Enocenta is fully featured script face. Like a wild, untamed beauty in the moonlight, Enocentaís flowing calligraphy dances across the page. This contemporary typeface is not slavishly devoted to convention, and instead it defies it repeatedly. The face has bit more character than most high contrast script faces and attracts your readers eye. This spicy and flavorful collaboration between Jeremy Dooley and Cecilia Marina Pezoa. Enocenta is a five weight script typeface that offers a variety of options for you to design beautiful things. Enocenta is friendly and warm, and it's hairline weight is simple and clean while its bold is strong and draws attention. Its contemporary appearance is right home on the web or wherever your canvas may be, whether that is packaging, magazines and invitations. It's also a fantastic choice for branding and can be quickly converted into a distinctive logo when applying its options to customize the look and feel so the brand is unique. Enocenta is packed with alternates, swashes, ligatures, and also other techy perks. To discover its complete feature set, please use it with software that supports OpenType options for sophisticated typography. There are a number of purchase options for the face. The Pro fonts are loaded with the full set of alternates, ligatures and ornaments. The Standard types are contain no decorative alternates but are an affordable starting point for designers that don't need the full features.

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."

Condemned is a light destructive sans typeface created from an old damaged ATF Specimen Book from 1912, and looks reminiscent of poorly transferred rub off type. It contains a complete alternate core character set for a subtly randomized look. Here's what's included with Condemned: 684 glyphs - including Capitals, Lowercase , Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 5th graphic for a preview of the characters included) Contextual Alternates that auto-switches between Capitals & Alternate Capitals, Lowercase and Alternate Lowercase, as well as Numerals and Alternate Numerals for visual randomness. To access the Contextual Alternates feature, you will need to be using software with Opentype compatibility otherwise you can access the alternate glyphs via a Glyphs panel. Stylistic Alternates feature that swaps all standard Capitals, Lowercase, and Numerals with their Alternates Alternate Capitals and Lowercase are complete with all international accented characters Font is provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Condemned is for you: You're into legible but distressed typestyle that imitates a random distress to it You love condensed gothics, and want to pair them with a distressed condensed gothic You're a fan of old Letraset/Transfertype rub off lettering You're recreating weathered military ephemera and want a typeface with some tooth to it You just like to collect quality fonts to add to your design arsenal

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

The lifetime of Lorenzo de Medici (1449-1492) coincides with the rise of metal type as it displaced broad pen calligraphy for the production of books. This revolution marked the end of formal Western calligraphy, as the industry employed metalworkers who designed type according to geometric measurement while calligraphers were forced to become secretaries who practiced handwriting systems. Renaissance Florence should have witnessed the marriage of calligraphy and typography, just as all the other arts and sciences flourished as classical learning was applied to technical advances; but the metalworkers and geometricians measured, dissected and recast the calligraphic letters by crude indirect methods, and in the end took all the life out of them. Here they languished until digital type has made it possible to render the precise motion of the broad pen stroke into type. Lorenzo is a confluence of many strains from the Middle Ages, brought together within the classical harmony of the capitals. It attempts to bypass metal type, using calligraphic means to achieve the precision of type while retaining the life of the stroke: a classical font that would be familiar to Lorenzo himself as well as to the modern eye. The Lorenzo family comes in four weights, ranging from light to bold. Two sets of italics, one with swashed caps and ascenders, complement each weight. The family boasts extensive language support and an offering of over fifty calligraphic ornaments/flourishes included within the character set.

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. The full family features 99 fonts spread across 9 weights and 6 widths. PG Grotesque is also available as a single variable font so that you can 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. Test drive PG Grotesque today – both the Regular and Italic fonts are offered as a free download. See full details and hi-res images at https://paulogoode.com/pg-grotesque Key features: 9 Weights 6 Widths 99 Fonts Small Caps Old Style Figures European Language Support (Latin) 550+ Glyphs per font

Addition to the collection of TypeType display fonts! TT Espina useful links: Specimen | Graphic presentation | Customization options TT Espina is a display antiqua with expressive serifs. Inspired by the historical shape of the letter O, which took on a diamond shape due to print quality, the designers created a modern typeface with high contrast between horizontals and verticals. TT Espina is yet another proof that antiquas can be stylish and expressive display fonts suitable for modern projects. TT Espina will look harmoniously in headlines of posters or billboards, in gallery and exhibitions design, in large-format printed materials or on websites. The font is easily distinguishable among other antiquas by its high contrast, expressive and large serifs, closed aperture and diamond-shaped circles. TT Espina’s characters are quite narrow, which adds to the materials designed using the font a special aesthetic. It makes you to look closely into each letter, so the headlines set in TT Espina will definitely be read. A full set of different icons is a nice addition for designers who will work with a new typeface. TT Espina consists of 7 typefaces: 6 romans and 1 variable. Each typeface has 648 glyphs. The font family has 21 OpenType features, including changing the shape of some characters (Q, g, j), the possibility to replace characters with high-set diacritics with characters with low-set diacritics, which is convenient for poster design.

Introducing Patihan Variable, a variant that makes it easy for you to access fonts with sharp, strong, bold characters. Patihan Variable is a combination of three different styles – Sans, Slab, and Serif – which are united into 2 Axes weight axes and serif axes, where weight axes have instances: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold , Extrabold, and Black. This font has beautiful Ligature and Stylistic Alternate settings, Patihan font is also equipped with the Smallcaps feature which gives more control over typography, allowing you to create elegant and unique typography. The sans version of this typeface is versatile and easy to read, with a minimalist but impactful aesthetic. The Slab version is characterized by its solid and powerful strokes, while the Serif style has that extra classic flair with elegant curves and a stark contrast to the look. Patihan Variable is optimized to make it easier to access each variation, all you have to do is slide the slide in the software, and then you can access the style you want. Without sacrificing easy readability, this makes it a great choice for headlines, titles, and any long-form content. Ligature settings and discretionary styling add an extra layer of sophistication, making this font a great choice for magazines, branding and advertising. Overall, this font is a great choice for those looking to make a lasting impression. Its versatility, readability and unique features make it an excellent choice for any project.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Introducing Andhibath Bold Script Font, a captivating script typeface that exudes elegance and versatility. With its bold strokes and graceful curves, this font is perfect for adding a touch of sophistication to your design projects. Whether you're creating invitations, branding materials, packaging, or any other creative work, Andhibath will elevate your designs with its unique charm. The Andhibath font features both uppercase and lowercase letters, allowing you to mix and match different letterforms for a customized look. It also includes numbers and punctuation, ensuring that your compositions are comprehensive and well-rounded. With multilingual support, you can effortlessly incorporate various languages into your designs, making it suitable for projects with a global reach. One of the standout features of Andhibath is its PUA encoding. This means that accessing the font's special ligatures and glyphs is a breeze, giving you even more creative possibilities. The ligatures add a natural and handcrafted feel to your text, enhancing its visual appeal. With its script style, Andhibath captures the essence of handwritten elegance. It is ideal for a wide range of design applications, from wedding stationery and logos to social media graphics and advertising materials. The versatility of this font allows you to adapt it to different themes and moods, whether you're aiming for a classic, modern, or whimsical look. Experience the beauty and versatility of Andhibath Bold Script Font. Let its graceful curves and bold presence make a lasting impression in your designs.

Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. The strong Didonesque contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Inspired by the elegant, self conscious and over-the-top aesthetics of Italian fashion scene of the eighties and nineties, Noctis finds its strength in its strong textural nature, that is explored in the Noctis Texturae subfamily, where each letter is used as a tile to produce seamless patterns that can be used to extend the branding capabilities of Noctis. Noctis features an extended latin character set of 481 glyphs covering over 190 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Noctis is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best Italian luxury fashion.

Introducing Werd - a modern stylish serif font inspired by elegant and luxury typography. With its unique and beautiful design, Werd is perfect for adding a professional touch to your designs. This versatile font can be used in various design projects, such as headings, flyers, greeting cards, product packaging, book covers, printed quotes, logotypes, apparel designs, album covers, and more. Werd features alternative characters that are divided into several OpenType features, including swashes, stylistic sets, stylistic alternates, contextual alternates, and ligatures. These OpenType features can be accessed using software programs that support OpenType, such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. This allows you to customize your typography and create unique compositions that suit your design needs. In your zip package, you'll receive the Werd font files in otf, ttf, and woff formats, providing flexibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the essential elements for your designs. Werd also supports multilanguage characters, making it suitable for designing in different languages. Whether you're creating designs in English, Spanish, French, or any other language, Werd has got you covered. In summary, Werd is a modern stylish serif font that offers elegant and luxury typography for various design purposes. With its OpenType features and multilanguage support, Werd provides versatility and customization options for your designs. Thank you for choosing Werd from our collection. Happy designing!

Experience the enchanting allure of Amantea Script, a stunning and delicate font that embodies elegance and grace in every stroke. With its thin and flowing style, this script font captures the essence of sophistication, making it the perfect choice for a wide range of design projects. Amantea Script is a true gem for those seeking to create captivating wedding invitations that leave a lasting impression. Its intricate and graceful curves evoke a sense of romance and beauty, adding a touch of magic to any special occasion. The versatility of this font extends beyond weddings, as it effortlessly enhances stationary art, creating stunning pieces that exude refinement and style. In the realm of digital design, Amantea Script shines on social media platforms, effortlessly captivating audiences with its captivating charm. Whether it's engaging posts, inspiring quotes, or eye-catching advertisements, this font adds an element of sophistication and allure that commands attention. With its extensive language support, Amantea Script opens up a world of possibilities. From English to Spanish, French to German, and beyond, you can seamlessly incorporate this font into your projects, ensuring that your message reaches a global audience. Amantea Script comes complete with a wide range of features, including alternate characters and ligatures, allowing you to create unique and personalized designs. The font is PUA encoded, providing easy access to a plethora of stunning glyphs that add depth and flair to your creations.

Doubleganger is a modern sans serif with contrast. The font is represented by condensed lowercace and extended uppercase. To get an elegant and contemporary design, combine them together. Doubleganger is suitable for retro and modern typographic posters and prints, feminine branding, design of books and fashion magazines. The font includes stylistic alternates for symbols: c, g, j, k, o, q, r, u, &, K, O, Q, R, W, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9. There are also ligatures: sc, hg, sh, gh, ge, je, st, sp, sr, se, sa, ja, ph, qu, oo, ss, pp, ST, SS, QU, HA, SA, GA.

Blossomy is a pictographic font consisting of 72 plant and flower illustrations, designed by kapitza. The font explores the beauty of shapes and structures in nature. The illustrations are based on photographs which have been traced by hand and are the result of a long term interest in the organic and erratic lines of naturally growing plants. The idea for Blossomy originated several years ago via a series of paintings exploring forms and structures in nature. The outlines for those paintings were traced in Illustrator and then transferred onto canvas. The outcome was so simple and beautiful that the designers decided to keep working on new illustrations and combine them in a font. Blossomy can be used as individual illustrations or to create patterns. The font covers a wide variety of flora and fauna, including pot flowers, a bonsai trees, leaves, blooms and grasses, and gives creatives a wide variety of shapes to get inspired by and use in their work.

Beauty can change the perspective of the target audiences. Choose the right typeface to represent the beauty of your brand. Introducing Maira is a beautiful and versatile script font, with a careful touch of every single curve. Maira font has a beautiful and neat form so it can be easily read. Maira has a ton of alternate characters and bonus swash, making this font perfect for your branding project. It is suitable for use as a logo, Title, business cards, T-shirts, posters, printed quotes, wedding invitations, or any advertising purposes. Maira includes: numbers and punctuation multilingual ligatures alternates swash opentype features We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so you can see and access all Glyph variations. We hope you enjoy our font - please do let us know by emailing us at info@prestigetype.com or prestigetypestudio@gmail.com if you need something!

Hoyle is a dynamic high-quality serif typeface. Drawn and created by Måns Grebäck between 2019 and 2020, this classic design makes use of the fact that timelessness is the best manner to achieve modernity; the letters are of such composition that they will always be simultaneously contemporary and traditional. Hoyle is a family containing five weights: Thin, Light, Medium, Bold and Black. Each weight is also provided as Italic, resulting in 10 unique styles. The weights are harmonic and created to balance perfectly agaist each other. Try the included Variable Font! A format where you can set any weight manually, and any slant, resulting in more than 5000 variations. More info: https://www.mansgreback.com/variable-fonts This slab serif typeface is also filled with OpenType features such as ligatures, alternates, oldstyle, superscript, subscript, fractional and alternate numbers. It has a very extensive lingual support, covering European Latin, Vietnamese, Zulu and many more scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

FranklinGothicHandCond is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past, Gert Wiescher.

The Rostrum fonts are a revival and expansion of a type called Oleander, designed in 1938 by Julius Kirn for the Genzsch & Heyse foundry in Hamburg. Many of the original uppercase letters had some blackletter remnants tacked onto them, so in this digital version they were relegated to the Rostrum Two font, while more contemporary forms were designed for the Rostrum One font. Characters from both fonts are interchangeable via software programs' font menus and glyph palettes in the Postscript and True Type versions, while the OpenType version takes advantage of the Ligatures, Contextual Alternates and Stylistic Alternates features to perform character substitutions. Rostrum finds the middle ground between italic and brush script, which makes it quite usable in all-caps settings. Its majuscules have a very distinct curl that makes the typeface effect-ready and very appealing in packaging design. Plenty of alternates and ligatures are sprinkled throughout the character set.

The retail storage box for a vintage metal numbering stamp manufactured by the American Numbering Machine Company had its brand name hand lettered in an Art Nouveau style that most likely went back to the 1920s, as the company was in existence from 1908 to around 1971. Numbering machines were used in offices, schools, libraries, and anywhere a series of numbers needed to be marked onto printed items. Similar to what was called a ‘crash numberer’ used in letterpress shops, the machines could be set to do a run of digits [for example: 4000, 4001, 4002] or repeat numbers for forms used as carbon copies. As computers took over most forms of printing, the use of numbering machines dwindled, but they are still available. The American Numbering Machine Company was one of several Brooklyn, New York companies that specialized in the manufacture of these machines. Retail Packaging JNL replicates the lettering from their packaging, and is available in both regular and oblique versions.

Lydia (Lydian: ‎𐤮𐤱𐤠𐤭𐤣𐤠, Śfarda; Aramaic: Lydia; Greek: Λυδία, Lȳdíā; Turkish: Lidya) was an Iron Age kingdom of western Asia Minor located generally east of ancient Ionia in the modern western Turkish provinces of Uşak, Manisa and inland Izmir. The ethnic group inhabiting this kingdom are known as the Lydians, and their language, known as Lydian, was a member of the Anatolian branch of the Indo-European language family. The capital of Lydia was Sardis. The Kingdom of Lydia existed from about 1200 BC to 546 BC. At its greatest extent, during the 7th century BC, it covered all of western Anatolia. In 546 BC, it became a province of the Achaemenid Persian Empire, known as the satrapy of Lydia or Sparda in Old Persian. In 133 BC, it became part of the Roman province of Asia. Lydian coins, made of silver, are among the oldest coins in existence, dated to around the 7th century BC.

There are script typefaces that embody sensuality, and our Kapture typeface is now amongst that collection. From its thin weighting to its effortlessly flowing strokes, and a visual rhythm between quick and slow movements, Kapture truly captures a romance in letterforms. Stylistic Alternates offer a change-up set of Capitals, while the Contextual Alternates feature plays with intro and final lowercase letterforms to visually mix things up a bit. Elegant, fashionable, sophisticated, sensual, and celebratory all at once. Kapture is a typestyle that finds itself at home in any design where a refined yet modern script is required. Kapture is loaded with features to give you plenty of customization options: - Stylistic Alternates for a collection of alternate Capitals - Contextual Alternates for alternate starting and ending lowercase letters - 110 Ligatures to make typesetting more dynamic - Ornaments to place before and after words or phrases for even more flair - A Full set of Inferiors and Superiors for Limitless Fractions - Proportional and Oldstyle numeral sets

Many decades back, churches, schools and other buildings with a need to display an outdoor message often chose a sign making system utilizing characters silk screened onto metal pieces in a block chamfer style. Each piece had a crimp in the top of the metal which formed a hook to fit over the existing rails of a message panel. This allowed for a finished sign to be displayed within minutes, and a quick change of information was not very time-consuming. A popular version of these signs provided white letters and numbers on black backgrounds. This was the model for Announcement Board JNL, which is available in both regular and oblique versions. There are two different width blank panels on the broken and solid bars for those who wish to kern the letters tight to form a ribbon, however they were designed to have slight spacing in order to emulate the hand assembly of those vintage sign panels.

Robecha Daniera is a luxurious and elegant Serif font. This font is impressive and features a clean and elegant font, professionally shaped, and as a result, it will easily match a variety of creations that require a different touch. Add it with confidence to your projects, and you'll love the results. This typeface is perfect for elegant logos, branding, travel promotions, layout magazines, beauty products, product packaging, quotes, or simply as a stylish text overlay onto any background image. Robecha Daniera Features: - Uppercase - Lowercase - Numbers & Punctuation - Alternate - Ligature - Multilingual Support - Simple installation All features and special characters of this font are included in one file. So that it is easily accessible by using a program or software that supports opentype such as Adobe Illustrator, Adobe Photoshop, and Adobe Indesign). This font is also very easy to use as it is compatible for all supported software even for non-opentype. Please comment us if you have any questions Thank you and have a nice day. Thank You

Fairwater’s aesthetic derives from the cursive handwriting styles popularized in the early to mid-1900s, the simplified, forgiving letterforms of tattoo lettering – and the pictorial themes that informed early-to-mid 20th-century naval tattoos. The Fairwater family includes a script and sans face in three weights, four decorative serif faces and an ornamental font: DIY Lines. As with many of my fonts, I couldn’t resist adding a plethora of 465 swashes and alternates to the script version, that include ending forms on all letters, 34 beginning and isolated letters, an unconnected version and contextual alternates. Fairwater also includes a powerful decorative font entitled DIY Lines: 250 ornamental characters of ships, anchors, oars, knots, rope, botanicals, diamonds, arrows and more. With strokes and proportions that perfectly complement the type. See what’s included! http://bit.ly/2cJMUoe These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

FranklinGothicHandBold is another part of a series of hand-drawn fonts from way back in time – before computers changed the way we worked in advertising. When I was in advertising – before computers – a very time consuming part of my daily work was sketching headlines. I used to be able to sketch headlines in Franklin Gothic, Times, Futura, Helvetica and several scripts. We had a kind of huge inverted camera – which we called Lucy. We projected the alphabet onto a sheet of transparent paper, outlined the letters with a fineliner and then filled them in. It was very tedious work, but the resulting headline had its own charm and we had a permanent race going on who was best and fastest. I won most of the time! They used to call me the fastest "Magic Marker" this side of the Atlantic. Great days, just like today! Your sentimental type designer from the past Gert Wiescher

Linotype Projekt was created by German type designer Andreas Koch with both a well-defined inspiration and goal. It occurred to me that typefaces like Helvetica and Univers seemed to have a higher quality in hot-metal composition as with modern digital typesetting. They are stronger and livelier. This is in part due to the printing process, which presses the characters onto paper, and in part to the forms of the letters, which differ from the PostScript version of the same typeface. An important aspect of printing is the slight increase in character width resulting from the pressure which also serves as an optical correction to the forms. (True exact squares appear slightly barrel-formed to the eye.) I wanted to revive this peculiarity, not because of a nostalgic feeling, rather just because it is more attractive." The result is Linotype Projekt, a text font which is harmonious, clear and extremely legible. Koch lives in Bielefeld, Germany, and is a freelance book and type designer."

Charcuterie is a collection of ten distinct yet related typefaces, and three ornamental typefaces. Used individually or blended with other fonts from this large family, elements of Charcuterie are well suited for headlines, titling, logos, display, packaging, signage, or advertising. The entire collection lends itself to experimentation, acting as a complete and complex toolbox, enabling you to work in extraordinarily varied ways. Each Charcuterie typeface has different, yet complementary features. Engraved features 135 swash alternates and Cursive boasts 275. Frames offers a broad and endless approach to creating frames of any proportion and style. Catchwords features nine different styles for a total of 82 glyphs. 100 Ornaments include a vast array of arrows, brackets, rules, icons, ribbons and more. See what’s included! http://bit.ly/2c5OzoK *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

The font Speech Bubbles offers a convenient way to integrate text and image. While the font can be used to design comics, it also gives the typographer a tool to make text speak – to give words conversational dynamics and to emphasize visually the sound of the message. The font includes a total of seventy outlines and seventy bubble backgrounds selected from a survey of historic forms. What follows is a discussion of my process researching and developing the font, as well as a few user suggestions. My work on the Speech Bubbles font began with historic research. My first resource was a close friend who is a successful German comic artist. I had previously worked with him to transform his lettering art into an OpenType font. This allowed his publishing house to easily translate cartoons from German to other languages without the need to use another font, like Helvetica rounded. My friend showed me the most exciting, outstanding and graphically appealing speech bubbles from his library. I looked at early strips from Schulz (Peanuts), Bill Waterson (Calvin & Hobes), Hergé (TinTin), Franquin, as well as Walt Disney. The most inspiring was the early Krazy Kat and Ignatz (around 1915) from George Herriman. I also studied 1980’s classics Dave Gibbon’s Watchmen, Frank Miller’s Ronin and Alan Moore and David Lloyd’s V for Vandetta. Contemporary work was also a part of my research—like Liniers from Macanudo and work of Ralf König. With this overview in mind I began to work from scratch. I tried to distill the typical essence of each author’s or era’s speech bubbles style into my font. In the end I limited my work down to the seventy strongest images. An important aspect of the design process was examining each artist’s speech bubble outlines. In some cases they are carefully inked, as in most of the 80’s work. In others, such as with Herriman, they are fast drawn with a rough impetus. The form can be dynamic and round (Schultz) with a variable stroke width, or straight inked with no form contrast (Hergé). Since most outlines also carry the character of the tool that they are made with, I chose to separate the outline from the speech bubble fill-in or background. 
This technical decision offers interesting creative possibilities. For example, the font user can apply a slight offset from fill-in to outline, as it is typical to early comic strips, in which there are often print misalignments. Also, rather than work in the classic white background with black outline, one can work with colors. Many tonal outcomes are possible by contrasting the fill-in and outline color. The Speech Bubbles font offers a dynamic and quick way to flavor information while conveying a message. How is something said? Loudly? With a tint of shyness? Does a rather small message take up a lot of space? The font’s extensive survey of historic comic designs in an assembly that is useful for both pure comic purposes or more complex typographic projects. Use Speech Bubbles to give your message the right impact in your poster, ad or composition.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

The Thief Bird is an informal grotesque font. Although informal and grotesque may seem to be two quite different ideas, we have to dig into the origin of this typeface in order to understand the matter. The concept behind The Thief Bird was inspired by the adaptation that the vintage sign painters made when they took the grotesque style characters they saw in newspapers and magazines and reproduced them using a brush, aiming to make the prices of the products displayed on wooden boards stand out, as opposed to highlighting large headlines (such as the idea behind fonts like Franklin Gothic). The Thief Bird takes the language from sign painters and turns it into a font --this time around not aiming to set prices but to bring children stories to life. Thus, some legibility features from grotesque fonts were mixed with the brush calligraphy to add grace and zest to a font intended for children. The Thief Bird is a playful display font, with cheerful ligatures and alternate characters. It is really attractive for setting short paragraphs that tell stories for little people. The Thief Bird has one single weight and it’s ideal to be used in storybooks, candy packaging, films, toys, logos, labels, etc. The font has an extended set of 643 characters supporting 219 Latin languages. It has a complete set of small caps, sensitive cases, more than 30 pairs of ligatures, alternate characters and much more. This cool, informal and laid back typeface will be the perfect match for illustrations of fairy tales, comics for children and any product or publishing for the little ones. The Thief Bird supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

The slick and sexy letterforms of Ace ACTION COMICS artist, Pascual Ferry, are the latest to join our MASTERS OF COMIC BOOK ART font line. Pascual's work on the SUPERGIRLS storyline in ACTION made us want to lick each page -- but, y'know, not when anyone was looking... we know they're just comic book characters, they're not REAL and we don't fancy them or anything -- Uhhh... so we were delighted when Pascual invited us to create this stylin' sans souciant family of fonts for him. All we asked for in return was this smokin' alternate cover for the next issue of HIP FLASK... Hey, don't lick your monitor, you might get an electric shock...

Torjus is so rigid and stiff typeface. While designing a more dry and stiff handwriting typeface, I tried to remove the Bezier curves. Rhythms were also created by dramatically simplifying the paths used in the Glyphs and emphasizing individual contrasts. 60 predefined Ligatures to bring your passion and inspire you to wonder. Ligatures : Ba, Be, Bo, Ca, Ce, Co, Da, De, Do, Ea, Fa, Fe, Fo, Ga, Ge, Go, Ha, He, Ho, Ja, Je, Jo, Ka, Ke, Ko, La, Le, Lo, Ma, Me, Mo, Na, Ne, No, Oa, Pa, Pe, Po, Ra, Re, Ro, Sa, Se, So, Ta, Te, To, Va, Ve, Vo, Wa, We, Wo, Ye, Yo, ee, ff, ll, oo, rr.