Are you looking for a typeface that exudes style and class? Look no further than Rakesly, the zesty compact grotesque headliner that’s sure to add some piquant charm to your message. Rakesly boasts well-balanced, charismatic letterforms that draw inspiration from a variety of late nineteenth-century and early twentieth-century sans-serif metal typefaces. Its upright styles feature tasty, cherry-picked features, while its italics draw upon the unique industrial essence of the Art Deco era. This stunning typeface is available in six weights and italics, including the wispy and delicate Rakesly Ultra-Light. Plus, Rakesly includes OpenType fractions and numeric ordinals, mathematical symbols, and a wide variety of currency symbols. For those who love a bit of texture in their designs, Rakesly also offers four grainy, letterpress texture styles called Rakesly Iron, which are available in Regular, Italic, Bold, and Bold Italic. And if you want to add a little extra spice to your typography, Rakesly even includes OpenType contextual alternates that automatically shuffle three letter/numeral variations for a more convincing effect. And if you’re a typography pro who likes to get hands-on, the Iron styles contain private use (PUA) encoding that lets you manually access alternate characters via a glyph table or character table. So why settle for a boring historical revival when you can add Rakesly’s peppery blend of classical elements to your typographic spice rack? Try Rakesly today and experience the rare flavor that only this typeface can provide. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

JT Collect is a hybrid sans-serif typeface for the 21st century that takes a playful approach to the type design heritages of Germany and Switzerland. Confidently built on a geometric structure and infused with elements from traditional grotesque typefaces, it hits the sweet spot between geo and grot. I developed JT Collect purely digitally, drawing from years of experience with analog type design. The letters aren’t based on one particular source but seek to merge different type genres from the first half of the 20th century and lift them to a contemporary quality level. JT Collect is less reserved than strictly geometric designs and brings some industrial workmanship and honesty into the game. The six weights plus three optical sizes of JT Collect offer what you need to make an impact. While cool and elegant in the Light weight, the fonts show more presence on the page as they grow bolder. To this end, I drew the letterforms with a slightly unrefined, brawny air in the bolder weights. This sets them apart from the perceived purity of more geometric designs. The Book weight is ideal for short texts and medium-length copy, and the forceful Bold makes wordmarks look crisp and lets headlines radiate cosmopolitan self-confidence. JT Collect is suitable as a primary typeface for branding, advertising, packaging, stationery, posters, documents, and websites from trades and industries as diverse as food & fashion, media & makers, culture & creators, games & gems, sports & startups. Use JT Collect for film titles or watch faces, for leaflets or store signs, for business cards or billboards: this font family is as adaptable as a chameleon (and like a chameleon, it’s never boring). Try it in different contexts. You won’t be disappointed. Its adaptability also makes JT Collect a great starting point for poised and persuasive font combinations. Even a sans/sans pairing is possible due to hybrid nature of JT Collect—something that’d be hard to achieve with most other sans-serif typefaces on the market. You can add to it a heavy slab from the OGJ library, like Temper Wide. You might go for a geometric or a grotesque typeface as secondary (text) typeface. Or you could set your body copy in a classic serif typeface such as Caslon, Sabon, or Plantin. That’s right: JT Collect is a true team player. Whether you need a grotesque or a geometric sans: try JT Collect. You can get the best of both worlds.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

very traditional forms strongly slanted italic consistant proportions extraordinary ligatures swashes alternate letters alternate figures lower case l with a hooked “foot” Believe it or not, there are hardly any sans serif fonts in which the lower case letter l also has the hooked form of an l. Instead, we readers have to constantly distinguish whether we are seeing an uppercase I or a lower case l — just take a look at the word “Illinois”... The ingoFont Analogue was developed for exactly this reason. The intent: To create a pretty much »ordinary«, even classical font with its most striking characteristic being the inclusion of the “crooked l.” As a model, I used the »mother of all sans serifs«, Akzidenz Grotesk from Berthold, with its beginnings going back to the 19th century. Analogue is so to say a new interpretation of Akzidenz Grotesk from ingoFonts. All characters — following the model — have been newly designed. And if you want to emphasize the shape of the hooked foot even more, you can also activate the alternate styles for d, h, m, n (Style Set 1). Conversely, the alternate a somewhat softens the “hooked” impression (Style Set 2). The slanted versions — it isn’t truly a real cursive font — are noticeably stronger with 13° than the italics in comparable fonts, and were given a round e with a mind of its own which distinguishes itself considerably compared to the upright characters in the overall appearance of the font. More modern and formal solutions in detail were chosen for some of the characters, for example the M was given lightly slanted sides; the a reflects the curves of the s; the “feet” of a, l and t match; the flared legs of K and R became a “foot”, too. General proportions were carried over almost completely with no changes from Akzidenz Grotesk as well as the slanted trimming on the open forms of a, c, e, s; in comparison, C, G and S were given straight endings. Analogue contains many ligatures, even discretional ligatures, plus proportional, old style as well as tabular figures. All in all, at first sight Analogue brings back memories of the charm of its well-known predecessor; and yet, many small differences give Analogue an unmistakable certain something...

Turnkey is a modern grotesque typeface, it could be described as a neo-grotesque with hints of geometric shapes. A workhorse typeface designed to be versatile for both small and large sizes, ink traps have been used as a design feature above 26pt and a technical feature when printing small body text. The combination of 36 weights and styles allows you the freedom to create. Each weight includes extended support for over 90 languages (Including Cyrillic), fractions, tabular figures, arrows, ligatures, alternate glyphs, and more. Demo licenses are available from colttypeco.com In addition to a standard style set, the Turnkey family also has an italic set plus soft versions of both. Turnkey Soft is a slightly rounded version of the standard and italic, which looks more friendly, warm, and soft. It's corporate but with a personality. Current instances are: Turnkey Standard - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic. Turnkey Soft - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic When used as body type, Turnkey pairs well with: Take Note, Stroom and Markout. Turnkey is perfect for; headings, titles, body copy, logos, magazines, editorial design, corporate branding, brand identity, websites, blogs, apps, games, ebooks, publications, and signage. Turnkey can be found in the Typodarium 2024 OpenType features: Access All Alternates, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Proportional Figures, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Tabular Figures. Support for 95 languages: Belarusian, Russian, Ukrainian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

This font is the younger sister of HexBraille with which it may be combined to create new patterns. This also explains why their introductory text are similar. Introduction The purpose of this monospace font is to display braille in an original and "steganographic" way. The Kernig prefix means "Robust" in German, this is because of the crank shapes . The core of the glyph design is a flat hexagon which can be read as 3 rows of 2 dots (i.e. regular braille glyph grid). Even if within a glyph, braille dots ("square dots" indeed) are placed on the vertices of a flat hexagon, the difference with HexBraille is that edges connecting vertices are not straight lines but "crank shapes" instead. This can be summarized by saying that the whole glyph is a Hexcrank (a flat hexagon where vertice pairs are connected by a crank shape) NB: The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 6. A. "Kernig Lattice" In KernigBraille, glyphs are connected to each other, thus for each Hexcrank glyph there are 6 connections: 2 on left/right and 4 on top/bottom. In the final design some cranks were removed for esthetical reason (i.e. leave empty space for allowing patterns diversity). In summary, a text using this font won't display a honeycomb but a lattice instead. NB: Please notice that in order to obtain the lattice without vertical gaps, you must set the interline to 0. The lattice is made from 3 kind of shapes: a.1. Hexcrank a.2. Square a.3. Irregular cross (mostly unclosed) The design favored squares over crosses. The whole slightly resembling a PCB. B. Text Frames It's possible to frame the text with 4 sets of frame glyphs (as illustrated by poster 2) b.1. Kernig { € ° £ µ § ¥ ~ ¢ } b.2. Rectangular-High { è é ê ï î à â ä } b.3. Rectangular-Low { Â ù Ä Ê Ë Ô õ ö } b.4. Mixed Kernig+High: a mix of Kernig and Rectangular-High frame glyphs When using frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes in this font (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

Looking for a minimalist and luxurious serif font for logos, web design, clothing promotions, brochures, and more? Garelina is the answer. This font has thin and smooth lines that make it look elegant and luxurious. Garelina is perfect for branding and promotion purposes. With its delicate typography, this font can add aesthetic value to your design. Garelina also has several letter variants making it easy to use for various design types. With Garelina, you can create minimalist designs that still look luxurious and elegant. This font is perfect for companies that want to display a professional and stylish image. Do not hesitate to try Garelina on your design now. You will be surprised how easy it is to make elegant and luxurious designs with this serif font. Garelina, the elegant and luxurious serif font for your branding needs. What's Included : - Garelina OTF - More than 250 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations,Ligatures and Stylistic) - Multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Runway is the font that will satisfy the need for speed in your design. Simple lines and curves, a commanding slant, and big sturdy shapes made to cruise at any speed or altitude, through summer breeze or horrible snowstorms. Runway was designed to be tight like an engine chain, powerful like the hum of the engine itself, and simply the best choice when it comes to strength and velocity in design. Initially Runway was meant to be a single font. But during the spacing and kerning stages, Patrick noticed that most of the letters, especially the vowels and the s, can clasp stylishly with the L or the T to make some really funky combinations. That's how the Alternates font was born. After building a few alternates and about 40 "clasped" combinations around the L and the T, the decision was made to take Runway to the next level: OpenType. The OpenType version of Runway is a single font that contains some serious font magic. Some of the many features the font includes: Over 430 characters for that great character map utility you have, automatic to-and-fro small-capping, discretionary ligatures that call up some pretty funky combinations automatically as you type, and a lot of stylistic and contextual alternates for many characters, ligatures and composites. If your design program of choice supports the features of OpenType fonts (Illustrator CS, Photoshop CS, InDesign CS), then you're in for a lot of enjoyment playing with Runway. For those who don't fancy OpenType or can't handle it, Runway is also available (in Regular, Caps and Alt styles) in the usual font formats for both Mac and PC.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

Keep Calm is a family of fonts developed from the now famous World War 2 poster that was designed in 1939 but never issued, then rediscovered in 2000. As well as the original Keep Calm font, the medium weight of the poster, new weights are now available – Keep Calm Book (regular weight), Heavy and Light – and each weight comes with a complimentary italic. Version 2.0 (2017) is a comprehensive update which consists of numerous refinements and improvements across all weights. The family now contains a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants. The four italics have been optically corrected with revised, ‘true italic’ forms of a and f. The crown motif from the top of the Keep Calm poster is located at the plus minus ± and section § keystrokes (Alt 0177 and Alt 0167 on Windows). The lowercase g follows the Gill/Johnston eyeglass model, but also included is an alternative, single-story g at the Alt G keystroke (Alt 0169 on a Windows keyboard), the normal location of the copyright symbol which has been relocated elsewhere in the fonts. An alternative lowercase t, without the curved wedge cutaway, is provided at the Alt T (dagger) keystroke (Alt 0134 on Windows). When I first saw the Keep Calm and Carry On poster, I wrongly assumed the letters to be Gill Sans. Recent research at the National Archive by Dr. Bex Lewis of Manchester Metropolitan University has revealed that the original poster was hand drawn by the illustrator and painter, Ernest Wallcousins. The Gill Sans influence is apparent, in the R particularly, the M’s perfectly pointed vertex is redolent of Johnston’s Underground, and the most anomalous character, the C, resembles the ‘basic lettering’ of engineers that provided the vernacular sources for the Gotham typeface. Developing the Keep Calm typeface has been an exercise in extrapolation; an intriguing challenge to build a whole, high quality font family based on the twelve available capitals of the Keep Calm poster, and on similar lettering from the other two posters in the original series. This has required the creation of new lowercase letters that are believably 1939; that maintain the influence of Gill and Johnston while also hinting at the functional imperative of a wartime drawing office. Wallcousins’s lettering balanced intuitive human qualities and the pure pleasure of drawing elegant contemporary characters, against an underlying geometry of ruled lines, perfect circles, 45° terminals, and a requirement for no-nonsense clarity.

A FEW THOUGHTS Indie is a trendy script, result of the wide range of possibilities that can be achieved using a pointed brush. (1) “You Only Live Once” say The Strokes, (to me, symbols of indie music) so, what would represent that sensation of volatility better than a brush? As you may already know, this time inspiration came from hipsters and indies around us: We may sometimes criticise them, we may sometimes want to be like them, but the truth is that the universo gráfico they generated these past years is gigantic, full of colour and variations. (2) Brush lettering and Sign painting are fields I've been fond of since I started as a designer. Nowadays, these styles are getting a lot of attention and maybe it’s due to the undeniable mark of life that is materialised when using a brush. This tool is so expressive that shows the passions and fears of the artist, and materialises that idea of “living the present”, so popular in this era. When you see Indie, you think of skaters, rollers, surfers, hiphop dancers, street artists, summer, and why not? California beaches. So if you feel life is only one, it’s high time you got Indie into your fonts' collection! STYLES Indie comes in 4 styles plus another one which consists only in capitals. Indie; Indie Shade; Indie Shade Solo; Indie Inline are all open-type programmed and have exactly the same glyphs and metrics, so you can combine them without probem. (I.E. You may use Indie Inline, then write the same word using Indie Shade Solo, and finally put them together). In applications such as Adobe Illustrator, the font has nice results when fi ligatures is activated. However, if you want a more casual look, activate the contextual and the decorative ligatures. NOTES 1. After several years of practicing calligraphy I can say that to me, there’s nothing more satisfying than being able to create fonts out of your own handlettering. I owe a lot of this brush-style to Carl Rohrs. He was the very first calligrapher who taught it to me. His style is unique and what he can do with a brush is truly marvelous. I'm serious. 2. In spite of some particular cases, I can say I'm happy to live in a present in which Typography is living a kind of Renaissance along with Lettering. Like it happened with W. Morris a hundred years ago, handcrafts are being revalued/reborn, and some of this may be happening thanks to these indie designers that, trying to be unique, gave new/fresh air to different areas of graphic design.

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!