The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

FF Attribute™ Text is a proportional design with a faux monospace appearance. It has an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting a many languages, also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Text’s 14 designs, huge character set, including box-drawing characters and user interface-icons, make it the Swiss Army Knife® of monospaced fonts.

Satimah is a stunning Arabic style typeface that brings an elegant and professional look to any design. With its simple yet refined design, this font is perfect for a wide range of projects, from branding to editorial and beyond. The font also comes with stylistic set 1 and 2, as well as stylistic alternates for some characters, giving you even more creative options. Satimah is particularly well-suited for Islamic design and Islamic theme events, thanks to its beautiful calligraphic flourishes and timeless elegance. With both regular and italic versions, this font is versatile enough to be used in a wide range of design applications. And with multilingual support, you can be sure that your message will be communicated clearly and effectively no matter where your audience is located. Features : - Satimah Family Font - Stylistic Alternates - Stylistic Set - Multilingual, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Hope you enjoy with our font! Attype Studio

Introducing "Kukulkan," a font designed by Raúl Plancarte, adorned with accolades, that unravels the structural possibilities nestled within the realms of ancient Roman letters and fantastical styles, infusing them with a contemporary essence. This typeface exudes a conspicuous plasticity and expressiveness, seamlessly harmonizing within its original intended context as a font for continuous text, bolstered by its robust and assured strokes. It stands as the triumphant culmination of a thorough exploration, meticulously considering legibility. Infused with nuanced elements that evoke a pre-Hispanic idealization of Mayan culture, this essence takes center stage in its darker iterations. However, it is adept at adapting to a myriad of ethnic and cultural nuances prevalent in our global village. Noteworthy is the fact that the "Kukulkan" font family is available as a variable font, offering a dynamic range of styles across its 18 fonts, endowing it with a lively, human, and refined demeanor. Additionally, it features a variant known as "Kukulkan Ornaments," a collection of 150 dingbats comprised of icons, symbols, and frames intricately inspired by the iconography of Mayan hieroglyphs. In its natural application, "Kukulkan" thrives in contexts of art, lifestyle, culture, seamlessly bridging tradition and avant-garde. This font excels in the realm of editorial design, evident in its adeptness at crafting robust headlines, and in select cases, it lends itself to creating striking brand identities.

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Engaging the issue of scalability, Beaufort® is configured so that serifs render with great sharpness, independent of type size, limited only by device resolution. This scale of effect empowers the typographer with a design axis stretching from awesomely huge to preciously tiny, further enhanced by weights from Light to Heavy, small caps, and alternate figure styles. In style, Beaufort has a number of affinities. In particular, the bold romans recall a kind of “grotesque with small serifs” style popular with sign painters and package lettering artists in the early 20th century, and still going strong. In proportion, the basic Beaufort is in the vein of the classic oldstyle types that descend from Granjon , via the French Oldstyles, or Elzevirs, to Plantin and Times in the early twentieth century. Designed for optimum clarity, readibility, and word count, these types have a pronounced angle of stress in the lower case, which is quite large and fairly narrow in relation to the caps. None of the caps are exceptionally narrow, and both cases have an evenness of width that makes for a no-nonsense, orthodox appearance. The strength of the capitals distinguishes these types from those of another “optimizing” era, the 1970s and ’80s, when puny caps made for monotonous text. However, strong though they may be, Beaufort’s caps are not as obtrusive in text as those of Times or Plantin.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

Presenting the Young Morin typeface from alitdesign. Young Morin font is designed by combining elegant script font with a classic serif font style. The Young Morin font is inspired by a classic roman design that we apply modern elements according to current trends. This bold classic concept will create a design that is frightening but still looks modern and elegant. The Young Morin font is perfect for the design of young people who dare to be different and unique from the current trending design concept. Young Morin font is highly recommended to be a collection of fonts for current or future design creation. Young Morin is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern and brave concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "Young Morin"contains 660 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Woodford Bourne PRO is the evolution of my original Woodford Bourne typeface that was inspired by the iconic stone cast letters on the façades of the 19th century Woodford, Bourne & Co. buildings in Cork City, Ireland. Woodford Bourne PRO has matured with numerous improvements to make it an even more versatile font family. The fonts have been completely redrawn and spaced, there are now an additional 500 glyphs for you to use across 9 stylistic sets. The additions include underlined caps, small caps, petite caps, catchwords, discretionary ligatures and more. Please view the specification sheet before you purchase to see all the glyphs and features. Key features: • Woodford Bourne PRO is a vintage geometric sans, optically adjusted for improved aesthetics and legibility 2 FONTS IN 1 – Use the default contemporary character set, or switch to vintage style with stylistic sets 9 Weights in Roman and Italic Thin | ExtraLight | Light | Regular | Medium | SemiBold | Bold | Black | Ultra Underlined Caps, Small Caps, Petite Caps, Catchwords, Discretionary Ligatures Full European character set 1000+ glyphs per font UPDATED JULY 2021 (v.3) Woodford Bourne PRO v.3 update includes numerous improvements including rebalanced /S/s/ glyphs to make them less ‘top heavy’. Italics have been redrawn to smoothe out irregularities. Improvements have been made to diacritics and glyph coverage now supports all Latin European languages.

Directa Serif Variable is a text type family in one single font file. It explores new possibilities for the original type family released by Outras Fontes some years earlier, which is designed to save space with the highest readability. The variable font is composed of two axes of variation: Weight (100–900) and Italic (0–1). It also contains 18 predefined styles between Thin and Heavy and their respective italics. So now you can adjust the weight of the type by interpolating it in real time using any variable font compatible app. There are hundreds of possibilities between the values of 100 (Thin) and 900 (Heavy). And if you're feeling adventurous, you can also use the Italic axis to interpolate instances between Roman (0) and Italic (1) and see what happens in the middle. This new technology can be very useful for web and video animations. Directa Serif Variable is also highly recommended for newspapers, magazines, corporate communication and so on. It has a large set of characters, including Western, Central European, Baltic, Scandinavian, Icelandic, Romanian and Turkish unicode ranges. The variable font also includes several ligatures, a complete set of small caps, sets of lining, old style and tabular figures, as well as fractions, superior and inferior numbers. These features can be easily accessed using any OpenType-compatible software.

Berenjena is a captivating font family designed by type designer Javier Quintana Godoy in Santiago de Chile. Berenjena has the right combination of comfort in reading and a lyric spirit. This helps keep readers in the delicate atmosphere in which novels and tales can display all their charm. Most typefaces created for books cannot reach this. Either they are too expressive so they tire the eyes of the reader, or they are dull and reading becomes a tedious task. Berenjena was designed for text use bearing in mind this concept of subtle balance. Berenjena (Spanish for aubergine or eggplant) gives your text that spicy environment in which words shapes are easy to read while letterforms maintain their capricious feeling. It comes in roman and cursive declined in four weights: Blanca, Fina, Gris, Negra. All Berenjena character sets include extensive diacritics coverage for more than 200 languages plus the usual contextual features. The Berenjena Pro fonts (available at PampaType.com) include smalls caps, elegant ligatures, cute swashes, every kind of figures, and all contextual sorts. Berenjena will give your design a very individual character. It wears captivating details of calligraphic poetry which link subtlety to vernacular sign painting from Santiago de Chile. See a pdf of Berenjena here http://origin.myfonts.net/s/aw/original/306/0/156716.pdf or visit PampaType.com for more information.

Customs Paperwork Pro brings the unique style of the NuMode Type No. 61 vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Customs Paperwork Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Kuschelfraktur is a unique, eye-catching take on the theme of blackletter that replaces the broad nib with a brush pen and achieves stroke modulation through stencil-like gaps. It combines the texture and dignity of blackletter with the human warmth of informal handwriting. Kuschelfraktur offers five separate sets of capital letters and several additional customization option via stylistic alternates. The degree of ornamentation in the blackletter capitals can be increased (SS02) or decreased (SS07), while SS04 and SS05 offer two simpler approaches to capital letters that bridge from blackletter to Roman letters (Antiqua). The default single-storey �a� can be replaced with a two-storey version in SS01, and SS08 offers a single-storey capital �A� for the simple capitals. Finally, SS03 restores some of the more unique letter shapes of the Fraktur style of blackletter. The old-style figures can be replaced with lining and/or tabular figures. All these stylistic sets are accessible via OpenType from the main font, Kuschelfraktur, whereas the spin-off fonts (Traditional, Verziert, Text, Schlicht, Antiqua) offer convenient access to those sets even in environments without OpenType support. I am grateful to the helpful souls on the TypeDrawers and Typographie.info forums for encouragement and constructive feedback, and to the Glyphs team for their fantastic type editor. Kuschelfraktur is dedicated to my son Marius.

Fnord is a contemporary humanist serif typeface, it is ideally suited for display purposes, titling, headline copy and branding. The family has been designed to be highly versatile, containing a total of 23 fonts. Each font features discretionary ligatures, swash alternates and true small caps. The overall design is clean and simple with a little bit of rebelliousness thrown in for good measure – Fnord does not conform to the traditional serif blueprint. Fnord’s design has been strongly influenced by the complex, thought-provoking and mischievous works of authors Robert Anton Wilson and Robert Shea from the 1970s. I was re-reading their work while sketching the initial letterforms and realised that some of the proportions and angles were coinciding with some themes that run through the books – particularly the numbers 5, 17, 23, 40 and 93, which are key to this font family’s spacing and geometry. I found it both very interesting and enjoyable to play with a specific theme and purpose for creating this typeface. I am sure you will enjoy working with it in your own design projects. Key features: • 5 Weights in 4 Styles – Roman, Italic, Condensed and Extended • 3 Additional Display Styles in 1 Weight – Engraved, Inline and Woodcut • Small Caps, Alternates, Swashes and Discretionary Ligatures • Full European character set • 680 glyphs per font.

Restraining Order Pro brings the unique style of a vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Restraining Order Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Anna Clara can be dressed up or down, as fancy as you wanna be. On its own, it’s an organic script, with the fine hairlines, thick swells, and slightly undulating baseline found in modern casual calligraphy. Add swashes, and Anna Clara becomes a bit more playful and festive. Each capital letter has a flourished alternate—great for displays or headings, or to add emphasis to a particular section of text. For OpenType-aware software users, Anna Clara also features ten pairs of swashes that can be added to the beginning or end of any lowercase letter, for a custom flourished look. Illustrator and InDesign users can access extra swashes and banners by using the glyph panel. Photoshop users: These characters can be accessed via the “Ornaments” feature in your OpenType panel - try non-numeric punctuation marks and accents for swashes. For banners, type catchwords followed by an asterisk. “Asterisk asterisk” will produce a blank banner that you can use to create your own. Included catchwords are “and”, “at”, “by”, “for”, “from”, “of”, “the”, “to”, “with”, "l'", “le”, “la”, “el”, “et”, and “y”. Roman numerals can be used in the “Ornaments” feature by typing their respective keyboard characters “I”, “II”, “III”, etc. - followed by an asterisk. An ampersand (&) followed by one or two asterisks produces two special “and” characters.

The Pagnol typeface has been designed with a principle developed by A. M. Cassandre in 1937, when the great French designer created the Peignot typeface following paleographic studies on the evolution of letterforms. Researches in the history of writing have proved that the lowercase "a" is at its origin nothing but the "A" shape transformed through centuries by scribes until the invention of printing. A large number of lowercases meanwhile kept their original shapes. If the scribes’ hand didn’t find the necessity to simplify them, it is only because these letters could be easily written. Integrating the classical shapes of capitals to the lowercases has already been used, keeping the lowercases which are only a deformation of capitals. Nevertheless, the respect of readability imposes to keep ascendants and descendants from traditional lowercases which serve as optical focus points in a text and make reading easier. The particularity of Pagnol is to use rounded shapes on top and bottom of pointed capital letters to make them fit with corresponding lowercases (Aa, Mm, Nn, Vv, Ww, Zz). Lowercases proportions are wide, to be in tune with classic lowercase shapes in order to optimize readability. Five weights in roman and italic have been designed to offer a wide palette of typographic possibilities in all sizes and all paper and screen supports.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles. Pacioli was not the first or the last man in his era to describe the building of letters mathematically. Felice Feliciano did this before Pacioli, and Albrecht Dürer further developed these forms years after. According to Pacioli, the thick strokes should be 1/9th of the height, and the thin strokes should have 1/2 the weight of the thick strokes. I felt that this beautiful alphabet needed to be restored to its full geometric glory and set out to construct an accurate replica using Pacioli's instructions. Included in the font you'll find the letters that have the grid overlay and also the letters without the grid. The letters J, W, U, and Z were not included in the book, so I have created my own versions of these characters that fit into Pacioli's grid. Pacioli shows two different Os in the book, so I have included the second O as well as a second J, Q, and Z as OpenType stylistic alternates. Also included in the font are border patterns and a fleuron taken from the cover of the book.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Harald Geisler wants to make you as brilliant as Albert Einstein. Or at least let you write like him. Or at least write in his handwriting. — The Wall Street Journal Imagine you could write like Albert Einstein. The Albert Einstein font enables you to do exactly that. In an joined effort, creators Harald Geisler and Elizabeth Waterhouse, spend over 7 years on finalising the project. It was made possible with the help of the Albert Einstein Archive, the Albert Einstein Estate, and funding by a successful Kickstarter Campaign of 2, 334 backers. The outcome was worth the effort: a font unprecedented in aesthetic technique and a benchmark for handwriting fonts. To create a result that is true to the original, Harald Geisler developed a method to analyse the movement of the famous writer. Letter by letter, every glyph was digitally re-written to create a seamlessly working font. It is the only font that holds 5 variations for each lowercase and uppercase-letter, number, and punctuation sign. Each based on meticulous detail to the original samples of Albert Einstein’s handwriting. The OpenType contextual alternates feature dynamically arranges the letters automatically as you type to ensure that no repeated letter forms are placed next to each other. Stylistic variants can also be accessed through stylistic sets. The font has 10 fine-tuned weights ranging from extra-light to fine and extra bold to heavy. The result is a vivid handwritten text true to the original. A PDF documentation, showing step by step how the font was made and comparing numerous original samples, is included with the font and can be downloaded here. The work has been recognised internationally, by press, Einstein fans, and designers. Some quotes used in images: “The font is beautiful“ — Washington Post “If you could write like Einstein, would it help you to think like Einstein?” — The Times (London) “Finally, if your colleagues aren’t taking you seriously, then perhaps you could start sending e-mails in a new font that mimics the handwriting of Albert Einstein.” — Physics World “Geisler and Waterhouse are really asking deeper questions about the diminishing (or evolving) role of our flawed, variable penmanship as a conduit of thought in today’s pixel-perfect landscape.” — QUARTZ “Your writing will look imaginative — which is exactly what Einstein would've wanted." — Huffington Post Arts & Culture "Forget Myriad Pro, Helvetica or Futura. The only font you’ll ever need" — Gizmodo “Capture a piece of Einstein's genius in your own writing." — Mashable

In B-movie awesomeness, Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. I am NOT trying to reinvent Helvetica (snore), so get that out of your system. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface’s DNA needed to be drawn and not just generated on a screen — so I set aside a year. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage — there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the Uprights. Condensed and Compressed. Yep, why not? I know I would use them. There are nine weights currently available. The logical progression of weights and the intended flexibility demanded I explore a number of light weights and their potential uses — this has produced a number of ‘light without being too light’ options that really work based on the size. The result is a robust 81-font superfamily that is functional, professional, and highly legible without compromising its personality. Pair that with over 900 characters per font that includes ligatures, discretionary ligatures, stylistic alternates, fractions, proportional/tabular lining and proportional/tabular oldstyle figures, numerators, denominators, ordinals, superiors, inferiors, small caps, case-sensitive functionality and extensive language support and you have a versatile superfamily well-suited for any project.

ATTENTION COSTUMERS! A new version of this font was released in 2019. Take a look: Breathe Neue Reaching a total of more than 1000 glyphs, Breathe Pro is Maximiliano R. Sproviero’s gift of the year. The aim of the designer was once more to give the user the chance to play and travel from very formal and conservative letterforms to the amazing world of swashes and flourishes. Possibilities of alternating and ligating characters in this font are absolutely fantastic. After his last creation, Parfait Script, Lián wanted to make a more universal font. Delighted by typographic works of Didot and his followers of the beginnings of 1800, Maximiliano R. Sproviero started what became another obsessive project, which is now named Breathe, “cuando las letras respiran...” what could be translated as “when letters breathe”, due to the feeling that you are reading letters that are alive. Breathe comes in two styles which have a significant difference as regards to the quantity of glyphs available inside. If you want to get the most complete style, with over 1000 glyphs, (including contextual alternates, stylistic alternates, swashes, terminal forms, titling alternates, historical forms, stylistic sets, standard ligatures, stylistic ligatures, decorative ligatures and frames) then your choice should be Breathe Pro. On the other hand, if you are interested in having a less decorative font with the nice touch of Lián’s style, then your choice should be Breathe Standard, a more limited version of Breathe, including terminal forms (leaves) and frames. With Breathe Pro you will surely have fun at the same time you are designing and that is not an unimportant thing. The world of type-designers is growing each year, and the features of Open-Type are letting them think their creations as if they were truly pieces of art. At least, Breathe Pro is inspired in the Art of our predecessors, those who with a pen loaded of ink would decorate each letter, each page in such a lovely way. Yes, -lovely- is the word. We would not have the amazing lettering artists, calligraphers, typographers of nowadays if that -love for letters- had not traveled from generation to generation. Breathe Pro is an example of this love. An example of what Maximiliano R. Sproviero feels about typography and letters. Pssst... Look for more images and the User’s Guide at the gallery section to see it in use! http://origin.myfonts.com/s/aw/original/89/0/46067.pdf

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer