Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Coil feels comfortable like a well-worn pair of shoes. It could easily pass for an assertive industrial European sans serif of the early 1960s with its slight reverse contrast, monotonous proportions, and squared-off curves, if not for its less predictable side. What appears initially as ellipses upon closer inspection turns out to be irregular shapes, closer to an inverted egg than an oval. The s looks topsy-turvy with its higher curve that is larger than the lower. Some terminal strokes overhang the bowl (as in the a), others open flat (as in the Q, the f, the j, and the t). The resulting effect shakes up this seemingly “retro” face just to make it new. Our midcentury recollections are slightly distorted and reinterpreted by this ironic typeface making it fresh while deceptively cozy and familiar. Coil’s high x-height and even texture make it readable even in small sizes despite its tight apertures. Available in four weights with their italics, with two sets of figures, fractions, and alternates for Extended Latin and Cyrillic scripts. Designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan, 2020-21.

Fixture is our massive 72-font take on plentiful offerings of the late 19th century’s typefaces, posters and wood letterpress sundry done in the Grotesk genre. Four widths ranging from Ultra Compressed to Expanded each come in nine weights and accompanying italics. Some common sans-serif alternates, such as the a and g, are included in all the fonts. The idea with this design was to put together a workhorse font family with enough functional flexibility to work in multiple environments, from the subtlety of magazine layout or film credits to the visual drama of billboards or packaging. Aesthetically speaking, it is quite interesting — though in retrospect quite unintentional — that each different width and/or weight of this face ended up pulling a different dominant trait from the melting-pot origins of the entire family. It’s almost like a tribute album to some famous band’s covers of older songs. It may also be a good conversation piece on our tools shaping the very things for which they’re used. Can’t really get any more post-Grotesk than this. In the 21st century, this is the one genre to rule them all.

Leisure awaits you at the Palm Club 🏖. The weather is warm, the drinks are cold, and the font choices are excellent. This high energy, retro-fuelled script font is ideal for signature style logos, product packaging, display text and 80s/90s inspired graphics. Palm Club includes 2 font files with added features; 1. Palm Club Script • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Palm Club Swash • Type any a-z character in this font to generate one of 21 swashes. These fast strokes are great for underlining your Beach Club Script text and adding some extra finesse to your lettering. Alts & End Characters • End characters are available for 24 lowercase letters when using the Palm Club Script font. Use these characters at the end of your word to add a stylistic ‘end-swash’. Alternate characters are also available for 11 uppercase letters. These are accessible via software with opentype capability, by turning on ‘Stylistic Alternates’, or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

The HWT American Chromatic set is a multilayered font set that will allow for thousands of possible color and pattern combinations. The original 19th Century Chromatic upon which this font set is based included two fonts. The HWT digital version includes eight. The alignment is configured to allow any combination of the eight fonts to all align when identical text is set and arranged, one on top of the other. Due to the highly decorative nature of this font set, the character set is limited to upper case only with basic punctuation. Five of the eight fonts in the set can be used individually as variations of the classic Tuscan style of wood type, which is defined by its concave stems and serifs. There are no accented characters due to the ornate nature of the design and because there were no accents originally intended for this design. This font is best used at sizes of 72 pt or larger and is ideal for a wide array of design uses. For webfont use, CSS with z-index and position will allow for easy online layering.

Bon Air was one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) in the mid 20th Century. These were some of the last new designs cut into wood by Hamilton until the museum revival in the early 2000s. Bon Air was created in 1958 and trademarked in 1961. The wood type made for Morgan was used largely in department stores to make their own signage. The script styles are reminiscent of sign painters alphabets and evoke a Mad Men era advertising aesthetic. The font was only cut in four sizes: 12, 18, 36 and 72 line. It was distributed by Morgan for use in their presses, but as type high wood type, it could be used on any press. The font was issued with several alternate letters and ligatures to simulate the effect of hand lettering. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work. The digital version includes all of the original alternates plus new characters to fill out a full European character set.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Ardhelia is a beautiful display font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. Ardhelia come with 500+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type features can be accessed by using Open Type programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Ardhelia : Uppercase ( Four style variations ) & Lowercase International Language & Symbols Support Punctuation & Number PUA Unicode Range Standard Stylistic Alternates Stylistic Set 1-21 Character Variant Contextual. The file include the following : Ardhelia.otf If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). If you have any question, don't hesitate to contact me. Thanks for your visit.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Petale is my new elegant experimental typeface I'd love to present. At the beginning, I was intended to create a bold wide font, I started sketching options and came out with the letter 'M' design first. I thought it may be interesting and had continued developing the style with letters N, O, etc., spending hours on some letters to match the design and my vision. I liked how it looked (especially digits) and added different weighs. And it came out pretty stylish. You may like it to use in magazine designs, posters, websites, packaging, branding, logo, and so on. Petale can grant your work some graceful modern touch with a brutalist-feminine note. Works well with elegant and strict serif fonts. Also try to experiment with script fonts. I used my Stormy Youth font: https://www.myfonts.com/fonts/lomohiber/stormy-youth and Bodoni 72 Smallcaps If you have some issues or questions, please let me know: lhfonts@gmail.com Hope you'll enjoy using Petale! Language support: Afrikaans, Albanian, Bulgarian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian (Русский), Slovak, Slovenian, Spanisch, Swedish, Turkish, Ukrainian (Украинский), Zulu

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

Bodoni Ferrara™ Fashionable, Luxury Heritage: The Original Bodoni Ferrara Sculpted from hi-res photos and scans of Bodoni's original Ferrara Font—his 1818 Manuale Tipografico and 1768 specimens. It has never before been available. This cut of Bodoni specially selected by Dave Lawrence from rare book specimens. Part of the California Type Foundry Origin Series. 3 Display Fonts in One!! And 6+ style mixes. Bodoni's 1st Draft - Transitional Serif Bodoni was often inspired by French type designs. His first draft of Ferrara was inspired by Pierre Simon Fournier. But Bodoni added his own Italian sensibilities. Bododni’s first, transitional style can pair with humanist sans, and transitional fonts. Bodoni's Rework - Modern Serif Later, Bodoni reworked Ferrara to match the later neo-classic style or modern serif of Firmin Didot¹. Bodoni’s modern style can pair with geometric sans, grotesque sans, neo-grotesque sans, gothic sans, copperplate script, . Informal On™ - Informal Mode by CAL Type Foundry This can pair with “infant” fonts. Geometric sans, and other sans or serifs with one-storied a’s. + Bodoni’s Tivoli a for another option! Works great with Fournier¹ fonts and grotesques, since the terminals will match. Font Pairing Guide This font includes a 78 page Ferrara Pairing Guide. This book shows you 131 pairings with text fonts. 47 pairings with subheader fonts! We want to help you get more out of your font collection. Design Features • Subtle forward angle (0.5-1.5°) makes Ferrara more lively and engaging than most Bodoni or Didot fonts. • Round curves make this font feel letter-pressed. • Bodoni's original tall x-height and slightly condensed proportions: great for headlines, where space is at a premium. • Better uppercase. Uppercase punctuation for design apps. • Proportional oldstyle and lining figures, both modern style and transitional numbers. Every pair of numbers is kerned for display sizes: no unsightly gaps! • Multiple special symbols for whenever you need a design to pop, including 3 of Bodoni’s amazing ampersands. Language Features Latin standard for western European and other languages. +Advanced support for: German, French, Spanish, Portuguese, Italian, and French. Special, uppercase umlauts for titles! Compare to metal Bauer¹ Bodoni! Special context kerning for French, Spanish, Portuguese, Italian, and French, to allow better better words like L'Angelique & “¿Nosotros?”. This kerning gets rid of unsightly gaps between “¿ and other combinations. Can’t Find the Pairing Guide? Can't find the pairing guide? Google “California Type Foundry” and grab the pairing guide. Get another free pro font while you’re there! Ferrara: many sizes, styles, moods and situations. It's a classic, fashionable font for display, headlines, and titles. Grab Ferrara today! ----------- ¹Trademarks of their respective owners. Ferrara™ is a trademark of the California Type Foundry.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

Gundrada ML was inspired by the lettering on the tomb of Gundrada de Warenne. She was buried at Southover Church at Lewes, Sussex, in the south of England in 1085. The Latin inscription on her tomb, STIRPS GUNDRADA DUCUM, meaning “Gundrada, descendant of the Duke” may have led to the speculation that she was the daughter of William, Duke of Normandy and bastard son of Robert the Devil of Normandy and Arletta, daughter of a tanner in Falaise. In 1066 William defeated Harold at the Battle of Hastings and was crowned William I of England. More commonly known as William the Conquerer, he commissioned a string of forts around the kingdom and charged trusted Norman Barons to control the contentious Anglo-Saxon population. William de Warenne, husband of Gundrada, was one of these Barons. There has also been the suggestion that Gundrada may have been the daughter of William’s wife, Matilda of Flanders, by a previous marriage. According to the Dictionary of National Biography (Oxford University Press, Oxford, England 1921-22), both of these contentions are in dispute. Searching the past of a thousand years ago is like wandering in a heavy fog: facts are only dimly in view. Regardless, I know that I found these letterforms immediately engaging in their simplicity. Unadorned and unsophisticated, they have a direct honesty that rests well in the company of humanistic sans serifs like Franklin Gothic or Gill Sans, appealing to a contemporary sensibility. The lettering on the tomb is in upper case only. Although Gundrada does not sound Norman French to me, her husband certainly and her father probably were Norman French. Nonetheless, the man that carved her tombstone was probably Anglo-Saxon, like most of the people. For that reason, we are quite comfortable with a fairly generic lower case from an Anglo-Saxon document of the time. The time was a time of transition, of contending language influences. This font reflects some of that tension. Features 1. Multi-Lingual Font with 389 glyphs and 698 Kerning Pairs. 2. OpenType GSUB layout features: onum, dlig, liga, salt & hist. 3. Tabular Figures and Alternate Old-Style Figures. 4. Alternate Ruled Caps (line above and below, matching to brackets). 5. Central Europe, Western Europe, Turkish and Baltic Code Pages. 6. Additional accents for Cornish and Old Gaelic. 7. Stylistic alternates A, E, y and #. 8. Ligatures ST, Th, fi and fl. 9. Historic alternate longs. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

Copihue is the newest font from the foundry of Juan Pablo De Gregorio. A Sans-Serif with some humanist hints, it displays simple and subtle yet sober, vivid strokes. This font’s personality unfolds itself as long as we are reading it. The aim of Copihue is neither to be as neutral as a grotesque font nor to become as predictable as a fully geometric typeface can be. This typography wants to appeal to the likes of designers who prefer all-rounder fonts, the ones who fit well in most layouts. With this purpose in mind, Juan Pablo studied elements of different typefaces and styles to cast them into Copihue, which boasts a personality that makes it a great fit for different compositions and designs. Copihue has a slanted version with "real italics". These italics are slightly more condensed than the regular version, in order to give it a different text texture. The typeface has 9 weights, ranging from “hair” to “black”, and two versions: "regular" and "italic". Its 18 files contain 749 characters with ligatures, alternates, small caps, oldstyle and tabular numbers, fractions, and case sensitive figures. It supports 219 Latin-based languages, spanning through 212 different countries. Copihue supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Any prototype you can imagine, Skolar Sans can materialise. This industrious type family is more than just a versatile partner for our award-winning Skolar collection: it is a true sans-serif type system envisioned for the age of responsive design. We developed Skolar Sans to accommodate contemporary typographers and the challenges they confront: an ever-changing spectrum of outputs and devices, in which serious typography can get lost. Skolar Sans is engineered to cope with complex editorial texts and data-rich layouts alike. Its construction is designed for easy reading, and its subtle personal style and a touch of flourish. From gently thin to black, the finely-tuned weight variants will fit any composition from wide-screen dashboards to compact mobile editorial designs. Its four subtly graded width variants allow you to fit any page context with comfort. The 72 styles; 36 weight and width variants in uprights and true italics with ligatures, arrows, scientific figure variants, and fleurons. The two variable fonts (one for uprights and one for the italics) allow user precise navigation of the Skolar Sans design space and streamline delivery. The linguistic scope of Skolar Sans PE is an exact match to Skolar PE: Latin, Cyrillic, and Greek (including polytonic) scripts and support for hundreds of languages and transliterations.

BulletNumbers come in very handy for all kinds of lists that don't exceed 100 categories. I have long since been using my own Bullets in positive and negative and four styles, serif, sans, engravers and script, a fitting one for every occasion. Now I added six more designs and perfected the Bullets for all of you. The following is a »must read«! Here is how to use them: (Important! Set letterspacing to '0', otherwise the two digit numbers will have gaps!!!) The numbers 1-0 reside on the standard keys. Two digit numbers 01-99 can be composed out of left and right half circles by using (lowercase) 'abcdefghij' for the first digit (left half circle) and 'lmnopqrstu' for the second digit (right half circle). The critical pairs (all combinations with 1) can be found in various places. Type '!' for 10, '#' for 11, '$' 12, '%' for 13, '&' for 14, '(' for 15, ')' for 16, '*' for 17, '+' for 18, ',' for 19, '-' for 21, '.' for 31, '/' for 41, ':' for 51, ';' for 61, '?' for 81, '_' for 91. The two arrows are on the < and > keys. '100' can be found with shift+option+1. Last but not least, the capital letter bullets A-Z can be found on the shift+letter A-Z. Your very practical Gert Wiescher

A dynamic and strong new Grotesk, Lazare Grotesk is a family of 21 styles. The family comprises seven weight, from UltraThin to Black, with not only italic but with backslanted too, which allows to make fun and cool layout. In the black weight the font is particularly contrasted. This family contains many OpenType features, such as Alternates, Proportional Figure, Tabular Figures, Old Styles Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. The fonts have an extended characters set to support Central, Eastern and Western European languages. Lazare Grotesk supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Style One is composed of a floral ornament rotated and reflected at 90 degree increments combined with a letter or number to form each ornate initial. The initials are A through Z and 1 through 0 for a total of 36 initials. Each initial is located under its respective key in the character set. Style Two is composed of floral ornaments rotated and reflected at 90 degree increments combined with a letter to form each ornate initial. There are two sets of initials A through Z. Under the character set the initials are negative on a positive floral background. Under the shift + character set the initials are positive on a negative floral background. Each initial is located under its respective key. Style Three is composed of floral ornaments rotated and reflected at 90 degree increments combined with a letter or number to form each ornate initial. There are two sets of initials A through Z and 0 through 9 for a total of 72 characters. Under the character set the initials are negative on a positive floral background. Under the shift + character set the initials are positive on a negative floral background. Each initial is located under its respective key.

Hello! This font is a challenge from my future wife. Ningsih Script a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Ningsih Script come with 520 glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. 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. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Foreign Languages Support: ÀÁÂÃÄÅÇÈÉÊËÌÍÎÏÐÑÒÓÔÕÖØÙÚÛÜÝßàáâãäåæçèéêëìíîïðñòóôõöøùúûüýÿ Ningsih Script : Uppercase & Lowercase International Languange & Symbols Support Punctuation & Number PUA Unicode Range Standard Stylistic Alternates Stylistic Set 1-21 Character Variant Contextual. If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map Windows). If you have any question, don't hesitate to contact me by email bexxtype@gmail.com Thanks and happy designing :-) Thank You for purchase!

This is a must read!!! BulletNumbers come in very handy for all kinds of lists that don't exceed 100 categories. I have long since been using my own BulletNumbers in positive and negative and four styles, serif, sans, engravers and script, a fitting one for every occasion. Now I perfected them for all of you. Here is how to use them: (Important! Set letterspacing to '0', otherwise the two digit numbers will overlap!!!) The numbers 1-0 reside on the standard keys. Two digit numbers 01-99 can be composed out of left and right half circles by using (lowercase) 'abcdefghij' for the first digit (left half circle) and 'lmnopqrstu' for the second digit (right half circle). The critical pairs (all combinations with 1) can be found in various places. Type '!' for 10, '#' for 11, '$' 12, '%' for 13, '&' for 14, '(' for 15, ')' for 16, '*' for 17, '+' for 18, ',' for 19, '-' for 21, '.' for 31, '/' for 41, ':' for 51, ';' for 61, '?' for 81, '_' for 91. The two arrows are on the < and > keys. '100' can be found with shift+option+1. Last but not least, the capital letter bullets A-Z can be found on the shift+letter A-Z. Yours very practical Gert Wiescher

Senlot Didone enchants with this fresh and cutting-edge sequel. It’s a modern interpretation of Senlot that says glamor and seduction. The typeface adds to the original high contrast sans serif with it’s modern high contrast shape, and features a new beauty with the distinctive sinuosity of contrasting forms. Senlot Didone is the sleek, serifed, high contrast follow-up to Senlot, and it's low contrast sequel, Senlot Sans. A serif typeface suitable for text and display work joined in 2019. Senlot Didone includes a wide range of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures. Senlot Didone is composed of 3 widths: Condensed, Normal, and Extended, with 9 weights and their italics for a total of 54 fonts with more than 800 glyphs. Senlot Didone is a great display typeface for logos, branding, packaging, and advertising. With its broad palate of options, the font covers over 72 Latin-based languages. Dress your text in any of nine separate styles from Thin to Bold. With Senlot Didone, there's no need to compromise on another font with fewer features. Simple, elegant, and versatile, Senlot Didone now makes perfect more possible. Take the show by storm with this high contrast serif. The seductive figure of Senlot Didone is here to entice your viewer.

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

Karl-Heinz Lange presented his first drafts of Rotola during a Typoart® type design competition in 1985 under the name "Boutique". A year later, Norbert du Vinage, former manager of the type design department, integrated "Boutique" in his production plan. Due the Fall of the Wall, it took about 18 years until Lange finished this font family in cooperation with Elsner+Flake. Karl-Heinz Lange was born on July 29, 1929 in Wiesenkirch in West Prussia. He was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. He worked on a variety of assignments, one of which was the design of trick films. From 1969 to 1976 he took the position of Artistic Director of the Henschelverlag, Berlin; from 1976 to 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin; and, until 2004, he taught at various institutes for advanced professional education. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal. Karl-Heinz Lange was awarded the second prize at the "International Type Design Contest 1971" for a headline typeface, and, in 1984, at the XI. Biannual of Graphic Design in Brno, he won a Silver Medal for the design of his typeface family Publica. He created the telephone book typeface Minima and re-designed the Typoart Super Grotesk® (Arno Drescher, 1930) as well as the Newspaper typeface Magna® by Herbert Thannhaeuser for the use on digital typesetting systems. To the day of his death on June 29, 2010, Karl-Heinz Lange lived and worked as a type designer. Among others, he closely followed the designs of the typefaces which were developed under his guidance for Typoart®: "Publica®", "Typoart Super Grotesk®" and "Minima®" which he launched as "Publicala", "Minimala" and "Superla" in 2009. In cooperation with Elsner+Flake, he developed the Typeface family "Rotola" between 2006 and 2009 as well as the script families of the "Viabella®" series. To the end, he followed the development of his first typeface, the "Diplom Antiqua", which he also wanted to bring to market together with Elsner+Flake.

A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

Kudry is an elegant and noble typeface for extra large sizes. It looks good in cultural projects and exhibitions, logos, book covers, theater posters, wedding invitations, cosmetic and cake packaging,— basically any case in need of a beautiful typeface. It is a type family that consists of the modern serif and the contrasting sans serif, the weird serif and the stencil type. Both serif and sans have three options for different point sizes: Display for extra large sizes (from 72 pt or 96 px), Headline for large sizes (from 36 pt or 48 px) and Text for medium sizes (from 14 pt or from 24 px). Each style has a variety of alternate characters, swashes and ligatures, linear and old style figures, arrows and case-sensitive punctuation. The typeface supports major all European Latin and Cyrillic-based languages and all European Latin scripts. The authors of the typeface are Isabella Chaeva, Alexandra Korolkova and Nikolay Nedashkovsky. The character design of Kudry, details of the letters and alternates are an original contemporary solution based on the proportions and construction of the sans serif by N. N. Kudryashev. Digital versions of this typeface are Kudryashev and Petersburg, which can work in pair with Kudry in case you need a combination of a text serif and a display typeface. ITC Franklin Gothic, PT Root or Ida suit well as a paired text sans serif.

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

www.Stat-Type.com Complementary Type Family Stat Text Pro Stat Display Pro is an information design sans serif type family legible in circumstances of low visibility. Its large character set with multiple weights is defined by optimal size ratio, distinctive letter shapes, wide aperture and balanced counters. Stat Display Pro remains legible in unfavorable circumstances of distance, size, movement and similar. It contains nearly 700 glyphs, including diacritics, ligatures, small caps, old–style figures, arrows and more. This enables it to achieve wide language support. It consists of four main (Light, Regular, Medium, Bold) and four secondary, negative weights (Light Negative, Regular Negative, Medium Negative, Bold Negative) which are accompanied by their corresponding obliques. Stat Display Pro type family has higher than average x height (72% of cap height) which is accompanied by matching ascender and descender size ratios. With its distinctive letter shape detail it minimizes the possibility of letter shape confusion, while optimizing legibility with wide aperture and balanced counters. Its main intended use is information design, where it, with its characteristics, meets the requirements of wayfinding, infographics, table setting and much, much more. The development of the type family was based on research in legibility to achieve highly legible letter shapes, while not diminishing their visual character. A detailed description of Stat Pro type family is available at Stat-Type.com where a DEMO font can be downloaded.

Amazingly easy on the eye; it draws the reader in with minimal brain bandwidth use. Designed to enable more focus on the content. Good for web pages. Very Dyslexia friendly. Our mission has been to create a font that scientifically designed to be dyslexia friendly while also being attractive and useful. Dyslexia features: Each letter is unique even if reversed or flipped. The spacing is carefully designed using scientific evidence to help all readers from those who read via word shapes to those who read using phonemes and syllables. The visual stress caused by contrast pattern glare is minimised and has fared well when measured by professionals against other common fonts. Usefully mid-sized to make it easy to transfer artwork from common fonts to Aravis. This is very helpful when providing reasonable adjustments for people with Dyslexia. Based on algorithms found in nature. Range of use: Ø 72 Latin based languages Ø Greek and Coptic Ø IPA extensions Ø Good Maths symbols provision with OT support for vulgar fractions Ø Innovative OT support for creating boxes for forms Ø Small Capitals with some accents also supported (Czech) Ø Subscripts and sups: Complete alphabet upper and lower case and numbers Ø Customers can request additional symbols and characters within reason, or add an accent /shape unique to their country if it fits with the overall mission of the font.

• Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 27 arrows glyphs • 0-20 line circled glyphs • 0-20 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Boodle is a modern sans serif with a geometric touch. It comes in 8 weights, 17 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Boodle family consists of 17 styles (8 weights, 8 Italics and 1 patterns), in each of which there are more than 744+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Description Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gridink is a modern sans serif with a geometric touch. It comes in 9 weights, 18 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gridink family consists of 19 styles (9 weights, 9 Italics and 1 patterns), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Cabrito Flare joins the Cabrito font family, a family designed to help younglings with the recognition of letter shapes. The original fonts are part of the development of a children's book, The Clothes Letters Wear. Cabrito Flare combines the simplicity and readability of the original Cabrito with an elegant flare serif. Now, this latest addition brings a new flavor to the table. Cabrito Flare brings fluid, carefree, medium contrast fun. It takes a more calligraphic direction than most. Cabrito combines structure and handwriting. There's a fluid balance of both characteristics, and Flare is no exception. It’s a unique combination of functional elegance with a little spice and a dollop of friendly. Fifty-four well-designed fonts give you many readable options to work with while developing your design. Cabrito Flare includes a suite of OpenType features. Alternative forms, ligatures, figures, and titling caps are all here. Preview these functions in the interactive PDF manual. There are glyphs for 72 languages; more than 600 glyphs await you. Cabrito Flare is an excellent choice for websites, as well as for brochures and packaging. Like Cabrito, used by several visible brands, Cabrito Flare is also an excellent option to define your logo. Try the taste of Cabrito Flare and be sure to dip in and sample some of the other Cabrito members: Original flavor, Didone, Sans, Serif, Semi, Contrast, and Inverto.