Philip Bouwsma returns with yet another great manifestation of historical calligraphy. Luminari is an amalgam of High Middle Ages writing, a blend that combines the ornate Church hands with the simple Carolingian from the ninth to the fifteenth centuries. Its majuscules are particularly influenced by the versals found in the famous Monmouth psalters, as well as those done by the Ramsey Abbey abbots in the twelfth century. The minuscules also exhibit some influence from the book hand of prolific humanist Poggio Bracciolini from the early fifteenth century. Italian and essentially romanesque in style, Luminari exercises a slight tension between the round forms and the angular “gothic” styling. Luminari was updated with plenty of alternates and expanded language support in 2012. It now supports a very wide range of codepages, including Cyrillic, Greek, Central and Eastern European, Turkish, Baltic, Vietnamese, and of course Celtic/Welsh.

Nanami Rounded is a heavily engineered follow up to the hugely successful Nanami, which debuted at MyFonts #1 Hot New Fonts for over 2 weeks. Nanami Rounded is a carefully engineered take on the original Nanami family. We kept the curve very slight in order to keep the clean corporate balance, and not to go into a style that was too friendly. Nanami Rounded consists of 18 weights ranging from Thin through to Black. It has also extensive support for over 50 languages, and as a font family that works well both in headlines and bodycopy, Nanami Rounded is the perfect choice for a whole variety of creative briefs. The gentler, softer follow-up to the popular Nanami, Nanami Rounded is also motivated by the artistry of Japan. Smoothing the hard lines and definite corners of its predecessor just slightly, Nanami Rounded is still clearly defined and crisp enough to work in whatever context you need. If Nanami is a battle hardened Samurai, Nanami Rounded is the lotus blossom favour handed to him as he leaves his home village to go to war. If Nanami Rounded isn't quite floating your boat why not check out it’s counterparts Nanami and Nanami Handmade.

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. KolkFizzy is one of rare results that was interesting enough to save and clean up. The source font is Kolkman.

Years ago the company that developed Fontographer marketed a program called Font-o-Matic, a program that distorted fonts in various ways. 99% of what it produced was garbage, but every once in a while it would yield something interesting. Since I had designed a lot of typefaces by that time, I had lots of material to feed it and it was fun to see what it produced. BaumSquiggle is one of rare results that was interesting enough to save and clean up. The source font is Baumfuss.

Planeta Font, this font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

Millestone Font This font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

Lemonado is a type family drawn with a dry brush pen. It includes upright and italic scripts and all caps fonts with brush texture or with smooth edges. Lemonado Script is playful and slightly bouncing connecting script. It includes two sets of lower cases to increase the hand writing effect. By enabling Contextual Alternates from OpenType panel you can cycle these two sets and achieve variation. Lemonado Script also includes set of lowercases without connecting stroke, you can use those in the middle of words or automatically add them at the end of words by enabling Stylistic Set 1 at the OpenType panel. There are also set of lower cases with end swashes, you can automatically add these swashes to end of words by enabling Stylistic Set 2 at the OpenType panel. Also other alternate characters and underlines are included to give you even more possibilities to play with. Lemonado Caps has two sets of upper case letters, high and low ones. You can achieve this fun looking bouncing effect by varying them. Just enable Contextual Alternates from OpenType panel and those two sets will cycle.

A friend of mine says that sports are the ultimate popular drug. One of his favorite things to say is, “The sun’s always shining on a game somewhere.” It’s hard to argue with that. But that perspective is now the privilege of a society where technology is so high and mighty that it all but shapes such perspectives. These days I can, if I so choose, subscribe to nothing but sports on over a hundred TV channels and a thousand browser bookmarks. But it wasn't always like that. When I was growing up, long before the super-commercialization of the sport, I and other kids spent more than every spare minute of our time memorizing the names and positions of players, collecting team shirts and paraphernalia, making up game scenarios, and just being our generation’s entirely devoted fans. Argentina is one of the nations most obsessed with sports, especially "fútbol" (or soccer to North Americans). The running American joke was that we're all born with a football. When the national team is playing a game, stores actually close their doors, and Buenos Aires looks like a ghost town. Even on the local level, River Plate, my favorite team where I grew up, didn't normally have to worry about empty seats in its home stadium, even though attendance is charged at a high premium. There are things our senses absorb when we are children, yet we don't notice them until much later on in life. A sport’s collage of aesthetics is one of those things. When I was a kid I loved the teams and players that I loved, but I never really stopped to think what solidified them in my memory and made them instantly recognizable to me. Now, thirty-some years later, and after having had the fortune to experience many cultures other than my own, I can safely deduce that a sport’s aesthetic depends on the local or national culture as much as it depends on the sport itself. And the way all that gets molded in a single team’s identity becomes so intricate it is difficult to see where each part comes from to shape the whole. Although “futbol” is still in my blood as an Argentinean, I'm old enough to afford a little cynicism about how extremely corporate most popular sports are. Of course, nothing can now take away the joy I got from football in my childhood and early teens. But over the past few years I've been trying to perceive the sport itself in a global context, even alongside other popular sports in different areas of the world. Being a type designer, I naturally focus in my comparisons on the alphabets used in designing different sports experiences. And from that I've come to a few conclusions about my own taste in sports aesthetic, some of which surprised me. I think I like the baseball and basketball aesthetic better than football, hockey, volleyball, tennis, golf, cricket, rugby, and other sports. This of course is a biased opinion. I'm a lettering guy, and hand lettering is seen much more in baseball and basketball. But there’s a bit more to it than that. Even though all sports can be reduced to a bare-bones series of purposes and goals to reach, the rules and arrangements of baseball and basketball, in spite of their obvious tempo differences, are more suited for overall artistic motion than other sports. So when an application of swashed handlettering is used as part of a team’s identity in baseball or basketball, it becomes a natural fit. The swashes can almost be visual representation of a basketball curving in the air on its way to the hoop, or a baseball on its way out of the park. This expression is invariably backed by and connected to bold, sleak lettering, representing the driving force and precision (arms, bat) behind the artistic motion. It’s a simple and natural connective analysis to a designer, but the normal naked eye still marvels inexplicably at the beauty of such logos and wordmarks. That analytical simplicity was the divining rod behind Fan Script. My own ambitious brief was to build a readable yet very artistic sports script that can be a perfect fit for baseball or basketball identities, but which can also be implemented for other sports. The result turned out to be quite beautiful to my eyes, and I hope you find it satisfactory in your own work. Sports scripts like this one are rooted in showcard lettering models from the late 19th and early 20th century, like Detroit’s lettering teacher C. Strong’s — the same models that continue to influence book designers and sign painters for more than a century now. So as you can see, American turn-of-the-century calligraphy and its long-term influences still remain a subject of fascination to me. This fascination has been the engine of most of my work, and it shows clearly in Fan Script. Fan Script is a lively heavy brush face suitable for sports identities. It includes a variety of swashes of different shapes, both connective and non-connective, and contains a whole range of letter alternates. Users of this font will find a lot of casual freedom in playing with different combinations - a freedom backed by a solid technological undercurrent, where OpenType features provide immediate and logical solutions to problems common to this kind of script. One final thing bears mentioning: After the font design and production were completed, it was surprisingly delightful for me to notice, in the testing stage, that my background as a packaging designer seems to have left a mark on the way the font works overall. The modern improvements I applied to the letter forms have managed to induce a somewhat retro packaging appearance to the totality of the typeface. So I expect Fan Script will be just as useful in packaging as it would be in sports identity, logotype and merchandizing. Ale Paul

Flapper is family of four typefaces which embody a great deal of fun and more than a little spirit of the roaring 20s. If ever a set of typefaces could dance a high kicking Charleston, these are they. Flapper is offered in regular, condensed, oblique and outline forms, and they all bring a great deal of fun and life wherever they are used. The Flapper family (yes, think of one of those dancing 20s girls with a long string of pearls...) is ideal for casual heading, bold captions, poster work and anywhere else a sense of fun is required.

I will spare you the long-winded description this time and all of the motivations and witty innuendoes. Quite frankly, I forgot about creating this typeface and it sat on my hard drive for almost a year. Luckily, my daughter Isobel saw the initial drawings one day and ask me about those pretty letters and I remembered… yep, that happened. That said, time made this a better typeface… with fresh eyes and time, much was redrawn, retooled and expanded to something I truly enjoy playing with. Shameless makes extensive use of Contextual alternates to create a proper ebb and flow from letter to letter. Interestingly, there are only a handful of ligatures… instead many special combinations are accounted for solely by relying on Contextual Alts. Mix in Stylistic Alts, Swashes, responsive Titling Alts, numerous Style Sets, etc and you can have a lot of fun. I created 2 versions. A ‘Standard’ version that has 2200+ characters and a ‘Deluxe’ version that has 2400+ characters and an interesting caveat… I plan on expanding the Deluxe version any time I have an idea to add to the typeface… and as such, buyers will receive all of those updates at no charge (with updates going directly to the distributors). You get what you pay for… no insane discounts. Oh, and if you are wondering… Shameless is based on my handwriting using Kuretake Zig CocoIro pens. I love these pens.

Humanist 521 is a Bitstream digitized version of Gill Sans typeface. The font was designed by Eric Gill and released by Monotype circa 1928-1930. Gill’s design is based on the typeface of Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground. However, it has more classical proportions close to those of old style serifs, and thus is more suitable for text setting. With distinct roots in handwritten scripts, Gill’s typeface is classified as a humanist sans serif and is very legible and readable in text and display work. Having been released more than 80 years ago, it’s still very popular and in fact is an icon of British typographic style. The Cyrillic version of Ultra Bold weight was designed by Tagir Safaev in 1997. Six text styles and Extra Bold style in Cyrillic were designed later by Vladimir Yefimov and Isabella Chaeva. The Cyrillic version, in addition to the original Bitstream implementation of Humanist 521, has an alternative numeral 1 with the traditional shape and a set of old-style figures. Rereleased by ParaType in 2013.

An "Aiguille" is a sharp pinnacle of rock in a mountain range. Aiguille font is a beautiful handwritten connected script font. I thought it was a good way to start off the new year! Aiguille comes with a whole bunch of alternate glyphs, ligatures and even ‘end-of-word’ alternates.

Are you looking for a font that says "I'm unique"? Say hello to Styled up! A new authentic hand-brushed, modern calligraphy font with a stylish flair and a quirky personality. "Styled up!" comes with a complimentary caps font, perfect for when you need to add extra text in those stubborn empty spaces in your type designs. Styled up! is super special in that it creates completely unique and individual designs - you can write one line in a million different ways thanks to it’s opentype features with 2 sets of extra alternate lowercase letters and an extra set of Uppercase alternate letters. Styled up! also comes with a comprehensive set of double letter ligatures to make your designs look even more naturally written. Styled up! is perfect for any project needing a unique hand lettered touch - branding, greeting cards, logos, websites, wedding signage, printables, and super stylish merch.

Want to give your design a bit of that vintage look we all love? Great idea, because the right font can change the way people see your brand. Introducing Nostalgiz - a Vintage Modern Font. Whether you’re designing presentations, ads, social media campaigns, or merchandise, Nostalgiz can step up to the task. Try it out and see what a difference a unique font can make. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns

Hand printing typography revolutionized the way books were published. The earliest printing presses made it possible for newspapers to reach the doorstep every morning, for information to freely be shared among the masses for the first time on a large scale…and the fonts that were used in those classic times are forever embedded within the collective memories of societies across the planet. It is to this collective memory that we give a visual form with our new Hand Printing Press Pack. Up for grabs are a set of 10 Hand Printing fonts plus one "Stamps" elements font. The fonts are: the Normal, the Stencil, the Eroded, the Meshed and the Scraped in REGULAR and BOLD versions; each of them displaying a simplistic yet classic printing style and as often happens lately, we are also offering you an "elements" pack, the "Stamps" font, to go with these to create your customized stamp giving to your creations a touch of "official documentation".

Hello everyone, I would like to introduce my newest font Molista Script is a beautiful modern calligraphy typeface, I hope you will be interested in this font, if you want to use it for your work. This font can be used easily and simply because there are many features in it. contains a complete set of lowercase and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains multiple ligatures and many contain alternative Style Stylistic Sets such as a heart swash alternative. You can see an example in the image above. Molista Script is very suitable for market designs being developed today, this font has a stylish, trendy, natural and soft font, with this font you can take advantage of opportunities every moment is a great way to highlight the celebration of the best of the party, because this font will be an advocate for the purposes such as wedding invitations, branding, parties, graduations, birthdays, gatherings, etc. Thank you, LetterFresh

Want to give your design a bit of that vintage look we all love? Great idea, because the right font can change the way people see your brand. Introducing Nostalgiz - a Vintage Modern Font. Whether you’re designing presentations, ads, social media campaigns, or merchandise, Nostalgiz can step up to the task. Try it out and see what a difference a unique font can make. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you're looking for a hand-drawn font to help craft a unique statement piece, you've probably been spending hours looking for the perfect brush font. The problem with most brush fonts is that they're not actually made from real brushes - they look like they've been artificially drawn by a machine. There's now a high-quality alternative available. We are proud to introduce our new, very high resolution Chicago Brush font - the result of our meticulous process of digitizing hand-drawn typefaces and then optimizing them through our exclusive, innovative technology. That’s why we created Chicago Brush, a font made from a real brush. Use it to create logos, names and signage. It will look hand lettered, like you really worked on those letters manually. A Million Thanks Colllab Studio www.colllabstudio.com

I really like creating script fonts. Why, I hear you say? Well, creating script fonts lets me be me. I am not trying to create classy, connected fonts for you to write love letters with: there are already too many of those available and quite frankly, I just don't like them. I prefer the messy script fonts - uneven, no real baseline and with a bit of splatter or rough edges for good measure. Daft script is one of these messy script fonts: it was handmade and it comes with two alternates for the lower case glyphs that cycle as you type. This is an all-caps font, so that means you have 4 options per letter! I also love languages (I speak 6), so Daft Script comes with fantastic language support, including Vietnamese and Sami.

Some words just scream without any explanation needed. Clever Medicine is one of those types of fonts. It’s a hand-drawn brush typeface that feels like it was made with care and precision, just for you and your personal style. Inspired by the idea of natural medicine as something to help you feel better, this typeface has a mysteriously sweet and engaging quality to it. This typeface also has a pronounced vintage appeal that gives it an unmistakable charm no matter what you use this font for; social media posts, signage, posters, headings for your blog—the possibilities are limitless! So what’s included : Basic Latin Uppercase and Lowercase Numbers, symbols, and punctuations Multilingual Support. PUA Encoded and fully accessible without additional design software Simple Installations works on PC & Mac Thank You and Happy Designing!

Often it is hard to express ourselves and our emotions. Thus, the idea of emotional typography and fonts was born. This is a detailed font with many lines and shapes. It has been designed to reflect the feeling of overthinking. Overthinking, by nature, is done by logically thinking through all the different scenarios and outcomes for one particular thought or situation. Therefore the appearance of this font is one that is structured and technical. This font is great for architecture, buildings, construction, geometry or even for situations that are heavily detailed! It definitely works great as an overlay on images or photographs. Pair this overthink font with a simple sans serif font to contrast against the details in the former. We hope you enjoy this font as much as we do!

ITC Don't Panic's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

ITC Don't Panic 's distressed shapes and craggy outlines evoke the feeling you get when you're just barely in control of a situation. This is type design on the edge. ITC Panic is further down the emotional track, when you've actually lost control and there is no hope in sight. Thompson says the inspiration for these faces arrived one day in the mail. I received an envelope that looked like it had a rough trip; the type that was stamped on it had a tired, ragged appearance. Ironically, the haggard envelope woke me up. I got excited and wanted to replicate the look as a font of type." Thompson designed ITC Don't Panic, then stood back and looked at it and decided it cried out for a more agitated companion. ITC Don't Panic gave birth to the positively psychotic offspring, ITC Panic. Both are all-cap designs with alternate characters in the unshift position. Creating an authentically disturbed appearance proved to be a challenge for Thompson. "I tried to design agitated characters, but they looked staged. So I tried multiple photocopies, but that didn't work. Eventually, I laser-printed the basic characters, wadded up the lasers, then flattened them out and stomped on them with heavy boots. The end result was scanned and used as the basis for the rest of the design." Thompson's work on web sites and multimedia has influenced his interest in type and typography that transcends the cool, unemotional nature of the computer."

Evening Edition JNL pays tribute to the ever-decreasing line of daily newspapers in this country by emulating the "wood type" look of the headlines. Way before the Internet took over as a popular information source, it was the morning, afternoon or evening edition of a paper that presented the big story of the day.

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface’s display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Sometimes you get an idea stuck in your head and the only way to get rid of that demon is to put something down on paper. A year later the doodles became a skeleton, and then the skeleton had a body, then the body had a name, then the name got a personality. What was left was a clean set of ten fonts that encompass a very simple skeleton with a lot of visual appeal. During the process, I saw ways to expand the typeface's display capabilities by producing inline styles as well as a down-and-dirty rough set. Each font has a full set of glyphs that include Central European and Small Cap characters.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Get over the trauma of seeing that icky dog carcass in the alley this morning, you know, the one with the tire tread on the burst stomach? The city might be afraid of you, but now you can see its true typeface. Yes, when the gutters between YOUR comic book panels are full of blood, we here at ComicBookFonts.com recommend DaveGibbonsJournal for all your psychotic ramblings. Don't pose precariously on the precipice of a building without it. Artwork by Dave Gibbons from Elephantmen #25

Gritty heat-forge stamped metally goodness. Can withstand up to 255 pounds of pressure psi, it even says so right on the graphic. This is a fun display font inspired by the stamped text on barbells, sewer drains, and of course boiler-plates, not that we see many of those anymore, but I digress... This font contains all the standard sub-255 unicode characters, plus a few extras for flavor. Apply this font with liberal amounts of axle grease and she should last ya a lifetime.

ITC Serengeti is a font of narrow, high reaching capital letters designed by Bob Alonso in 1996. In the form of small caps, the letters combine to make words. This font is at the same time modern and nostalgic, with letters like N and M being reminiscent of those on posters in the 1920s. One can also interpret this small caps alphabet as one influenced by the Jugendstil. ITC Serengeti should be used only for headlines and display in point sizes of 18 or larger.

Clean, elegant & flexible… Gerard Display is a beautiful rational typeface, a Scotch Roman dressed up as a high-contrasted Didot for this optical size. Its 6 weights and 6 widths made it adaptable and versatile with 36 fonts, from a solid “Compressed Regular” to a broader “ExtraExpanded Heavy” without losing a bit of grace. Gerard Display counts on an extended character set that covers a wide range of Latin languages and a lot of features (as stylistic sets, local forms, or a complete set of figures).

The Glis font is a unique expression of authenticity, meticulously hand-drawn to bring a touch of charming personality to your designs. With rounded and slightly irregular strokes, Glis is more than just typography; It's a visual experience that adds artisanal charm and a sense of warmth to your creations. Each character is carefully designed to convey a relaxed and welcoming aesthetic, providing a visually captivating approach to your typographic compositions. Try Glis to infuse a dose of originality and softness into your designs. **Uppercase