Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

JUST BE is a playful brush script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). Character set contains Eastern and Western European Latin accented letters. For additional customisations (for logotypes for example) please email me at contact@rolandhuse.com You MAY NOT sell this font or claim them as your own. You MAY NOT edit or rename this font. You MAY NOT redistribute this font. Thank you I hope you like this font & good luck with your project! Roland Instagram: @rolandhusedesign Background images of "Just Be" main poster by Annie Spratt from unsplash https://unsplash.com/@anniespratt "Your best moments in life are ahead" by Helena Hertz https://unsplash.com/@imperiumnordique paper bag mock up by Graphic Burger https://graphicburger.com"

Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. The Fodor letterforms were created for the magazine published by Museum Fodor, Amsterdam. To save cost it was designed to be ‘typeset’ on their own electric typewriter. The resulting monospaced effect was combined with a background of orange overlaid with pink dots that provided a page grid to align the text to. The title set on the dot matrix formed the 'system' for construction of the ‘digital effect’ letterforms. Now Architype Fodor recreates these letterforms as a truly digital font.

This font is a latin based version of the ogham alphabet used in the writing of the old irish language. It can be used on Latin keyboards. I will make a unicode font version of this font in the future. Ogham (/ˈɒɡəm/ OG-əm, Modern Irish: [ˈoː(ə)mˠ]; Middle Irish: ogum, ogom, later ogam [ˈɔɣəmˠ] is an Early Medieval alphabet used primarily to write the early Irish language (in the "orthodox" inscriptions, 4th to 6th centuries CE), and later the Old Irish language (scholastic ogham, 6th to 9th centuries). There are roughly 400 surviving orthodox inscriptions on stone monuments throughout Ireland and western Britain, the bulk of which are in southern Munster. The largest number outside Ireland are in Pembrokeshire, Wales. The vast majority of the inscriptions consist of personal names. According to the High Medieval Bríatharogam, the names of various trees can be ascribed to individual letters. For this reason, ogam is sometimes known as the Celtic tree alphabet. The etymology of the word ogam or ogham remains unclear. One possible origin is from the Irish og-úaim 'point-seam', referring to the seam made by the point of a sharp weapon.

Created with headline, logo and other short display work in mind, Duende comes in two weights with alternates for the upper and lowercase, consecutive characters are controlled with the OpenType Ligature feature. Display bigger lowercase crossbars as the surrounding characters allow with OpenType Contextual Alternates on, or create your own custom lowercase f or t with a non-crossbar character and one of the included crossbar options Other features include case-sensitive quotes and smart apostrophes. Duende has an alternate for every capital letter and multiple alternate options for the lowercase including swashy terminal characters and non-connecting alternates. Also included are a few clip-on swash elements that can be used to create initial and terminal forms. Duende uses smart crossbars for common situations, unifying Af, Aft, At, Att, Aff, tt and ff with a single crossbar when the OpenType Ligature feature in on. The Ligature feature also ensures subtle baseline variation when two lowercase characters are keyed twice in a row. Enable Contextual Alternates in your OpenType menu and Duende uses bigger f and t crossbars as the surrounding characters allow. Enable Discretionary Ligatures for lowercase o connections. You can also make your own lowercase f and t to fit any situation combining one of the included crossbars and non-crossbar f or t characters (available as ‘Alternates for Current Selection’ when f or t is selected). Just select the crossbar you want from the glyph table as a separate text element and move it anywhere. Also included are ten tt ligatures with crossbars and one without. Duende also has a few other swashy things that can be used to cross the lowercase f and t. Customize alternate capitals U, V, W, X and Y with any one of the swash options available in the glyph table for those characters.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Gelion is a large family of geometric sans serif fonts. It ships both as two Variable Fonts or as 16 traditional fonts. Those static fonts span eight different weights, ranging from Extralight to Black. Each has an upright and an italic font on offer. The italics are carefully crafted, with an 8° slope. Gelion is inspired by 20th-century geometric sans serifs and classic neo-grotesque designs from the late 19th century and the middle of the 20th century. Its forms remain true to the gracefully geometric look of its classic predecessors, which will surely tick off any client’s long list of branding requirements. Letters in all of Gelion’s weights are drawn with virtually monolinear strokes. Its lowercase letters have a tall x-height. Yet, that still leaves enough room for the fonts’ diacritical marks. Gelion’s default “a” and “g” each have single-storey forms by default. The dots on the ‘i’, ‘j’, and diacritics are round, as are the punctuation marks. Gelion is an excellent choice for both corporate design and editorial design projects, thanks to its range of weights and its legibility in text. The fonts include a lot of ligatures, some monochromatic emoji, a set of arrows, lovely Roman Numerals, and more. Thanks to Gelion’s stylistic alternates, if a project comes up where you do not need a geometric vibe, you can activate Stylistic Set 1. That will replace many of the fonts’ letters with more humanistic-sans alternates, giving your text the feeling of a whole other type design with just one click. Last but not least, the descending “f” available in Gelion’s italics is a nice typographic trait.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

A family of fonts with rhythm. Natom Pro is a modern and geometric font family adapted to the professional requirements of graphic designers, web designers and mobile application developers. Comprised of 19 styles including 8 styles designed especially for the design of headlines, Natom Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This font, with a resolutely contemporary aspect, also hides a unique typographic design since it has 2 distinct styles (Title and Roman) which have 2 different typographic rhythms in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of rhythmically differentiated glyphs according to the styles, the headlines have a very graphic aspect while the long texts have a more classic aspect in order to keep optimal readability in all scenarios. Its architecture is also very modern since it was designed and drawn with particular attention to the geometry of the forms with clear and open endings cut at 90 degrees. The number of styles has also been simplified with the most used thicknesses (Extra Light, Light, Regular, Medium, Bold and Black) in order to speed up your graphic design process. For the more experienced designers, Natom Pro is also available in a variable version. Natom Pro is also equipped with powerful OpenType features like case sensitivity, true small caps, full ligature set, tabular figures for tables, « old styles figures » to elegantly insert figures into your sentences, numbers circled or even alternative characters to satisfy the most demanding professionals.

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

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

Aure Jane defines grace under fire. These clean, sans-serif forms engage the reader with a subtext of trust. Jane’s excellent legibility will stand up under almost any typographic challenge, bringing confidence to text and titles, and clarity to astrological expressions and chartwheels. Jane is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Jane’s versatility as a text font, Jane can enhance the message of other designs. Aure Jane pairs well as an innocuous foil to any decorative font; Aure Sable, for example, will shine all the more beside Jane’s sensible utility. The witty highlights of Aure Brash will sparkle against Jane’s practicality. Give Aure Jane a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Mackay is a powerful transitional serif in 6 weights plus matching italics, designed for screen and print. The eccentric serifs on uppercase letters like E, F, L and T are inspired by Alexander Kay’s “Ronaldson” from 1884, working as the starting point for the family. The lowercase letters follow the traditional Antiqua model with attributes tracing back to drawings from the early 20th century. The “grotesk” lowercase a, as well as the sharp lowercase s, derived from the closed shapes of uppercase letters like C, G or S, create a compact and bold appearance while a large x-height and small descenders add a modern look. In favor of a dynamic and elegant impression, the design of the italic cuts come with a strong calligraphic influence. This results in completely new shapes for letters like lowercase a or g, ensuring a smooth integration into their surrounding letters while maintaining a distinctive appearance when combining with romans. The family comes with a variety of opentype features like case sensitive shapes, old style figures, fractions, ordinals and many more. Additional attention was given to the standard and discretionary ligatures, extending the structure of the basic glyphs with elegantly designed letter combinations for g/i, i/t or s/t. According to their dynamic architecture, the italic weights are equipped with additional initial swash characters to subtle accentuate the calligraphic roots. As a result of a high stroke contrast the family works great in paragraphs with medium to large font sizes like headlines, short paragraphs or logos. With its 12 cuts, the family meets all requirements on high quality typography.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually. Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

A humanistic sans serif The first version of this font was created in 1994 within the framework of the bid placed by the city of Graz to become the location for the Winter Olympics in 2006. Appropriately, its original name was ”Olympia.“ The font is intended to embody classic ideals as well as to meet modern demands. The proportions of Charpentier Sans are directly derived from Roman capitals and the humanistic book-face. The contrast between strokes and thin strokes is based on medieval uncial script. And thus, a modern serif sans was created emphasizing thick and thin strokes together. Thanks to its traditional form language, Charpentier Sans is very legible, adapts to various forms of content and expresses a kind of calmness and certainty. Details resulting from writing with the quill guarantee that the font doesn’t appear too rough and unemotional. Even the tiny, pointed mini serifs contribute to the unmistakable appearance of the font. They create an exciting contrast to the soft flowing forms of the letters and are, to a great extent, conducive to the legibility. Consequently Charpentier Sans always appears with an extremely sharp and clear outline. Charpentier Sans Italique has an even more distinct ductus derived from writing. Especially the rounded forms from a, e, f, g and y reflect the handwritten humanistic cursive. Charpentier Sans is comprised of many ligatures, including discretional ones, plus proportional medieval and capital figures for the normal type as well as disproportional tabular figures with a consistent width. Above and beyond the ”normal“ Latin typeface system, small caps are available as an especially elegant form of distinction.

Extraordinary impact and visual conspicuousness. Poipoi is a super 3D sans family for posters, logos and all display. The basic idea is not a brand new. The Stacking type system has been used since before wood type age. As you imagined, colored wood type(woodcut), many other engravings and contemporary printer machine print many colors separately with different printing plates for each color. Poipoi uses the same system for 3d effect. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layer. Poipoi "Standard" style is the base of this font family. You can add effects by stacking Highlight and shadow layers. Stacked layers in different color make the text in 3D. Instruction 1. Type your text as you like. 2. Set font-name "Poipoi" and font-style "Standard" 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer twice (One for Highlight, one for Shadow). 4'. The layer order should be Highlight, Standard, and Shadow from top to bottom. 5. Set font-style and color of "Highlight" and "Shadow" layers. 6. Adjust tracking if you need. (Please use same tracking value for all 3 layers.) For further detail, https://www.dropbox.com/s/xymis7dh5hwxn9q/Poipoi.pdf Poipoi Standard, Highlighted, and shadowed style can be used solely. Rounded terminals add soft, cute, and casual impressions to your design. Spec: Over 400 glyphs! Basic Latin ✓ Western Europe ✓ Central Europe ✓ South Eastern Europe ✓ Mac Roman ✓ Windows 1252 ✓ Adobe Latin 1 ✓ Adobe Latin 2 ✓ Adobe Latin 3 ✓ Almost all Latins are covered.

Babylon was a civilisation that stretched from Bagdad to the Persian Gulf. There is an Old and new Babylonia, the era of Babylon civilization and the biblical Babylon. The oldest scriptures to be found since the rise of civilisation are Babylonic. The Christian, the Jewish and the Arabic culture find its origin in the Middle East. And share more or less the same history, the same roots and DNA. One people, but in reality a melting pot of close related cultures whom could not be more far apart, hostile and suspicious towards each other. An eye for an eye, tooth for a tooth. One could say this disagreement is still alive today and has deeply infected all of our systems. Beyond Babylon is sculpted after Hebrew, Arabic character style elements in a European writing. It questions what happened after the great Babylonic confusion. Did the words finally come across? Did they realize the distant and gap was maybe smaller than expected. This typeface is related to my former character Eurabia. As an artist I like to play with contradictions. Use opposite elements and mould them in to one understandable piece and in addition a thought to chew on. Otherwise the experimental ore shape lovin' typeface user could be very happy with an addition feature to the existing characters. One option more to express your selves in writing. Also this typeface is really suitable for theme writing or advertising. ----------- Babylon war eine Zivilisation die sich von Bagdad bis zum Persischen Golf erstreckte. Es gibt das alte und das neue Babylon, die Ära der Babylon Zivilisation und das biblische Babylon. Die ältesten Schriften, welche seit dem Aufstieg der Zivilisation gefunden wurden, sind babylonisch. Die Christen, die Juden und die arabische Kultur finden ihren Ursprung im Mittleren Osten. Sie teilen mehr oder weniger die gleiche Geschichte, die gleichen Wurzeln und DNA: Ein Volk. Aber in Wirklichkeit waren sie ein Schmelztiegel aus eng verwandten Kulturen, welche sich nicht ferner sein könnten: feindselig und misstrauisch zueinander. Auge um Auge, Zahn um Zahn. Man könnte behaupten, diese Unstimmigkeit bestehe noch heute und hätte all unsere Systeme stark infiziert. Beyond Babylon ist eine europäische Schrift, geformt nach hebräischen und arabischen Stilelementen der Zeichen. Sie hinterfragt die Geschehnisse nach der der Babylonischen Sprachverwirrung. Kamen die Worte endlich an? Haben sie realisiert, dass die Weite des Spalts zwischen ihnen vielleicht geringer war als erwartet. Diese Schrift ist verwandt mit meinen vorigen Zeichen der Eurabia. Als Künstlerin mag ich es mit Widersprüchen zu spielen, gegensätzliche Elemente zu einem vernehmbaren Ganzen zu verschmelzen und einen kniffligen Gedanken zu erzeugen. Andererseits könnte der experimentelle oder formenverliebte Nutzer sehr glücklich über eine zusätzliche Funktion der bestehenden Zeichen sein. Eine weite Möglichkeit sich im Schreiben auszudrücken. Diese Schrift ist auch für Werbung sehr geeignet.

Initially, letterform was inspired by the gothic style of Romance decorative letters in transitional art in the Middle Ages. The conservative type in the Gothic era, especially in decorative romance, has led to the Victorian style being embedded in several forms as accents related but not forced to be combined. Rounded serif seems conventional combined with historically relevant letterform to create a harmonious blend. The art nouveau style also inspires this typeface. Approach to architectural ornamentation from 1880 to 1915, adopting the dynamic lines and curves typical of the civilization of the time. Continue time travel; we also present a more modern form influenced by the digitalization of art nouveau derivatives, familiarly called the psychedelic style. Paying homage to predecessors, we presented The Onamura font in a Japanese Ukiyo-e style that influenced the fine arts movement that broke old conservative art in Europe. We designed this font carefully with the information about the Middle Ages, Ukiyo-E, & Art Nouveau that greatly influenced art worldwide. In this font family, there are collaboration vibes. Both are the basis of the phenomenal blend of idealism between western and Japanese artists. Consisting of 10 fonts in 10 weights, it features an extended charset of over 850 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

TT Travels useful links: Specimen | Graphic presentation | Customization options About TT Travels: TT Travels is a geometric grotesque with wide proportions and peculiar shapes of circles and brackets. TT Travels incorporates two stylistic sets which add completely different characters to the type family. The first set ss01 (aka salt) makes the font more humanistic, thanks to the ductal and smooth design of the characters defining the style. And if you want to work with the futuristic version of TT Travels, we recommend that you enable the second set (ss02). In this set, most of the characters defining the style change to characters possessing experimental forms of graphemes. For the convenience of the TT Travels font family use and for working within a complex text hierarchy, we've created 9 weights (Thin, X-Light, Light, Regular, Medium, DemiBold, Bold, X-Bold, Black) and added 9 true Italics. TT Travels also implements standard and discretionary ligatures, oldstyle figures, slashed zero, and much more. The full list of OpenType features used in TT Travels is: ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01, ss02, case, frac, zero. TT Travels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Paperlight Script - Luxury Calligraphy Font. Paperlight Script is calligraphy font with a classic style and a touch of elegance, inspired by the handwriting of ancient manuscripts. This calligraphy harmony gives the impression of being luxurious, free and sophisticated. The body text of Paperlight Script font has been designed with high details, precisely, smooth and flow. Paperlight Script font carefully designed to work together harmoniously making it perfect for wedding media, book covers, greeting cards, logos, branding, business cards and certificates, even for any design work that requires classic, formal or luxurious The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

While DIN Display seems to retain DIN’s basic characteristics, it shines with its sharper corners and contemporary look. Completed in 2002, it was first released and published in Parachute’s award-winning 2003 catalog and immediately was a hit. It has been used successfully in magazines, corporate applications and packaging in fields such as music, fashion, technology, visual arts. The ‘Pro’ series has been enhanced with more weights, multilingual support and opentype features in all different styles. Specifically, this superfamily supports simultaneously Latin, Greek and Cyrillic, while each one of its 15 weights contains 1197 glyphs and 20 opentype features. Additionally, every font in this superfamily has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations. This is a set of very useful daily symbols for packaging, branding and advertising. Symbols for public areas, environment, transportation, computers, fabric care and urban life.

Mailuna Pro is a family of gothic typefaces of weight and oblique stature, finding themselves on a line between modern and historical gothic styles. Originating as a revival and elaboration of a limited lettering specimen from a series of old loose spanish specimen book pages, it finds itself in the visual company of vintage transportation roll signs, wood type gig posters, financial publications, etc. What began as just Capitals, Lowercase and Numerals was expanded to a rich pro glyphset including small caps, unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, a Caps to small caps feature and an expanded language glyph set. From modern letterpress back to historical adverts, book covers, headlines, or anything else you want to give a dash of vintage authenticity to, the Mailuna Pro Family is here to fill your needs. Be sure to download and take Mailuna Pro AOE - Book weight for a spin for free.

From Lovely Label comes Swirl Sensations inspired by the feeling of the pen stroke. Swirl Sensations fonts will be a treat for your eyes. Combined with the natural flow of handwritten typefaces, this series is a lot of fun and can help bring your design to life. This font is perfect for creating stunning designs in various styles, including vintage, cute, colorful, hand-made, or customized logos. Made manually by the author and it is the best match to put your texts perfectly on the design. In addition, this font is great for numerous types of projects: logos, branding projects, t-shirts, advertising, labels, and other items. Also ideal for invitations for its unique style of writing. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

The New Modelista Serif Family is a modern ligature serif font that includes 16 fonts, regular and italic, from Thin weight to Extra Bold. Modelista is a multipurpose font perfect for any project, with high-contrast glyphs, giving it an elegant, feminine and masculine, modern, and easy-to-read quality. It is equipped with a unique ligature to give your designs a new color. Excellent in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations, quotes, blogs, and more. This font is easy to use and has OpenType features. What do you get: Modelista Font Family 8 serif weights 16 Fonts from Thin - Extra Bold, Regular & Italic Complete the Alphabet with Uppercase and Lowercase Letters Numbers, fractions Punctuation and symbols Alternative Ligature Multilingual support Feel free to follow, like, and share. Thank you and I hope you enjoy it!

Gamon is an innovative and daring unicase display font that is a perfect example of modern typography. The absence of traditional lowercase letters and the integration of multiple glyphs in the uppercase letters create a distinct and captivating design. The uniform size of the letters adds to the font’s appealing appearance, making it an ideal choice for large display layouts, branding, posters, and titles. Gamon’s typography is perfect for designers who are looking for a fresh and unusual aesthetic. It can transform any digital or print design stand out from the rest. Gamon’s versatility makes it suitable for a broad range of design applications, including logos, packaging, and marketing materials. Gamon’s boldness and uniqueness make it an excellent choice for designers who want to break free from the conventional design constraints. With Gamon, designers can create designs that are not only visually appealing but also memorable and impactful.

Proudly present Purple Sigh Typeface. Purple Sigh equipped with several OpenType. Have 40+unique alternates and ligatures. Comes with alternatives and ligatures, and helps to create stunning logos, quotes, posts, blog posts, branding projects, magazine imagery, wedding invitations, poster and much more. Font Features : Lettres, numbers, symbols, and punctuation 40+ alternates and ligatures No special software required they may be used even in canva, any basic program /website apps that allows standard fonts That's it folks! Multilingual Support Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Follow My Shop For Upcoming Updates Including Additional Glyphs And Language Support. And Please Message Me If You Want Your Language Included or If There Are Any Features or Glyph Requests, Feel Free to Send me A Message. Have a Good Day !

Introducing Silver Queen - Serif Typeface Silver Queen is luxury, vintage typeface with 6 weights loaded alternate glyphs, ligatures and multilingual support. It's a very versatile font that works great in large and small sizes. Silver Queen is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol 6 weights Hairline Light Regular Bold Extra Bold Black Alternate glyphs Ligatures Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Noceur - Elegant serif font Noceur is luxury and fragile font with multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol alternate glyphs regular and italic versions Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing new font Supercorsa comes with style of font. Supercorsa is a modern modular display font family inspired by American sports graphics. Supercorsa is based on the compact solid font, by combining a variety of styles. Suitable for Logo especialy logo sports, greeting cards, quotes, posters, branding, name card, stationary, design title, blog header, art quote, typography.You want to make a greeting card or a package design, or even a brand identity, craft design, any DIY project, book title, pop, vintage design, retro design or any purpose to make your art / design project look pretty and trendy? Feel free to play with Supercorsa ! Product Content : Supercorsa Regular Supercorsa Italic Features : Uppercase & Lowercase Standard Ligatures Numerals & Punctuations (OpenType Standard) Accents (Multilingual characters) PUA Encoded No special software is required to use Supercorsa. Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Lettercorner Studio

Salty Milky is a display font in thick weights to be your best choice for showing casual, charming, fun expressions. The uneven proportions and forms of the artistic letters add more attractiveness to this font. Furthermore, Salty Milky gives you a special bonus called the clipart. Use this font for big text sizes for a legibility reason and you can make use of the interesting features available here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Salty Milky fits for various design projects, such as posters, banners, logos, magazine covers, quotes, headings, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great experience using our font. Feel free to contact us for further information when you have a problem using the font. Thank you. Happy designing.