A completely square typeface. And wide. It is all futuristic and fast. I have redesigned the uppercase D (which was identical to the O), V and Y - and also a couple of the lowercase letters: a narrower r, a more identifiable t and f and weight corrections to the v, x and z. This font only had a very basic ASCII character set, so I have created a large amount of glyphs, and expanded it with the usual multilingual support. The future is now. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "Western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

IMPORTANT: This is the VARIABLE VERSION of PG GROTESQUE This is my interpretation of Edel Grotesk – a “lost typeface” from circa 1914 produced by Johannes Wagner GmbH of Ingolstadt, Germany. PG Grotesque is definitely not a revival, or even a faithful reproduction of that typeface as I was unable to source enough accurate references. What I have done is take the essence and unique characteristics of that typeface and brought this forgotten gem right into the 21st century. This variable version includes 99 instances spread across 9 weights and 6 widths with the ability fine tune the width, weight, and italic angle to your exact preference. Distinctive features include high-waisted capitals, a straight-legged capital ‘R’, and flattened arches in the ‘a’ and ‘g’ glyphs. Using PG Grotesque will give your typography a distinctly retro feel with its vintage heritage inherent in every character. You will find this is an incredibly versatile typeface with added value from its extensive language coverage along with small caps availability at the click of a button. PG Grotesque will prove to be a valuable asset in your type arsenal. See full details and hi-res images at https://paulogoode.com/pg-grotesque

Helios Antique & Helios Stencil Check our PDF specimen for more details Helios type family is the result of a mixture between the early sans serif and the modern trends of our era. Its rational structure is subtly wider than the majority of the first sans, generating a higher impact in its uses. All the typeface terminals are more open in order to balance better the whites and blacks of Helios, and where the strokes meet it has a deeper contrast giving more legibility to the reader. Furthermore, in some letters it is possible to see some prominent features such as the leg of the "R" and the tail of the "Q", which are particular gestures that identify this type family. Helios Stencil is the tough version of this type family. All the stencil gaps were measured rigorously, thus in small sizes it conveys a neutral aesthetic whereas in big sizes a display logic appears. Helios Antique is composed by 36 styles, 782 glyphs and small caps. Besides, it has powerful OpenType features for each style, including alternates characters, ligatures, fractions, special numbers, arrows, extended language support and many more.

Delfino Script is a cool, connecting script that can appear both retro and contemporary. Curved on the outsides of strokes, and jagged inside, the forms look like an abstraction of strips of tape, folding and flowing, or even marker pen style lettering. This script is not created by any pen though - its forms are constructed, not painted. Typographic features like ink traps add sparkle to the text. OpenType features include ligatures, contextual alternates (for more realistic connections) and stylistic sets. Stylistic Set 1 changes certain upper case letters into forms more suited for all caps setting, although they can also be used freely with the lower case. Set 2 changes the r into a less scripty form and set 3 adds a connecting tail to the q. Delfino Script would find itself at home in cookery books, fashion blogs, vintage car magazines and set large and proud on expanses of concrete, or, most likely, whatever you might have in mind for it! Delfina Script is practically identical to Delfino save for round tittles, periods and any other dot shaped glyph components. Strangely for such a little change, it does seem to give the face a different character.

A very chunky and rounded font. I have shortened the r and t, increased the size of the dots, and tweaked a little here and there - before expanding the character set substantially. I actually like the font so much that I also used it for the CheapProFonts logo! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

An unadorned Grotesque with a refreshingly personal touch. If “Grotesque” mainly means “industrial, mechanical, anonymous typeface” to you, Klainy might redefine your image of the genre. Yes, it’s a Grotesque—but with a contemporary look and a lot of personality. Klainy’s apertures are more closed at the top and more open at the bottom, creating an informal rhythm that sets Klainy apart: a confident, optimistic voice with a clean appearance. Terminals are subtly back-bent: these quaint “hooks” make Klainy a bit more personal, a bit friendlier. (You can find them in the a, c, f, and r.) Just like its old-style Grotesque ancestors, Klainy is optimized for display sizes and short texts. There, its unobtrusive quirks can be wholly appreciated. However, the familiar Grotesque appearance makes sure that the typeface is comfortable to read in smaller sizes, as well. Use Klainy whenever a basically classic sans-serif typeface with a modern and individual twist is called for. This font family comes in eight weights ranging from Thin to Black, each with a matching italic style. More than 500 glyphs and a bunch of Open Type Features make it a reliable companion for all of your projects. You can fine-tune the flavor of Klainy with Stylistic Alternates such as a one-story a and a two-story g. Their simple construction blends perfectly with the design concept of this typeface. Klainy is a seasoned blue-collar worker that surprises you with wit and team spirit. It’ll be a great addition to your font library.

Historical Background Old South Arabian Script (OSA) was used before the Islamic era not only in the southwest corner of the Arabian Peninsula, but actually in the entire Peninsula. In addition, samples of OSA have been found as far as Uruk in Mesopotamia, Delos in Greece, and Giza in Egypt. Archaeological finds show that as far back as the 8th century BCE, OSA was used in trade, religious writing, and in civil records. Following the spread of Islam in Yemen, the decline of OSA began in the 7th century CE as it was gradually supplanted by Arabic script. OSA was typically known by the name of the then-dominant peoples in the Southern Peninsula. At various times, it was known as Sabaean, Qatabani, or Hadramite, among others. Although it was used for a variety of languages, OSA is most strongly associated with Sabaean. Many Peninsular languages borrowed OSA before introducing further changes of their own. Prime examples are the Thamudic, Safaitic, and Lihyanite scripts which eventually developed into independent scripts. The westward migration of the Sabaean people into the Horn of Africa introduced the South Arabian consonantal alphabet into the region. The transplanted script formed the roots of the Geez script of Ethiopia, which, in time and under presumably external influences, developed into a rich syllabary unlike any other Semitic script in history. Even a cursory examination of the letter forms of Modern Ethiopic writing reveal a striking similarity to South Arabian Script. OSA inscriptions typically reveal a dominant right-to-left directionality, although there are also many cases of alternating directions, known as boustrophedon writing. Figure 1 is a fine example of this style of writing. OSA inscriptions were discovered early in the 19th century. Soon thereafter, two orientalists, Gesenius and Rödiger, made great strides towards deciphering the script. Styles of Writing Old South Arabian inscriptions have survived primarily on stone, ceramic, and metallic surfaces. Hundreds of artifacts have been found and, to this day, continue to be discovered. Some of the best examples number of inscriptions on softer materials, such as wood and leather, have also been discovered. Although there is a significant difference between the styles of letters on the hard surfaces and those on the soft. Old South Arabian (Musnad) is composed of 29 letters , that is one letter more than the Arabic alphabet, which is between “S” and “Sh”, and names “Samekh”. Aspects of difference between Musnad and the present Arabic writing is that Musnad is written in separate letters, and the shape of the letters do not change according to its place in the word. However, some letters change according to the beginning of the writing. Musnad is either prominent, or deep. Prominent writings are for important writings and deep writings are for ordinary. The material on which the Musnad was written were stones, rocks, wood, and metal. In the course of its development the Musnad use appeared in the “Lehyanite’, “Thamudic”, “Safaitic”, pen to which many changes and amendments were made. And from it “Habashi’ writing was born. As regards his place among the Arabs of the Peninsula , when we look at the internet and its role in cultural dialogue , the Arabs of the Peninsula considered Musnad inscription which was indisputably their national writing until the dawn of Islam. It was used by people in all parts of Arabia in their homeland and abroad . It was their means of chronology and record of their glories and history.2- Features of Musnad Script: 1. It is written from right to left and vice versa. 2. Its letters are not joined. 3. Shape of letters are uniform despite their positions in the word. 4. Words are separated by vertical lines. 5. A letter is doubled in case of assertion. 6. No points and punctuations. 7. Easy to be learned by beginners. My OSA Musnad Font My design and technical work is only a treatment of the OSA Musnad as a symbol of writing. And it is possible to use in computer.. My design is not aimed at demonstrating the linguistic and intellectual structure of the Old South Arabian (Musnad). It is so simple that it could be easy to learn by learners and those who are interested in the OSA Musnad letters in computer. The basis of such importance is that it spares a lot of time and effort for researchers and students in this field. Formerly they used to write the Musnad texts either by handwriting or scan them , But now they can easily write its texts in OSA Musnad by using keyboard directly, so that they can change , amend and fulfill easily and accurately . So, we made use of speed, easiness and accuracy. And anyone interested in the South Arabian history in any part of the world can due to this design read and write OSA Musnad letters most easily. This design will also be used by historians and archeologists. , as well as specialist linguistics . The design also demonstrates the aesthetics of the Himyarit writing. About this font family Old South Arabian is An Arabic, Old South Arabian and Latin typeface for desktop applications ,for websites, and for digital ads. Old South Arabian font family contains two types: Old South Arabian and Old South Arabian serif. The font includes a design that supports Arabic, Old South Arabian and Latin languages. Old South Arabian typeface comes with many opentype features.

The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

Youthful Fontsmith received a brief to develop a font that would form part of the broadcast identity for the UK’s first digital Freeview channel – E4. It needed to work seamlessly in text and display, both in print and on-screen, and please the eye of the target audience, 18-34-year-olds. So, young, fresh and informal. No problem. Except for one thing: the timing. Daughter As he worked on FS Maja, Jason Smith was occupied by another imminent deadline: the birth of his third child. The pressure was mounting, but rather than let it get to him, Jason embraced the challenge and made light of the tension, fashioning a bright, bubbly, entertaining type with a personality made for memorable headlines. Beautifully random FS Maja’s soft, rounded shapes and assured, fluent lines encompass lots of notable features that contribute to its warm, fun-loving personality, including: a very large x-height; a short, rounded serif to allow for close spacing and give texture to body text; a slight convexity, or bulge, in the stroke terminals; a calligraphic fluidity in the entry to the down-stroke of most lowercase letters; open, generous curves, especially in the “B”, “P” and “R”; and a “w” made of two “u”s.

Rational TW is the typewriter addition to the Rational family. It is a monospaced font building on the same principles as its proportional, neogrotesque brother, such as maximum legibility and flexibility while combining Swiss and American gothic elements with a modern aesthetic. Due to the monospaced environment, some of its letter shapes like “r”, “m”,“f”, “i” and “w” have been slightly adapted but kept the same in appearance. Rational TW comes in two version: Rational TW Display and Rational TW Text. As indicated by its name, Rational TW Text is not limited to, but works best in small font sizes because it features distinctive letter shapes like a double storey “a” or “g” in order to help differentiate similar glyphs in small sizes. Rational TW Display, on the other hand, creates a geometric uniformity by implementing round shapes in “a” and “g”, giving it a subtle friendly and open character. Unlike many other monospaced fonts, Rational TW has a large amount of opentype features like small caps, alternative glyphs, case sensitive shapes, and many more making it the perfect choice for countless scenarios. With more than 700 glpyhs per font, it performs excellently in any project from print to digital.

Article to appear on the font family page: According to the Catholic faith, a well known náhuatl story called "Nican Mopohua" (translated as "Here it's narrate") about the Marianas apparitions on the Tepeyac's hill, to the north of the actual Mexico City. After four apparitions, La Virgen de Guadalupe (LVG) told Juan Diego (JD) that he must introduce himself to the first Bishop of Mexico. JD took in his "ayate" some roses (that aren't natives to Mexico's barren territories) and when he dropped them in front of the bishop, the image of LVG appeared in front of him with indigenous features. I’ve worked a lot in this font that appears to came out of nowhere, just like the image of LVG itself, the fact is that I started first sketching some flowers, because I wanted to do something related to this mexican story, so, taking some features from this flowers I started sketching some letters, for example “r” and “i” and the counter forms for some letters like “a” and “o” (that I didn’t use by the way) and the punctuation marks, all inspired by this leaf forms. Lighter weight coming soon! Hope you like it. Any comments: rodrigonabo@gmail.com

Sihmitree is a gimmick typeface in which all glyphs have reflective (mirror) or rotational symmetry (or both). Sihmitree has two weights and is caps only, with most of the lower-case letters identical to the upper-case letters. It includes only those accented characters that are symmetrical. The letters of the alphabet are often used to explain symmetry. BCDEK are given as examples of shapes that can easily be formed with symmetry over a horizontal line. AMQTUVWY can easily be formed so that they mirror over a vertical line. Letters HIOX can be formed so they mirror over both horizontal and vertical lines, and as a result they will also have rotational symmetry. Letters NSZ can be formed so that they reproduce themselves with a rotation of 180º. That leaves letters FGJLPR, which are usually considered examples of asymmetry. However, there are script versions of J, L, and R that can be formed with symmetry, and variants of lower-case f and g can be made that are symmetrical. P looks a lot like the thorn character. Some of the numbers also present challenges when trying to form them symmetrically. The symmetrical alphabet is not stylistically harmonious and has limited use other than as an exploration of symmetry.

Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

The design of Kristall Grotesk Now is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century as well as the digital version Kristall Grotesk MdK, created for the Stiftung Werkstattmuseum für Druckkunst. The implementation of the Kristall Grotesk MdK, a headline font, was deliberately created as a replica to create a faithful reproduction of the original. The design of the complete family Kristall Grotesk Now is based on the one cut Kristall Grotesk Buchschrift by Johannes Wagner GmbH, 1937, with its function as a text family. Designer: in parts Johannes Wagner GmbH, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Elsner+Flake Original Foundry: in parts Johannes Wagner GmbH

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

EUROPEAN SOFT PRO ABOUT FAMILY: What makes "European Soft Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Soft Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Soft Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Soft Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

EUROPEAN SANS PRO ABOUT FAMILY: What makes "European Sans Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Sans Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Sans Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Sans Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimeted fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

The design of Kristall Grotesk is based on a cut by Wagner & Schmidt, Leipzig, from the 30s of the last century. The basis for the digital version of the Stiftung Werkstattmuseum für Druckkunst , Leipzig was the standard font (28p) of the manual cuts as offered by the font foundry Johannes Wagner, Ingolstadt. The implementation was deliberately created as a replica to create a faithful reproduction as a starting point for the design of other design sizes. The present Kristall Grotesk is therefore a headline design. The appearance of the typeface can be varied by a number of alternative forms of capitals, which, according to the taste of the time, contain either pointed or flat formations. Designer: Hausschnitt Johannes Wagner, Leipzig, Redesign Elsner+Flake, Hamburg Designdate: 1937, 2009 Publisher: Elsner+Flake Design Owner: Stiftung Werkstattmuseum für Druckkunst , Leipzig Original Foundry: Wagner & Schmidt, Leipzig

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Minimal" because of the minimal decoration and simplistic design. The first "Alef" has a "hamzit wasel", this indicates that the name can be pronounced both as "AR-RAHMAAN" or "R-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). This calligraphy is not only minimal in its design but easy to read, very few letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

The original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

EUROPEAN SOFT PRO VARIABLE ABOUT FAMILY: What makes "European Soft Pro Variable" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Soft Pro Variable" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Soft Pro Variable" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Soft Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Prepare yourself for a wild retro ride with Hot Rush – 80s nostalgia is about hit you harder than a DeLorean at 88 miles per hour. This Sans & Script font duo were simply meant to be together; the unmistakeable clean & condensed sans is complimented perfectly by the long, fast, textured strokes of the script. It’s the ideal font pairing for retro-inspired high impact display text, merchandise design, logos, packaging & more. The Hot Rush font family consists of; Hot Rush Script • A fast, textured script font hand-made with a marker pen. Hot Rush Script contains uppercase-only characters, however a full alternate set of uppercase letters is available when you switch to lowercase. Supports a full set of numerals & punctuation. Hot Rush Sans • A condensed sans-serif font with a big impact, containing uppercase-only characters. Supports a full set of numerals & punctuation. Hot Rush Sans Striped • A second version of Hot Rush Sans, with vertical stripes running through each letter for added retro style. Italic Versions • For Hot Rush Sans & Hot Rush Sans Striped are also included as separate fonts. Extra Stuff; End Forms For Hot Rush Script are available for the letters A, C, E, F, G, H, K, L, R & T. These have elongated horizontal strokes and look great as the last letter of a word. Simply turn on ‘Stylistic Alternates’ with any Opentype capable software to access these characters. 4 Swashes For Hot Rush Script are available, these are great for underlining your text for extra style. Simply type any of the square brackets [ ] { } in the Hot Rush Script font to access the swashes. Language Support; All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian

I have a new baby sister! Check her out in her crib: Cinque Donne The Cantoni Font family is a hand lettered font with a variety of standard and alternate characters that play together well. And with a total of 1265 glyphs, you can play for as long as you like. Now Cantoni and Cantoni Pro also come in BOLD! Additional features include: Roman numerals, Fractions, Ordinals, Ornate and Old Style numbers, Greek symbols, a set of Flourishes, Ornaments and DIY Wedding Words and Images. It also includes Western and Central European, Romanian and Turkish language support. Named after my large Italian family, the unique variety of letters based on my own fluid upright style of brush lettering, reminds me of every family I know. There are creative and conservative siblings, crazy in a good way cousins, affable aunts and corny joke telling uncles who somehow come together and form one cohesive unit. In the same way, using the Open Type features to insert a “wild t”, begin a name with a “flashy f” or end a word with a “rambling r”, the font comes to life. The party starts. The fun begins. And soon they're all laughing and dancing up and down the baseline. Like a family gathering to celebrate a special occasion, there is a palpable sense of joy expressed through the letters and images, not unlike the sharing of good food, memorable stories and lots of laughter. While Cantoni Basic gets the party started, the Cantoni Font Family Total Design offers a complete package of options for your unique creations. On behalf of the whole Cantoni family, thanks for joining in the fun. I'll see you on the dance floor. Enjoy! Debi Check out my other script fonts Belluccia and Dom Loves Mary offered through the Correspondence Ink Foundry here at MyFonts!

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

EUROPEAN SANS PRO VARIABLE ABOUT FAMILY: What makes "European Sans Pro Variable" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Sans Pro Variable" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Sans Pro Variable" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Sans Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimeted fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Inspired by the Indonesian island’s laid back feel and easy going culture, Bali Script is a tribute to the hand-lettered signage on beach bars, surf shacks and cafes. The swell of the stroke endings and the bolder-than-your-average gooey look convey a cool, contemporary take on baseball scripts. Overlay Bali Script Highlight for a cartoonish, glossy finish. Perfect for logos. This font is jam-packed with OpenType features that make smooth flowing text a doddle. Contextual alternates and ligatures are best left on by default. The alternates especially work a subtle magic that helps letters connect with an even rhythm, and automatically substitutes letters with the best fit alternatives based on their context, such as at the end of words, or adjacent to certain other letters. There are four stylistic sets (or all grouped together in the stylistic alternates feature for those without easy access to them) which do the following: SS01 - changes the r to a script form SS02 - makes certain caps more ‘scripty’ SS03 - capital I (and accented versions of it) get serifs SS04 - underline function. typing two or more underscores extends on underline beneath the previous word. Also included for your pleasure - oldstyle figures, automatic fractions, superior and inferior numbers, ordinals, some discretionary ligatures, swash alternates and extended language support.

A modern sans serif – large x-height, lively forms The Lech Sans Pro is businesslike-modern but at the same time present the effect of liveliness and movement. The shapes of the individual characters follow the "humanistic" form language of modern faces. In this way, Lech Sans Pro offers an attractive alternative to most of the sans serif fonts used today. The proportions have been selected to be very legible even as a body type for longer texts. The font is so robust in detail that a title in large capitals is very eye-catching. It can function positively as well as negatively and is also still legible from a great distance. Lech Sans Pro supports West European languages including Scandinavian, Central and Eastern European languages, also including Turkish, Vietnamese as well as Greek and Cyrillic. Along with ligatures for the letter combinations fi, ff, fl, tt and tz the font also includes stylistic alternates for N, R, f, l as well as for the German sharp s and the figure 3. Additionally, Lech Sans Pro offers several sets of figures: proportional standard figures of equal height lining figures in height of the capitals proportional medieval figures with ascenders and descenders disproportional tabular figures of equal width superior and inferior scientific figures and numerators resp. denominators for fractions circled figures