Jheronimus is a neo-humanistic grotesque. A font with an open aperture. It has straight terminals and a moderated height of the lowercase characters. Jheronimus is a font with a uniform ordered rhythm. Well readable on the screen in small size. Consistent letter proportions. The rounded elements are pill shaped and the font has pronounced connections strokes. Punctuation marks are well decorated. Jheronimus will satisfy the demanding typographer. There are oldstyle figures in the best traditions of humanism. The bright recognizable character is combined with a clear form. This creates a sharp, crystal impression. Jheronimus is suitable for the design of an ambitious, temperamental text. It is stylistically similar to the paintings of the Dutch artist Hieronymus Bosch. From this comes its name.

A rounded geometric font of uniform stroke weight. All strokes have rounded ends and with the exception of the math symbols, there are no diagonal strokes.

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

Galavant will take you anywhere you want to go! Enjoy three font looks in one; a fun, chunky lower-case, a bold, animated upper-case, and in all-caps with discretionary ligatures turned on, Galavant is tightly interlocking. To explore the interlocking possibilities, turn some ligatures off and others on until you settle on the best combo. There are over 260 two, three, and four-letter ligatures available. Discover interlocking ligatures featuring lower-case "i" along the road as well. In sentence-case, turn discretionary ligatures off, except to add more handmade variation in double-letter pairs and to access a fine "ft". However you roam, Galavant aims to entertain.

Chilango is a beautiful new typeface based on the gorgeous hand-painted street signs of Mexico City.., It come with 7 weights and a unique Italic family. Throughout Mexico City, from the Centro Historic (Zocalo) through La Condessa, Polanco and Guerrero - from La Roma to San Rafael to Atlampa to Lomas, you can be sure to see the iconic hand painted blue with white lettered street signs wherever you go. It is an exuberant and flourishing font that represents this fabulous flourishing city to its core. It is a historical one, classy and stylish and deeply routed in the curvature and designs of the Spanish heritage.

Thistle Balloons is the right script font for natural, casual, personal displays because the letters are in forms of real cursive handwritings connected to each other to create togetherness and continuity nuances. This script font has low letter contrasts to show a more casual, friendlier display and a variety of letter heights. Some letters may look higher than the other ones to make them more interesting and dynamic, and such inconsistent letter sizes can enhance the natural, personal nuances to the font itself. Additionally, it is better to apply this font for big text sizes and you may also enjoy the outstanding features available here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Thistle Balloons fits best for various design projects, such as brandings, quotes, invitations, name cards, greeting cards, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Vintagedeck is a charming script font that gracefully combines vintage elegance with contemporary style. Each character in Vintagedeck is crafted with care. Designed with a fairly thick weight and a shape that gently nods to rounded forms, Vintagedeck is a versatile font that brings a touch of welcoming feel. The overall looks create a warm, approachable aesthetic reminiscent of classic handwriting, yet perfectly suited for the demands of current design trends. To truly appreciate the beauty and clarity of this font, it is recommended to use it in a larger font size. This not only improves readability but also allows its unique characteristics to shine. In addition, enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Vintagedeck fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Preview Text The quick brown fox jumps over the lazy dog Auriga Example 1 of Font More information about this Font Auriga is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Auriga attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Auriga has 671 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To install fonts follow these simple steps: .Open the zip folder you downloaded. .Double-click on the font as if you were opening an application. .Now the font installation window will open. .Click Install and wait for it to finish. .You have now installed the font. .Be sure to restart your application (and if that doesn't work restart your computer).

Designed by German graphic designer Jochen Schuss. ITC Schuss Hand and ITC Schuss Hand Bold can probably best be described as excellent all around scripts useful for a broad spectrum of advertising purposes as well as for those applications that benefit from a refined handwritten appearance. The characters themselves have a soft, almost “liquid” appearance which is enhanced by the subtle swelling at most of the stroke terminals. The slightly condensed nature of the characters plus a relatively large x-height ensures that both weights are ideal for the advertising arena. An additional feature on ITC Schuss Hand and ITC Schuss Hand Bold are the capital letters which can actually be used on their own in word settings whereas most script capitals are designed just for initialing purposes. The designer has also invested a good deal of careful thought to the way in which a high percentage of the lowercase letter combinations overlap to create an authentic hand-scripted appearance. This, together with the italicized letter forms, will make Schuss Hand and Schuss Hand Bold ideal candidates for those occasions when paper correspondence requires an informal style. So, as is claimed, an excellent all around script style.

Chalky Spritely and full of personality, FS Sammy is a hand-drawn font with a chalky texture, available in one weight only. Give Sammy a run in branding, packaging or billboard advertising for a fresh, informal, honest personality. Calligraphic Too many script fonts have a rushed and thrown-together feel about them. It’s a deceptively complex feat to achieve forms that hold together neatly in text yet still have the breezy, natural air of real handwriting. That’s FS Sammy: considered and crafted. Pencil FS Sammy was originally drawn for a drinks manufacturer by Fontsmith’s calligrapher, Sehmi Satwinder, who made handwritten impressions with a large soft pencil on textured watercolour paper. The digital interpretation of Sehmi’s letters was pushed to its limits and, after a lot of experimentation, a balanced alphabet was achieved. Texture and spirit FS Sammy’s success and uniqueness within the script font category is down to its versatility. In the large text of billboard advertising or headlines, all of its texture comes to life, and small, on menus or booklets, it conveys all of the spirit and personality of a considered piece of handwriting.

Large font sizes are often hard for the eyes to see and difficult to read. As a consequence, you have to give a lot of extra effort just to find out the right, legible font type with a great weight for your brand. Restages is a capitalized display serif font with less thickness for an effortless readability. This font type is perfect for formal contents because of its stylish, elegant characters to strengthen the impressions delivered. Furthermore, this font is truly legible due to its simple, regular serif forms to ease readers to recognize each letter correctly. Make use of the font features available here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Restages fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Mundane information—the sort you might ignore—often appears in the form of very simple, utilitarian lettering, devoid of personality, the sort of industrial lettering you find on old blueprints, park restrooms, and electrical boxes. MVB Diazo is such a thing. It looks like lettering done earnestly with a plastic template. The monoline caps—constructed from straight lines and simple curves—have rounded details as if rendered by a blunt pen on a topographical survey or by a router on a rustic campground sign. The MVB Diazo fonts are compact, available in two widths: Condensed and Extra Condensed. Each width offers four weights from Light to Black. The fonts are perfect for wherever plain and boring letterforms are required. All widths and weights are also available in two distressed textures (#1 and #2) that accentuate the industrial character of the design. Rough #1 is gritty, with finer texture for use at larger sizes. Rough #2 exhibits more damage, the roughness apparent when used at smaller sizes. The Rough fonts include alternates of a number of glyphs so that variation of texture is possible when letters repeat in a word.

Escape to the bliss of the Namaqualand. A landscape carpeted in wildflowers and magical star-studded nights. Where visitors come from all over the world to experience the cacophony of nature in its purest form. Introducing Namaqua - A Modern Calligraphy Font. This gorgeous font can be used for a host of different content needs and projects. Use it for your headings, logos, business cards, printed quotes, invitations, packaging, resumes, and even your website or social media branding. Enchant your audience, clients or guests with this versatile, elegant font. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Cavole Slab is a new slab serif, designed in early 2011, that has a strong influence from Dutch typography. The name is an altered form of the Portuguese word for feather, emphasizing the typefaceís soft and friendly character. Slab serifs give this face plenty of impact and make it an excellent choice for contemporary designers. The font family includes a very dark and powerful black all the way down to a hairline thin weight, giving a tremendous versatility. The family also features dynamic italics that add plenty of emphasis and momentum. Cavole Slab is suitable for both headline and text settings and should easily find its place in a number of different settings, from corporate identity to magazine body copy. There are six weights that come with complementary italics, and each font includes over 450 characters and extended Latin-based language support. The typeface family comes in OpenType format, and OpenType alternates are easily accessible through OpenType enabled applications such as the Adobe suite or Quark. Please see the informative .pdf brochure to see what OpenType features are available and to see them in action.

Biotrons is not your ordinary bold display serif font—it's a visual powerhouse that commands attention with its unique design. This font is a daring exploration of boldness and precision, bringing a cutting-edge aesthetic to the world of script typography. The characters in Biotrons are defined by their bold strokes and sharp corners, creating a strong and impactful visual presence. The deliberately uneven outlines add an element of unpredictability, giving each letter a sense of individuality and flair. Biotrons is a font that thrives on breaking away from the expected norms, offering a dynamic and modern take on the traditional script. Enjoy the features here. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Biotrons fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

There's a war starting; you just didn't notice because you were too busy fighting to realize what was happening. Take your sides. Pick your battles. Choose a face that stands ready to defend, enforce and police. All who are ready to serve, please step forward. Deathe Maach is a six-font family of descending weights with the strength and stamina to face all comers in the approaching conflict. Armor on. Pistols out. Barrels forward. Enforce and serve.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

Tectura II is Greater Albion's answer to the infamous Comic Sans. It's a family of four 'hand printed' typefaces that provides our very own answer to the infamous 'Comic Sans', and follows on from one of our early release 'Tectura'. Tectura II offers a distinctive blend of hand written character with legibility.

Postulat Pro is a contemporary slab serif typeface. The family contains 16 fonts: 8 romans with matching italics, from Hairline to Bold. The character set include contains more than 2100 glyphs which support most Latin and Cyrillic languages including Vietnamese, Greek, as well as small caps, stylistic and local alternates, and many other useful characters. The font uses a combination of smooth and extremely simple straight shapes. The author abandoned the use of teardrop-shaped classical elements, replacing them with straight ones, which makes Postulat Pro more dynamic and modern. These unique features give the font a unique personality. Postulat Pro is the perfect choice for headlines, logos, branding, packaging, publications and websites. The typeface was designed 2021 by Alexey Chekulaev.

The Lina typeface family was designed by Roy Cole and completed in 2003. The roman font, Lina 30, was drawn originally by hand and later its character set extended and digitally redrawn with the aid of Fontographer. The five additional fonts, 60, 90, and the italics 33, 66, 99 followed and were all produced digitally from scratch. Lina is characterized by economy, lightness and evenness of weight. The capitals and figures are not as tall as the lower-case but retain the latter’s weight, and the figures are designed to provide enhanced recognition. The characters are relatively large on the body and text and benefit from additional leading. Lina is essentially a typeface for text composition. Roy Cole's other typeface families are Zeta, Colophon and Coleface.

“Innovation” best describes Naghi Naghashian’s new Decora Two font. It is a “Liaison amoureuse” between the Sans Serif typeface and English manuscript style. Decora Two is the second of a series of typeface that enables graphic arts professionals the flexibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is a boon for manipulations of both vector-based and pixel-based graphic programs. Typographers worldwide, whose alphabets derive from the Roman one, depend on such innovations in order to meet increased demands of modern communication. This typeface enriches the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide!

This 1538 Schwabacher was based on a font used by Georg Rhau in Wittemberg (Germany) to print Des Babsts Hercules [...], a German pamphlet against roman catholicism written by Johannes Kymeus. The original font has a relatively complete set of characters including “long s”, but also the special german types like k, fl or ‰, ˆ, ¸.... A few omissions were remedied, and accented letters were added. A render sheet, enclosed with font files, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.

A hand lettered emulation of a Roman stencil type face on the cover of the folio for the Stenso School Set was the basis for Eutaw Stencil JNL, which is available in both regular and oblique versions. The Stenso School Set (circa 1940-41) was comprised of three stencils – two lettering guides and a map of the [then] 48 United States. Developed and patented by Baltimore school teacher Ruth Libauer Hormats, her stencils were the first to offer a system for accurate letter spacing and ease of use. “Eutaw” (as part of the font’s name) is taken from Eutaw Place, the street where Ruth and her husband lived at the time of Stenso’s inception. To the Cherokee, the name means “Creek Indian”.

The Vitruvian Man is a world-renowned drawing created by Leonardo da Vinci circa 1487. The drawing depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man.The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. That's how "Leonardian" was buid as well: a quest for ideal proportions, a harmonious design springing up from a geometric "collision", circle and square's intersections.

From the basement labs and after hours lounge of R?U?S?S?T Institute, we present After 5. With a somewhat formal (ha ha) yet warm, friendly feel, its normally calm, even tempered and sensible rhythm takes on the syncopated, jazzy beat that goes along with too many martinis when discretionary ligatures are turned on. A friend once asked, was I trying to design a font that looked sort of �Korean?� I said no, I was trying to mess up the Latin alphabet. So, here it is: After 5, a bold, upright condensed slab-serif display typeface with a mixed-up attitude. Complete with bold roman and matching italics. This attention getting font is ideal for Posters, headlines, Packaging and logos.

Calton is a utilitarian workhorse sans serif family. It’s designed to work in as many environments as possible, from small text to big headlines. The roman and italic styles work well for any typographical situation while the stencil really packs a punch and shines as a display family. The design has a hint of familiarity from classical humanist sans serifs, but the proportions are much more economical and the detailing is distinctly modern. All styles come in eight weights, from Thin to Black and the family is well suited for film and TV, advertising, editorial design, packaging, branding, logo, sports, web and screen design. The family is available in multiple bundle options so check out the different choices. The family package is available with a bargain price.

Originally released in 1995 as a three font family, Paradigm forcefully addressed the emaciating effect that digitization was then exerting upon traditional serifed typography. Investigating the new media of a much previous era, Nick Shinn deconstructed the first roman type, designed by Sweynheym and Pannartz in 1467, and gleaned, from its minuscules, the low contrast and discreet serif treatment (portrayed by a novel convex effect), which he subsequently applied to both capitals and lower case of a classically proportioned Venetian invention. In 2008 the glyphs, metrics and hinting of the 1995 fonts were refined, Extra Bold and Light weights added, a full range of OpenType features instituted, and the number of characters per style increased almost threefold. A major upgrade to a unique typeface.

Chaparral is the work of type designer Carol Twombly and combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th century roman book lettering. The result is a versatile, hybrid slab-serif design. Unlike ""geometric"" slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold. And because it is a multiple master typeface with an optical axis (ranging from 7 to 72 points), Chaparral is clear and legible in smaller text settings while remaining subtle and lively at display sizes. Chaparral�s highly functional design is surprisingly beautiful, the perfect choice for correspondence, as well as book, poster and newsletter design.

Decora one is a typographic innovation. It is the first of a series of typeface that gives the typographer and other graphic artists the possibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is suitable for manipulations in both vector-based and pixel-based graphic programs. Typographies in countries worldwide, whose alphabets derive from the Roman one, are dependent on such innovations in order to meet the increasing demands of modern communication. This typeface implies at the same time an enrichment of the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide.

Albion's Americana is a fun display family and a tribute to our transatlantic friends. The stars and stripes motif is applied to an American inspired all capitals Roman display face, producing something that is bold and boisterous and well...American. The regular face is intended for conventional use, while the 'Black', 'Red', 'White' and 'Blue' faces are designed to facilitate patriotic multi-coloured lettering (of course, you can use other colours as well). It's worth trying out different combinations here- Black and White alone work well, as does read, white and blue minus black. Albion's Americana Companion is also offered, intended as a small or all capitals face for subsidiary lettering. Next time you need some graphic typesetting with that American feel, this is your answer!

Arquitecta. The humanist typography as a rational project. Since the experimentation from the Bauhaus through modern sans history we looked for a new mix to construct a rational geometric typeface with humanist proportions suitable for text layout and continuous reading. Inspired by American & European hand lettering from the first half of the past century, Arquitecta finds his own space as a great alternative for paragraphs in front of classics like Futura, Kabel or Avant Garde. The family contains 8 upright romans and 8 italics with the following features: - European accents, Old Style Numbers, Numerators & Fractions. - Ink traps to avoid press impressing spots & hinting optimized. - Small X-height with accentuated ascenders y descenders. Upgrade Mar 2023: Contours were corrected and the set was extended to the current Latinotype.

I’m here for you with my new colored font Curled Corner! Alphabet made of letters with curled corner. It’s looks like negative space style icons. Colorful gradient note paper. Modern clean vector origami font for your stickers, crypto app, nft identity, and tags. All the letters in this font are colored brightly and vividly with corner overlay. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, QuarkXPress since 2018, Pixelmator, Sketch, Affinity Designer Since macOS 10.14 Mojave, Paint.NET Windows only.* *Please note that the Canva doesn't support color fonts!* --- What's included? * Colored and B&W styles * A-Z & Numbers * BONUS icon (ligature) set If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

This “very elegant and British alphabet” was originally released in the 1920s as "Richmond Oldstyle" by the Blackfriars Type Foundry of London. Touted as highly artistic and graceful, it is exceptionally “at home” wherever style and charm are called for. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

Restora is a mix of old-style roman serif styles. The combination of beautiful letterforms and old style serif makes Restora a versatile type family that can be used in many different themes of design projects. It comes in eight weights from thin to black with matching italics. Its mixture of weights provide a wide range of styles that will help you find the best vibe for your projects, from body text to big headlines, from classic style to modern, bold, and a bit funky style. It is well suited for book covers, editorial, branding, advertising and more. Its OpenType features provide a number of swash, beautiful ligatures and stylistic alternates that give your typography a unique look. RESTORA NEUE is available now! Check it out!

Linotype Syntax™ Letter is reminiscent of the style of the Roman Rustic capitals and is an earthy, almost snappy companion to the other Linotype Syntax™ typefaces. Instead of subtly expressing the rhythmic dynamism of handwritten letters, this face is more overt about its connections to writing movements, such as the lead-in and exiting terminals, and the organic branching of round strokes from main stems. Linotype Syntax Letter was designed especially for office communications, and it does add a warmer, more personal touch to such documents — while still combining nicely with the more formal Syntax relatives. With six weights, their matching italics, as well as small caps and old style figures, this typeface family has a total of 24 weights.