Kadigan: (noun) A placeholder word. A kadigan can be used to substitute for any other noun: persons (John Doe, Acme Company), places (Anytown, 123 Main Street) or things (whatchamacallit, thingamajig). Just like kadigans can be used in nearly any situation, the members of the Kadigan font family can be used in nearly any design! These sans-serif beauties are clear and easy to use, but they also have a little bit of wiggle in their strokes and weights, for a fun hand-lettered look! The three members of the family: - Kadigan Light: An all-purpose lightweight stroke, with sharp corners. - Kadigan: A nice mid-weight stroke, with slightly rounded corners. - Kadigan Heavy: A thick, chonky stroke with pillowy rounded corners. And each member of the family is packed with features, including: - All of the basic stuff you expect from every font; - 340+ extended Latin characters; - Cyrillic character set; - Greek character set; - Those character sets? Support over 110 languages! - 52 double-letter ligatures for variety (That's right, EVERY letter. I'm looking at you, savvy revved trekkers!); - A full set of small caps (including Cyrillic & Greek); - And more! (Seriously, it was hard to stop.) So whether your work is in English, Español, български, ελληνικά, Türkçe, or over a hundred other languages, this cute and fun sans-serif may be just what you've been looking for!

Double Porter - an elegant font collection. Double Porter includes following: • 6 fonts - a clean and textured version of each. • Ornaments • Catchwords • Ending swash ornaments for the script Double Porter is a clean cut script font with five strong sans fonts. All the fonts are designed to work nice together. Here’s a short introduction to the fonts: • Double Porter 1 -Clean connected script with Swash Alternates for caps and lowercase letters with ascender or descender. The Script also has Contextual Alternates that add variation & make the flow smooth. Contextual Alternates are automatically on. • Double Porter 2 -Wide Sans Serif font. • Double Porter 3 -Bold version of Double Porter 2 • Double Porter 4 -Semi condensed Sans Serif • Double Porter 5 -Condensed Bold Sans Serif • Double Porter 6 -Serif version of Double Porter 5 • Double Porter 7 -Set of 60 icons and ornaments • Double Porter 8 -Set of 68 Catchwords • Double Porter 9 -Set of 62 Ending Swashes and Strokes designed to go with Double Porter 1 - the script. In addition there is a “Printed” version of every Double Porter font. Printed versions are named Double Porter P x. Printed versions are exactly the same but the shapes have rugged outlines and a worn-out texture. Double Porter has wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

FF Bauer Grotesk is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art deco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier. However, FF Bauer Grotesk stands out for being less dogmatic with the geometry, lending the design a warmer, more homogenous feeling. The oval “O” is a good example of that, as well as characteristic shapes like the capital M or the unconventionally differing endings of “c” and “s” which make for a less constructed look. The design was started by Thomas Ackermann, and he collaborated with Felix Bonge to evolve his original ideas into this fresh, modern geometric typeface family. FF Bauer Grotesk contains 6 weights with accompanying italics, and a wide range of OpenType typographic features including small caps, figure styles, fractions and contextual alternates. NEW: the new FF Bauer Grotesk W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including Vietnamese, and also several based on Cyrillic and Greek alphabets.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

Introducing Glorial - An Elegant Script Font The handwritten calligraphy script works perfectly for classy designs. Glorial Script includes a full set of uppercase & lowercase letters with beginning swashes , a full set of lowercase letters with ending swashes, a full set of contextual alternates lowercase letters , 50+ ligatures features that makes the font look more natural. Glorial fonts that special for fashion and matches applies in some designs such as the logotype, brand, magazine, website or blog headlines, packaging, branding, quotes, invitation cards, greeting cards, business cards, and wedding more. Glorial is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Glorial Includes: - 50+ Ligatures, Contextual alternates, Stylistic alternates, and Swash - Uppercase, lowercase, numeral, punctuation and symbol - .OTF format files - PUA Encoded Characters - Fully accessible without additional design software - Multilingual support for English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian How to get access alternate glyphs with designing software to open type fonts check this link : http: //adobe.ly/1m1fn4Y If you have any question please do not hesitate to contact me. Happy creating!

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

The Flintlock Font Family has a Bold personality. The 'Rough' version of the Flintlock Font has a hand-carved or hand-etched edge, carefully crafted for each of over 300 glyphs. Caps, lower case, all numbers, fractions, accents and European characters that work in over 70 languages. 'Classically Built with a Vintage Flair'. Vintage in the American West Tradition that might have been forged and implemented from the 1860s through the 1930s and consequently fresh again. Flintlock Rough can be envisioned on many things dated from 1860 to present day. The font is available in 3 basic weights as of this release date. There are other versions on the drawing board... Flintlock Rough works extremely well with Posters, Branding, Movie Titles, Invites, Stationary, Signage, Embroidery, Letterpress, Ads, Logos and anything that feels Industrial or Hand-Crafted, eg. Coffee, Breweries, Antiques, Woodcuts, Western Styles, Sports Styles, Holidays, Menus, and more. Flintlock Flat & Flintlock Flat Italic are the siblings to Flintlock Rough without the hand-carved edge but rather clean with slightly rounded corners and edges. Extremely Legible, Bold and best used in all the same application descriptions mentioned above and more, specifically contemporary uses and settings, eg. Sports, Titles, Branding, Headlines, Logos and more. Curiously the Flat & Italic versions of Flintlock work extremely well in 1960s and 1970s settings.

Mellisthya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Mellisthya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Mellisthya Font is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

Geminian is a set of fonts that started as a simple idea based on a theoretical level and developed during a long time, to be able to take shape under a creative impulse inspired by the need to communicate, today more than ever. From an astrological point of view, it celebrates and contributes to this practice, the study of stars position and movement and their influence on people's destiny. As a good Gemini, this set revives the main features of the opposite twins sign. Gemini is associated with thoughts, creativity, and communication. Its ruler Mercury (Hermes for the ancient Greeks), messenger of the Gods, and spokesman of the divine word, gives the natives of this sign intelligence, wit, eloquence and poetry. Geminian aims to be a medium to carry different messages from one end to the other. And this is because when using words, Geminis always surprise. Thanks to this gitf (and language and communication), they are able to bring up the most ingenious ideas, to solve any problem and to contribute new perspectives. These qualities may be the secret of its magnetism. The Geminian set comes in 5 styles including a script with multiple ligatures and alternates, 3 sets of caps and dingbats. In addition the complete font family supports a wide variety of Latin alphabet-based languages.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Schotis Text is a workhorse typeface designed for perfect reading on running texts. Its design is based in Scotch Roman 19th-century style but designed from scratch, with a more contemporary and not nostalgic look. It has seven weights plus matching italics, with 1100 glyphs per font, with a very extended character set for Latin based languages as well as Vietnamese, and shows all its potential with OpenType-savvy applications. Every font includes small caps, ligatures, old-style, lining, proportional and tabular figures, superscript, subscript, numerators, denominators, and fractions. The Scotch Romans were one of the most used letters during the 19th and early 20th century, but they don’t have their own place in the main typographical classifications. They appeared at the beginning of the 19th century with Pica No. 2 in the catalog of William Miller (1813) and assumed the British route towards high contrast and vertical axis modern Romans. In fact, they were called just Modern. In opposition to the continental route of Fournier, Didot, and Bodoni, the English way opted for a wider, more legible letter also resistant to bad printing conditions. The name Schotis comes from the misspelling of Scottish that gave the name to a popular dance in Madrid in the 19th-century. It first was called Schotis and today is knows as Chotis.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

Introducing Gadimon Layered Bold Script. This font is used with layers method, so it can generate interesting fonts to see, you no longer need to worry about how to make effects on the text. Use the Gadimon Basic style for purposes without shadow effect and when spacing is important for a project. Gadimon is suitable to use as a logotype, product designs, labels, watermark, social media posts, apparel, invitations, signboards, sports club, motor/car, special events or anything that need handwriting taste. What you get: - Gadimon includes capital and lowercase letters, Alternates, and Ligatures - Numbers + punctuation - Foreign language support I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

Elliptical The squareness of curves. That was the elliptical – in more than one sense – notion being explored in the making of FS Hackney. The squareness of curves and vertical terminals to create a gentle, soft sans serif, with a little bit of magic. A momentary thought – “It doesn’t have to be like this” – provided the spur to explore the verticals and skeletons of letterforms beyond conventional type design limits. A 12-month gestation period gave rise to a font with a larger-than-usual character set, including non-lining figures, small caps and superior and inferior numbers. It’s a collection that speaks confidently for itself. Assertive It was the Hackney carriage – the black London cab – that gave this font its name, not the north London neighbourhood. Solid, dependable, effective and built to last, FS Hackney was honed to perform in all conditions. Cool, compelling lines and a satisfying overall simplicity lend FS Hackney its assertive air. Assured, versatile and effective; just like a black cab (but without the grumbling). Machined Over a string of meetings, Jason Smith and FS Hackney designer Nick Job worked out how to infuse Nick’s sketched letterforms with Fontsmith’s familiar geniality. “Nick is very meticulous and produces very clean design work,” says Jason. “Hackney is ideal for branding as it’s very clear and its quirks are sensible ones, not odd ones, that don’t distract from the message.”

Consisting of 5 fonts in 5 weights, it features an extended charset of over 520 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

This is Lady Slippers, a delicate and beautiful typeface resembling one of Eliza Gwendalyn’s popular modern calligraphic styles! She is the full blown version with many OpenType bells and whistles such as, swashes, ligatures, discretionary ligatures and stylistic alternates. Enabling them makes it possible to create beautiful and seemingly hand-written calligraphy designs. Then there’s Lady Slippers Basic, Lady Slippers Loops, and Lady Slippers Align. These fonts are toned down versions of Lady Slippers. Still beautiful and delicate handwritten script typefaces, they are meant for users who don't require all of OpenType goodies. Each of these fonts support some basic OT features, like fractions, superiors, and ordinals. In an interesting twist, we have redrawn the lowercase in Lady Slippers Align to align on the baseline, giving Lady Slippers a more traditional calligraphic appeal. Finally, Lady Slippers Ornament is offered as a companion for any font in the Lady Slippers family. It contains decorative ornaments, crests and other hand drawn elements, as well as a set of figures, minimal punctuation, and some catchwords useful for invitations and bridal pieces. The package includes a key map so finding the ornaments is made easy. All the glyphs are accessible from any standard keyboard. You can purchase the fonts separately, or one of the discounted bundles we've put together, Lady Slippers 4 Pack (includes Basic, Loops, Align and Ornaments) or the Lady Slippers & Ornaments pack.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Sedid, “solidity; It is an Arabic term meaning “righteousness”. In particular, the correctness and soundness of a word is indicated by this word. The fact that I gave this name to the writing family is to point out its accuracy and robustness. This typeface, which is sans serif, consists of three families: ▪ Sedid: Font family containing Latin letters ▪ Sedid Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Sedid World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Those who want to meet a new face of writing for their works and projects and make a difference in their work should meet the Sedid writing family. This typeface is as serious as it is affectionate, and solid as well as elegant. The Sedid font family can be used as a text and title font in all publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites. Sedid also has a pleasant-looking, flexible face with smooth lines and transitions. The inner and outer spaces of the font are proportioned so that the text can be read easily. Sedid font family consists of 14 fonts, seven plain and seven italic. The font family includes open type features, as well as a large number of ligatures, small caps, modifiers, and currency symbols of many countries.

Amorie is a tall and skinny hand drawn font. It comes in various weight and styles, and with an array of opentype options. Built to appear completely hand crafted, different designers could produce completely different results, selecting either Modella (classic and chic), Nova (fun and fancy) or SC (Small Caps and all business.) Each style comes in light, medium and bold and has an accompanying italics version. Opentype for this font includes Contextual Alternatives, which produces three versions of each character, making sure no two identical letters appear next to each other thus giving your design a fully authentic look. There are also stylistic alternatives, which offer different style to a select few characters, including capital letters: A, K, R, Q, Y and lowercase letters: a, e, k, t, y. Lastly, is a large set of swashes, 3 for each letter they accompany. For the most part this includes the whole uppercase alphabet as well as lower case letters with an ascender or descender. Amorie includes a large set of graphic extras, including stylish frames, arrows, line breaks, corners, flourishes and more. The complete package gives you one unbeatable font family. If you do not use Opentype but are using a program that includes a full glyph panel, you will be able to access each of the style variations you want.

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

About SFT Sushka SFT Sushka is a narrow headline typeface that will look particularly good on the packaging of something delicious. 10 different widths and a variable font make it possible to fit the font into various limited spaces. Soft shapes and rounded notches make SFT Sushka cozy, friendly, and appetizing. But if you need a more concise and readable version, the Flat Subfamily without notches is available for you. The family forms a gradient from very narrow and quirky to wider, softer, and more fluffy styles. Therefore, the variation is not just in width and thickness, but in the overall mood as well. You can use the variable font without any concerns about unexpected intersections in the letters! Its structure is no different from static fonts. And last but not least, SFT Sushka allows for a very tight line spacing even in languages with diacritics! SFT Sushka has wide language support: 200+ Latin and 60+ Cyrillic languages. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, 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, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-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, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, 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, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Adyghe, Akhvakh, Aleut (Cyrillic), Altaic, Andi, Archi, Avar, Bashkir, Belarusian (Cyrillic), Besermyan, Bosnian (Cyrillic), Bulgarian (Cyrillic), Buryat, Chechen (Cyrillic), Chukchi, Chulym, Chuvash, Dargwa, Dungan, Enets, Even (Lamut), Gagauz, Godoberi, Ingush, Kabardino-Cherkess, Karaim, Karakalpak, Karata (Karata-Tukita), Karelian, Kazakh (Cyrillic), Ket, Kildin Sámi, Kirghiz, Komi-Zyrian, Koryak, Kumyk, Lak, Lezgian, Macedonian, Moldavian (Cyrillic), Mongolian, Mordvin-moksha, Nanai, Nganasan, Oroch, Ossetian, Russian, Rusyn, Saami, Serbian (Cyrillic), Soyot-Tsaatan, Tabasaran, Tadzhik, Tatar Volgaic, Tindi, Touva, Tsez, Turkmen (Cyrillic), Udege, Udmurt, Uighur (Cyrillic), Ukrainian, Ulch, Uzbek (Cyrillic), Veps, Yukagir.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the Italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of multiplicity was kept central, developing Calvino in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family, Calvino Grande, to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure, Calvino Grande sports condensed proportions, sharper details and tighter metrics. Both Calvino and Calvino Grande are complemented with a set of italic letterforms, with differences in design and slant to better work at different point size. All the 34 weights of the Calvino family come with a extended Latin and Cyrillic charset, covering over two hundred languages, and all equipped with a wide range of open type features including positional numerals, alternate forms, and stylistic sets. Four variable typefaces are also included in the full package, for any need of fine-tuning the typeface grade of weight. Special thanks go to Laurène Girbal for the help in developing the regular weight. • Suggested uses: Calvino aims to provide users with a full typography palette to cover all editorial needs. Perfect for contemporary branding and logo design, dynamic packaging and countless other projects. • 38 styles: 9 weights + 9 italics, 2 different styles + 4 variable fonts. • 779 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero • 203 Languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Lombard, Lithuanian, Tsonga, Jamaican, Dholuo, Galician, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Norse, Slovio (Latin), Volapük.

Introducing Loominaire - A Modern Futuristic Font! Step into the future with Loominaire, a captivating and cutting-edge font that embodies the essence of modernity and innovation. Designed to make your designs stand out and leave a lasting impression, Loominaire brings a touch of sleek sophistication to your creative projects. With its clean lines and geometric precision, Loominaire exudes an aura of futuristic elegance. Each letter is meticulously crafted to create a harmonious balance between contemporary aesthetics and legibility, ensuring that your message is conveyed with clarity and style. This font is perfect for those seeking to add a touch of modernity to their branding, advertisements, websites, posters, and more. Captivate your audience with Loominaire's versatility, whether you're creating a high-tech logo, a sci-fi movie poster, or a forward-thinking website interface. Loominaire unleashes your creative potential with its extensive character set, including uppercase and lowercase letters, numerals, punctuation marks, and a variety of special symbols. Its versatility extends beyond the confines of traditional design, allowing you to explore endless possibilities and push the boundaries of visual communication. Embrace the future of typography with Loominaire - a font that bridges the gap between contemporary design and futuristic aesthetics. Let your creativity soar and watch as your designs come to life with a touch of modern elegance. Unlock the power of Loominaire today and revolutionize your creative projects with this extraordinary modern futuristic font.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

Inspired by a workshop with iconic American sign painter Mike Meyer, Ulrike of LiebeFonts set out to create a versatile, lovely typeface for sign painting that looks not at all like a font but rather like the letters on a unique, hand-painted storefront sign. LiebeDoris combines the best of two worlds: the beauty of all-American sign painting and the meticulous craft of German engineering. Each and every letter in each of the four different styles in LiebeDoris was hand-painted on large sheets of paper with a brush and ink, then carefully transferred for digital typesetting. So rather than being one typeface with different weights, think of LiebeDoris as a package of four individual designs that go together very well. Advanced OpenType features enable this font to really shine: every letter in this all-caps font comes in four variations, so that two of the same letters typed in a row won’t look the same, giving a truly handmade charm. (This feature requires layout software or a word processor with OpenType support.) And if you do have a storefront or a restaurant menu to prettify with LiebeDoris, you will love the integrated collection of store-themed catch words like “FREE”, “NEW”, and “SALE”. If you fall in love with LiebeDoris, you may also like our other best-selling fonts, LiebeErika and LiebeGerda, or our whimsical pictogram fonts such as LiebeMenu.

Zanna is a modern typeface with lots of style and elegance. The Zanna typeface was inspired by the high contrast Didot look, which has been synonymous with fashion for decades. The Zanna typeface also has a very thin hairline and short non-bracketed serifs, which gives it a nostalgic and modern look. The Zanna typeface comes in two styles Regular and Stencil, each style has an oblique version. The Zanna typeface has over 140 ligatures and alternate characters, this makes it perfect for creating modern and elegant feminine logos. With so many ligatures and alternates characters to choose from, you can definitely create stunning designs for your brand or clients. The Zanna typeface can be paired with a beautiful minimal sans serif or light script font, this combination will make your next project look elegant and classy. The Zanna typeface is very versatile and can cover a wide range of project such as: fashion branding, mastheads, magazines, feminine logos, facebook banners, wedding invitations, Instagram posts, websites, blog posts, pull quotes, editorials, product packaging, trendy social media posts, advertisements and much more. If you are looking for something modern, nostalgic and chic for you next project, Zanna is the font for you. What you get: Zanna Regular.otf Zanna Oblique.otf Zanna Stencil.otf Zanna Stencil oblique.otf Zanna includes a full set of: Uppercase and lowercase letters. Numbers. Punctuation. Ligatures. Alternate characters. Small Caps. Multilingual symbols. We hope you enjoy using the Zanna typeface.

Malou Verlomme’s Madera is a typeface made strictly for graphic designers, created as an indispensable type toolbox that can meet the needs of both print and digital environments. Verlomme has drawn on his extensive experience creating bespoke type for major brands, and Madera is a “typographic synthesis” of this work. Although designed as a restrained sans serif, the typeface has some punchy personality – with sharpened apexes that inject flavour into the design, particularly in the darker weights and when set at all caps. Madera sits alongside fellow geometric designs such as Proxima Nova, Gotham or Avenir, offering a straight-talking tone of voice but with some extra bite. If you’re a large corporation, with a typeface being used in many different environments you want something that's just the right balance of visibility and legibility to sustain an extensive amount of communication.” “The design is very solid but it doesn’t go out of its way to attract attention,” explains Verlomme. “It still has a fair amount of warmth and personality, in a very understated manner. The Madera typeface family has 32 fonts: Upright, Condensed and Italics. It is available in OpenType CFF and TTF fonts formats. Each typeface contains over 650 glyphs with extensive Western, Central and Eastern European language support. It also supports OpenType typographic features like alternatives, ligatures and fractions. Madera Variables are font files which are featuring two axis and have a preset instance from Hairline to Extra Black.

Manstein Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. Manstein Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. The classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Manstein supported With OpenType features with alternative styles and elegant ligatures. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing

A universal typeface for books, magazines and newspapers must be economizing, quiet, strong in drawing, but original and peaceful at the same time. Type "for all weather" must resist also many difficulties of printing on different surfaces. Therefore, the basic design "Text" is slightly darker and legible from 6 point size even in a dim light, whereas "Book" reduces the effect of running ink and saves toner cartridge. In offices of smaller companies these lighter fonts are welcomed as toner-savers. Andulka also need less space on the page than other text typefaces and saves paper too. Medium and Bold designs keep the original grace, changing its weight only in shadows. Italics may remind humanistic inspiration and forcing the horizontal of x-height with robust horizontal serifs, whereas Roman lower case maintains the baseline. Basic numerals are non-aligning proportional, but there are available upper case figures as well as special numerals drawn for the same height as small caps, which is just about a hairline above the x-height. The characteristic feature of Andulka is a squinted eye in letters 'a', 'c', 'f', 'r', 's', 'k', and softened diagonals through all characters in family. Diagonals were always disturbing and gripping attention extensively. Serifs are stressed trapezoids reminding small beaks at curved endings, descenders 'j' and 'y' may evoke tail feathers of budgerigar. Andulka [budgerigar] sings lovely and is everyday quiet companion. The whole family consists of 24 separate fonts for graphic studio, office or home.

Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry. This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. After the second World War, the black hole that swallowed a big chunk of Europe’s print culture, new influences and technologies overtook the scene, and selective historical emphasis ensued, highlighting some of the era’s designs and overlooking others. Further selective picking in the digital era all but buried Wilke’s body of work - unfairly so, because he was just as important in German type history as Bernhard, Post, Schneidler, Tiemann and Trump. The original metal Wilke Kursiv came in one weight. This digital version goes a long way in expanding on that original offering. Now Wilke’s masterpiece comes in three weights, and with a full Pro treatment including swash caps, small capitals, five types of figures, automatic fractions, and plenty of other OpenType niceties. Each of the Wilke Kursiv Pro fonts comes with over 700 characters, and contains support for most Latin-based languages. Also available are three non-Pro fonts in each weight.

Aquawax Pro PDF Specimen Aquawax Graphic Project on Behance Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics.

I have improved and added diacritics to this elegant alphabet, and generally cleaned it up to a professional standard. It is well suited to logos, menus, invitations and other things wanting a touch of elegance. Nick Curtis says: "I came across this particular treatment for swash caps in an old book on letterhead design. The original had been handlettered, but I though it might be convenient to have a ready-made font to accomplish the same effect, and here it is. As an extra added feature, the “§” sign is an ampersand with a long tail." 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.