps suffer. It offers a generous glyph set with many ligatures specially crafted for titling and ornaments based on anonymous metal types found in the drawers of an old printing workshop in a coast town near Barcelona.

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton+, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican+, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian