Rotis¿ is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles, for a total of 17 weights including italics. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher is a long-time teacher of design and has many years of practical experience as a graphic designer. He named Rotis after the small village in southern German where he lives. Rotis¿ is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design. Today Rotis ia also available with paneuropean caracter set.

Want to transport your audience to a world of gorgeous, elegant, versatile, yet modern? Looking for a font that makes your projects to spark happiness? Then, you go to the right path. Introducing Billion Miracles- A Monoline Signature Font A modern and stylish handcrafted signature font that’ll make your audience swoon and enhance your projects. Every stroke and curve was created to capture the essence of modernity and style. This gorgeous and stylish font can be used for a host of different content needs and projects. Ideal for social media posts and ads, printed quotes, t-shirt designs, packaging, or even as a modern text overlay to any background image. Billion Miracle includes Multilingual Options to make your branding globally acceptable. Features: Standard Ligatures Stylistic Sets Multilingual Support (84 languages) PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

This family was created inspired from two French (one so common and a very rare large one) "toy print" boxes, named Le petit imprimeur, with rubber stamp characters from the 1920's. The big difference from our 1920 My Toy print is that this font is complete, with upper and lower cases, accented, complete punctuation and some symbols. The doubly of each usual character in each style (A-Z/a-z and numerals) allow to give a rich and variously uneven appearance, looking like the results of the real use of those old rubber stamps, with bad kernings and alignement. The font is containing West (including Celtic), Central, East European, Turkish and Cyrillic characters. The bold style may be used as a reinforcement, mixed with normal style without disadvantage, allowing finally four choices for each usual letter... The original size is 6mm (about 17 pts).

The Dutch word “leuk" translates loosely to English as pleasant, jolly, funny, witty, clever, nice, sweet, kind, nice, amusing, entertaining, and funny. Leuk, the font, is a small, highly legible font with a witty, sociable personality that engages it’s readers. My challenge in designing Leuk was to find a unique feature to set apart the font without losing the fundamentals of type design. In the process of doing so, I created a virtual font “smile and wink” in the “o” upper and lowercase with integrated stencil-connecting strokes within the “a,e, k, z, o, ß” to reveal Leuk’s calligraphic roots. Legible and friendly, Leuk is designed for use in advertising, brochures, promotion, book cover design, packaging, and the like. The Leuk family consists of Leuk Light, Leuk Light Italic, Leuk Regular, Leuk Italic, Leuk Bold, Leuk Bold Italic, Leuk Black, Leuk Black Italic in Opentype format.

Introducing the new Marvella Modern & Classic Ligature Typeface!!! Marvella is a luxury and glamour serif typeface.Marvella come with 2 versions, regular & Italic. This font is both modern and nostalgic and works great for logos, magazine, social media. Already matched up and ready to be used together for your next design! For those of you who are needing a touch of elegant, stylish, classy, chic and modernity for your designs, this font was created for you! Perfect for editorial projects, Logo design, Clothing Branding, product packaging, magazine headers, or simply as a stylish text overlay to any background image. No special software is required to type out the standard characters of the Typeface. To access the Opentype Ligatures, you will need software that supports Opentype features in fonts. Current Language Support : Danish, English, Finnish, French, German, German (Switzerland), Norwegian Bokmål, Norwegian Nynorsk, Portuguese, Spanish, Swedish, Swiss German.

Floora is a modern and unique font duo. The font combines two different type styles, a polished uppercase sans serif and a Neue Nouveau style lowercase, this combination makes the font very unique and distinct. The uppercase sans serif comes with large ink traps at its joints, this gives the font a modern and trendy appearance. Floora has a set of italic uppercase and lowercase letters, this combination of regular and italic letters gives you the ability to create a multitude of different letter combinations. Floora was also created with unique ligatures, alternative characters and multi-language support. Floora is perfect for designing posters, magazines, logos, Instagram posts, websites, blog posts, pull quotes, social media posts and much more. If you a looking for something modern and unique for you next project, Floora is the font for you. I hope you enjoy using the Floora typeface.

Dignus was inspired in two clever and famous typefaces: Bank Gothic and Microgramma. Bank Gothic designed by Morris Fuller Benton for ATF in 1930. Microgramma typeface designed by Alessandro Butti and Aldo Novarese for Nebiolo in 1952. Those typefaces were based on a stable rectangular shape with rounded corners, denoting the constructivist heritage and technological spirit of '50. We'd intended to review that typographic scenery with our contemporary point of view, aiming to obtain the formal synthesis of the signs and increase its legibility. Dignus fonts support Central, Eastern and Western European languages. Each font comes with full OpenType features like: standard and discretional ligatures, swashes, stylistic alternates, old style numerals, Tabular figures, numerators, denominators, scientific superior - inferiors, Case sensitive forms and vectors. The Dignus fonts include 7 weights, from Thin to ExtraBlack. The family is completed with condensed and expanded version all with their corresponding italics.

We’re really excited to unveil our all-new line of ‘HAND SHOP FONTS’. As the name suggests, these are fonts that have a hand-made or hand-typography feel reminiscent of shop signboards from the past with an attentive focus by the shop owners, always looking to discover exciting and unique ways to promote their products or services. While for decades typography has strived hard for perfection, one of the routes taken by the typography world as a whole has been to eliminate any form of ‘human imperfection’ in the typesets, but what about the times when you DO want to send across emotions of a personal human touch through your fonts? We did a step back...these fonts will give your shop-signs a personal touch, telling your buyers that they will get personalized attention, be it through an online or an offline business…We hope you love them as much as we do. The “Hand Shop EXTENDED Pack” containing a total of 14 fonts from the “Hand Shop Banners & Elements Pack” (3 fonts) , the “Hand Shop Typography Pack 01” (8 fonts) and the “Hand Shop Typography Pack 02” (3 fonts)

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

The design idea for this condensed sans serif stencil font was inspired by a post-World War II brass stencil spotted in an online auction. The United States was assisting Europe with much-needed goods, and the text in the middle of a “stars and stripes” shield used for marking the shipping containers read “For European Recovery supplied by the United States of America”. It was the first line (“For European Recovery”) that became the working model for Supplier Stencil JNL, which is available in both regular and oblique versions.

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

Who haven't heard the phrase that ‘any past time was better’?. Although I sometimes find this phrase a little too pessimistic (because I try to think that the best is yet to come), it may be true regarding my passion, typography. I'm too young (29) unfortunately, and this means I did not have the pleasure of being contemporary with maybe the man who has influenced my work the most (1). The man that showed that letters are more than just letters to be read. Herb Lubalin (1918-1981), also called sometimes as ‘the rule basher’ (2), smashed the taboos and sacred rules of type design and gave it personality. He rejected the functionalist philosophy of europeans in favor of an eclectic and exuberant style. To him, letters were not merely vessels of form, they were objects of meaning. (3). Nowadays, when looking at his portfolio, who dares to deny that the term ‘typography’ and ‘beauty’ may go hand-in-hand without any problem? Ed Benguiat, one of Herb’s partners, still likes making jokes with the phrase “screw legibility, type should be beautiful” and what I understand of this is not to forget the rules, but to know and break them carefully. In an era of pure eclecticism, we, the lovers of flourishes and swashes, can't do nothing but admire all the legacy that Lubalin, this wonderful type-guru, left. My font Lubaline read as “the line of Lubalin” is my humble tribute to him. Those who know his work, may see the influences easily like in his ‘Beards’ (1976) and ‘The Sound of Music’ (1965) posters; the art-deco forms in many of his amazing logos and practically in all his creations where letters seem to be alive just like you and me. I really hope that the future finds me still learning more and more about type-design and letterforms, and like him, always willing to make innovations in my field: Because letters are not just letters to be read. NOTES (1) These are some of my fonts in which some of Lubalin’s influences can be seen (in order of creation): Reina, Aire, Erotica, String, Beatle, Heroe, Selfie, Model, Seventies, and many others that are still in progress. (2) (3) Steven Heller. Herb Lubalin: Rule Basher. U&lc (1998) http://www.printmag.com/imprint/my-favorite-lubalin/

Introducing Black Ocean!! Handwritten font with quick dry strokes and a signature style. perfect for branding projects, home ware designs, product packaging or simply as a stylish text overlay to any background image or posters.

Pageu is a handmade font written with a real brush pen. Written with quick movements using a brush pen. It's Handwritten with quick dry strokes. Suitable for those who need a font with real textures

Introducing Holywings Font!! Handwritten font with quick dry strokes and a signature style. perfect for branding projects, home ware designs, product packaging or simply as a stylish text overlay to any background image or posters.

A practical font family with 3 weights for all your day by day design needs: headlines, web, signage etc. An extended sans serif typeface with rounded endings that provides unique softness appearance without losing legibility.

Handwritten font using pen with one line and not thickened, ideal for all things sketch pens, engravings, and foil pens! Sigeboy is perfect for greeting cards, logos, clothing designs, home decor, prints, quotes and more!

You will get : OTF/TTF Contains full set: -2 Type Font -Uppercase -Lowercase -Alternative -Ligatures -Punctuation -Number -Multilingual support. I hope you enjoy this font. If you have any questions, feel free to message me

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

Yalla PRO was inspired during a trip Mateusz Machalski took to Cairo (Egypt). The vast array of strong Arabic headline type, geometric forms working in interesting ways and contrasting with smooth, calligraphic details fed the design. Due to the same proportions and heights, Yalla works great together with Afronaut. Yalla was extended in 2024 by Mateusz Machalski & Małgorzata Bartosik with new weights.

I can best describe the Thaun family as a general purpose display family, inspired by Scholtz Fonts' " "Delikat". I wanted to produce a display font that was more robust than Delikat, without losing the delicacy of the original. In order to do this I thinned solid, curved strokes toward the baseline, and let them dwindle to gently rounded points. As a graphic designer I became aware that designs that used a number of styles from the same family seemed to work well. This was easily done using a standard sans serif font such as Arial or Helvetica. However, when a different look is needed, display fonts do not always have a the variety of different styles that are necessary to produce a coherent design. Thus with Thaun, the challenge was to create a coherent family based on a display font. The archetype of this family is Thaun Regular with six different widths forming closely related styles. There are also two variants of the archetype i.e. Thaun Black & Thaun Rough to add variety to the primary style. An additional sub-family, Thaun Accord, appears in two widths. Thaun Jazz is a wide three dimensional variation. Thaun has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/

From the old days technique to the present technology of type design, Goudar is the font that meets in the middle. With the design that has acquired the essence of wooden type letterpress but added with our own modern twist. Goudar is a fun and easy-to-use font consist of 9 weights and 18 styles that support many design purposes and most suitable for headline usage. Handcrafted and designed by Stawix Foundry, Goudar is a well polished font that hopes to bring back the quirky traits of the wooden type letters but most of all, we would like you to enjoy using it.

A retro seventies idea of the Futuristic typeface, Automatic is a reflection on the simple and innocent ideas of the future from our past. To reach to moon, to colonize other planets, feed and clothe the earth, and spread peace throughout the universe and our own planet. Those ideals of the future are now changed forever by genetics, and the progression towards automation, amongst others. Will the future still be an innocent place for our children, or something out of a Terminator or Matrix like film...? Put the retro techno edge into your designs, and bring the dreams of yesteryears future back into our future!

After releasing Amsi in 2015, this year Sans Beam is now ready to launch with the design that support many different usability from Headline to Body text, and specifically designed to be compatible with other font families of Stawix Foundry. This typeface has been designed under the simple idea of ‘Choose. Play. Repeat.’ on the limited space of typographic layout, in which most of the time faces the problem of choosing appropriate font weight that would serve the right intention. This typeface is designed to erase those problems, preventing impossibility in designer’s layout in both Body Text and Headline, which comes in 15 different weights.

Red Tape is three fonts that were designed by sticking letters together with red tape. It makes for a wonderful makeshift set of fonts. And I really enjoyed sticking those letters together. Of course I did it on screen using bits and pieces of scanned red tape. Just use it as you like, I won't give you any red tape in how to use the fonts. »Red Tape« is since February 2012 on permanent display in the »German National Library« – next to the likes of »Bodoni«, »Garamond« and »Helvetica« – being part of the exhibition about type through the ages. Your (now a little famous) unproblematic type designer, Gert.

Groovecore is a modern bold serif display font with an unmistakable 1970s vibe. This is a design that is equally at home on a retro t-shirt logo as it is on a stylish fashion headline. The combination of plump rounded serifs and pointy curls sets up a nice graphic interplay of shapes. You'll find Groovecore to be carefully and extensively kerned, with even color weight that's makes it shine even in small extended text passages. Quirky but legible, Groovecore is a great choice in many contexts.

Around 2018 or 2019, the State of Florida introduced new letter and number characters on its auto plates. Inspired by this change, Jeff Levine Fonts offers up a digital version of this lettering named New Car Tag JNL, which is available in both regular and oblique versions (for those who want a more sporty look). Some people prefer a rounded 'zero' to differentiate between the regular zero and the letter 'O'. You can find this alternate character located on both the solid bar and broken bar glyphs.

Konecya Featuring Display totality and elegance. One of my most recent first releases, naturally drawn with pinpoint accuracy. Konecya has the perfect amount of simplicity and subtlety for your next project. It perfectly represents the retro and vintage aesthetic. I recommend this font for your next logo, invitation, and home decor project that needs a succinct alternative combination touch! Include Formats: Konecya appears with strong characters available: Get inspired by the image above and feel free to share with me what you get by using this font.

A hand-drawn font inspired by the menu from a tearoom in York. York Handwriting is simple but with accentuated features, creating an effect that is decorative and distinct while still being clear. Giving the look of chalk or wet-wipe pens, this font will provide you with texture to make your work stand out, almost literally. With York Handwriting, any design can be granted the humble, homely look of a small, side-alley tearoom, especially with the emphasised x-height helping the text to stand out.

Friendly, warm and quirky, yet with a certain elegance, Pleuf Pro is a hand-drawn rounded serif family with extensive language support and a bunch of OpenType features. Great for projects which need a handcrafted, homemade, friendly, warm, personal vibe; it's individualistic without being overly eccentric, and quirky without being illegible. The clean, delicate lines of the lighter weights convey a graceful elegance without losing warmth. Ideal uses would include bar and café menus, greetings cards, food and drink packaging, and anything aimed at kids.

Shelda is a modern brush script font made with unique style. It has several beautiful alternative characters that you can use as style choices. Also has OpenType features such as ligatures, stylistic alternates and final swashes to enhance your font combinations. Shelda is suitable for those of you who like casual style. You can add swash automatically under the letters by typing underscores twice to five times. This font can be used for the purposes of branding design, logotype, apparel, fashion, wedding events, packaging etc.

Presenting the Handwritten Font- Baby Nasha is a cute font, can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, multilingual support. This font can be used Such as logo branding, editorial design, stationery design, blog design, T-shirt design, modern advertising design, card invitation, art quote, home decor, book/cover title, special events and any more. What is included : lowercase letters uppercase letters punctuation numbers multilingual

Waverly CF combines the tone and flow of art deco with updated, clean letterforms and a modernized construction. Variation in letter width creates a pleasant rhythm perfect for artwork and logos. Waverly CF offers wide language support across Latin and Cyrillic glyphs, and includes a host of swashes and alternate letterforms. Waverly CF is an expressive display typeface and pairs well with simple, elegant serifs like Artifex CF and Artifex Hand CF. All typefaces from Connary Fagen include free updates, including new features, and free technical support.

Yasbigan Script is this beautiful font for those who need a modern beauty and is perfect for wedding invitations, saving date cards and feminine branding. Yasbigan Script includes a handy OpenType feature that makes the font look more natural that includes a full set of letters with initial strokes and strokes end as well as an alternative set of lowercase letters with beautiful bindings. How to Access Alternate Characters: https://www.youtube.com/watch?v=Go9vacoYmBw https://www.youtube.com/watch?v=XzwjMkbB-wQ https://www.youtube.com/watch?v=x1A_ilsBsGs

Copperplate Wide is remotely based on the traditional Copperplate typeface that can be seen on many business cards. I have completely redrawn the typeface in a much wider version and without those stubby little serifs. In the place of the lowercase letters I put a very slim version of the font to give you more options. You can either use the wide letters or the narrow ones – or – you can mix both to get something completely new. It works great! Your forever inventive type designer - Gert Wiescher

Amitié is another typeface design by Ralph M. Unger. With its French origin already hinted at in the name, Amitié comes across as friendly and lively. This design reflects Unger’s interest and love in classical, expressive type with the right sense of style. Amitié is very readable at small sizes, but it can be used as well in headline sizes, e.g. for book title and the like. As usual for URW++ fonts, Amitié is supplied with the full range of Latin glyphs including those for Eastern Europe.

Smalkis This beautiful script is for those who need elegance and style for their designs and is perfect for wedding invitations, save the date cards and feminine branding. Smalkis includes a full set of Basic Uppercase and Lowercase Characters, Numbers and Punctuation. Also contains ligatures and many stylistic alternatives to perfectly recreate natural calligraphy (check the preview to see all of them) What will you get? Smalkis (OTF) If you have any questions about my products, feel free to write a message on the side.