Bozon™ is a modern, minimalist geometric grotesk typeface. Letter shapes are crafted with the highest care for proportions and legibility. This clean, sharp sans serif is a great choice for all kinds of modern projects including branding, logo design and display use. Bozon™ family consists of 10 weights with corresponding italic styles, that give total of 20 styles. Italic styles were hand drawn to get sharp and fine letter shapes. The family has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, ligatures, stylistic sets, contextual alternates, lining, oldstyle, tabular, circled and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Trustee Modern Retro Bold Serif . That has a unique style & luxurious look. is great for logos, editorial, web design, craft projects, shirts, decoration, wedding invitations, packaging, stickers, social media, quotes, magazines and more!. The unique sharp serifs mixed with thin strokes give off a bold mid century architectural vibe. Trustee features: · Alternates And Ligatures · Uppercase And Lowercase · Numerals & Punctuation · Accented characters · Format File: OTF,TTF,WOFF,WOFF2 · Multilingual Support · Unicode PUA Encoded While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to drop us a message. We'd love to hear your feedbacks in order to further fine-tune our products. Thanks and have a wonderful day

I created my new »EXEC« Sans and this Demiserif cut during the years 2018 to mid 2020. As the entire »EXEC«-family the Demiserif also has 7 weights, ranging from Thin to Bold (no italics, doesn’t look nice). The Demiserif is also suited well for editorial, book text, advertising and packaging, logo, branding, small text as well as web and screen design. »EXEC«-Demiserif has advanced typographical support including ligatures, small caps, alternate characters, case-sensitive forms, fractions, super- and subscript characters. »EXEC«-Demiserif comes with a range of figures, oldstyle and lining figures, each in tabular and proportional widths. »EXEC«-Demiserif supports Basic-, Western-, and Central-European Latin-based languages including Turkish.

Ronde Script (Ronde meaning "A kind of script in which the heavy strokes are nearly upright, giving the characters when taken together a round look.") is based on the original design named Parisian Ronde released in 1878 by the Chappelle Foundry in Paris. Other versions of this script include Inland French Script, French Script, French Plate, and Typo Upright. Different type foundries tied to the releases of this design include Mayeur (Paris), Stephenson Blake (London), Bernhardt Brothers & Spindler (Chicago), and ATF (Elizabeth, NJ). This style of script has been a very popular choice in designing wedding invitations and so many other formal announcements for over 130 years. Its very readable, formal and elegant with an antique or retro feel.

Lager is a plump, sympathetic and tasty script family inspired by good old American commercial lettering of mid-1900s – yet there’s more to it than meets the eye. Implemented with an exceptional feature called Intelligent Swash Lager delivers perfected results with an handmade feel. Depending on the choice of letters Intelligent Swash grows and stretches swashes automatically. Accompanied by various ligatures and stylistic alternates, Lager creates beautifully completed words with minimal effort. Just make sure you activate Titling Alternates from your OpenType-menu. The Lager package will be delivered with 5 complete weights, 2 sets of well-groomed numerals and Small Caps as a great companion for the script style. Get high on Lager, it won't leave you short.

The Handel Gothic™ typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles.

Gothiks is a powerfull 6-weight display sanserif influenced by Texturas. The rithm and verticality of Texturas can be easily identified on the letters with diagonal strokes like A N M K k V v W w X x Y y Z z: here they are all vertical. This kind of morphology was chosen because it accepts condensation in a very natural way, giving to this compact sanserif a very unique personality. The intermediate weights can be used for short texts while extreme weights are excellent for big sizes. It has an extensive character set — with extensive language support — and many OpenType features like fractions, small capitals and different figure sets. Default figures align with lowercase.

When it comes to poster design, the line between wild west and psychedelic can be surprisingly fine. Dave West combined both typographic genres to create his refreshing Banjo. Developed in the late 1960s for Photo-Lettering, Inc., this curvaceous high-contrast sort-of serif might have been born on the nineteenth-century frontier, but it was raised in the counterculture of the mid-twentieth century. Use it wherever the conventional and uncommon collide. Vectorized by Mitja Miklavčič in 2017. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

A typographic playground Stepford is a versatile semi-serif boasting 6 styles - regular and italic, sketch and italic and outline and italic. It includes 231 glyphs, ligatures and multilingual support. These six styles make it the perfect display typeface for any kind of project. Absolutely sweet for editorial design - mainly headers and sub-headers but can also be used for body text too. This typographic trio is based on the vintage 50’s and 60’s style scripts and modernised for the present day. It’s another powerful typeface to add to your arsenal of design assets that command attention. That’s what design is all about! For regular updates and freebies follow me on Instagram at joannemarie_cm

In a world of fleeting trends, Silver Archer stands as a testament to enduring elegance and timeless design. Inspired by the classic sans serif typefaces of the mid-20th century, Silver Archer exudes an air of sophistication and refinement, making it an ideal choice for a wide range of typographic applications. With its meticulously crafted proportions and harmonious stroke contrast, Silver Archer strikes a perfect balance between traditional aesthetics and contemporary sensibilities. Its open counters and generous x-height ensure exceptional legibility, both on screen and in print, while its nine weights, ranging from Thin to Black, with each weight complemented by its italic counterpart, provide ample flexibility to suit any design mood or hierarchy.

dT Jakob started as a revival by Gustavo Soares for Paul van der Laan’s class at the Type and Media Masters, in The Hague, NL – back in 2007. There are quite a few excellent geometric sans typefaces available, but we did want to make our contribution and have a fine geometric face to offer. dT Jakob was born out of Erbar, by Jakob Erbar, one of the very first geometric sans, released in metal around 1926. Our goal was to make a versatile typeface, that handles display and text typography beautifully. To achieve that we designed a complete range of weights, matching italics and lots of OpenType Features. Hope you enjoy it :D

Argyle Rough was originally developed for a packaging campaign in the late 80s in my studio and sat around in various stages of completion until I decided to autotrace my original drawings. I liked the quirky roughness and decided that it did not detract from the charm of the original, in fact it improved it and saved me a whole lot of work. The original campaign called for a few additional alternate characters for use at either end and double in the middle of words, ee, ff, ll, ss etc and a stylized Th, always useful. I hope you enjoy Argyle Rough, named after the world’s largest diamond mine – a rough diamond, get it?

Printers Lot JNL is another eclectic mix of cartoons, ornaments, catch words, decorations and embellishments re-drawn from vintage source material used in the days of letterpress printing. For those who like to assemble their own larger borders, a set of elements is on the 2-9 keystrokes, but it must be noted that some manual adjustment is necessary to line up all of the parts in a complete border pattern. From a Happy New Year greeting to whimsical cartoon characters; from singular ornamental design elements to beautiful brackets, this mix of subjects is a great overview of the kinds of cuts found in printers' job case drawers in years gone by.

Forte e gentile, “strong and kind” is the motto of Abruzzo region located in central Italy on the Adriatic coast. As the region it’s named after, Abruzzo typeface is strong yet inviting with its sharp angular serifs and smooth transitions. Abruzzo is a display typeface with high contrast, large x-height and plenty of character. Abruzzo is equipped several OpenType features: Standard ligatures that take care of the collisions between f and other tall lowercase characters, and for more fun there is over 40 Discretionary ligatures including st, ch and plenty of more unconventional character combinations, such as fy, fr, rw, vi, and so on. See the full range in the specimen poster. On top of that Abruzzo has over 70 variants for the standard characters set in Swash, Stylistic and Titling Alternates. Abruzzo best used in stylish headlines, advertising, packages or as a logotype.

Burstwick is a sans-serif typeface inspired by modern workhorse typefaces and designed for everyday use. It has unique personality but doesn’t suffer in more practical situations, and is very flexible: there are six weights, ranging from thin to bold, and matching oblique italicis. Lifting elements from grotesque, geometric, and humanist styles, and putting legibility at the forefront, each weight is drawn with higher contrast and subtle asymmetrical features to enhance individuality and aid in readability, particularly at body sizes on websites. These features are intended as an alternative to rigid geometric lines, bringing a natural feeling to glyphs, resulting is a friendly, but professional choice for any organisation or designer. The foundation of the design is a large X-height, which further aids in differentiating lowercase characters from one another. This allows Burstwuck to feel open, airy, and really shine when used in single-family type hierachies, particulalry in headlines and larger text. Through its 630 glyphs, Burstwick supports many Latin languages, with thorough kerning for accented character combinations, making it an ideal choice for organisations considering multilingual users, and the perfect addition to any designer’s toolbox. In addition to accented characters, a large number of special characters and alternatives have been included to increase choice and flexibility. Among these are expand currency symbols, oldstyle figures, math operators, and symbols. Language support includes: Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Swedish, Turkish.

Youth Heritage Font is a vintage bold script font that pays homage to the rich visual heritage associated with youthful exuberance and retro aesthetics , This typeface combines bold, expressive strokes with a script style reminiscent of classic hand-lettering from bygone eras, capturing the spirit of vintage design. Here's a detailed explanation of the key features and characteristics of the Youth Heritage Font: Features: Vintage Aesthetics: The Youth Heritage Font is designed to evoke a sense of nostalgia, drawing inspiration from vintage typography prevalent during the mid-20th century, Its design elements reflect the bold and charismatic lettering styles associated with retro signage and advertising. Bold and Expressive Strokes: One of the defining features of this font is its bold and expressive strokes. Each letter is crafted with confidence, making a strong visual impact. This characteristic contributes to the font's ability to command attention and stand out in various design applications. Script Style: The script style of the font imparts a handwritten and personalized feel. The cursive letterforms flow seamlessly, creating a sense of dynamism and adding a touch of informality to the overall design. Distinctive Lettering: Each letter in the font is crafted with attention to detail, featuring unique and distinctive characteristics. This ensures that the font maintains its individuality and offers a distinct typographic personality. Applications: Vintage Branding: The Youth Heritage Font is well-suited for vintage branding projects. Apparel Design: Designers in the fashion industry can leverage this font for apparel branding and graphic designs. Its bold script style adds a retro flair to T-shirts, hoodies, and other clothing items, giving them a timeless and stylish appeal. Retro Signage: The bold and expressive nature of the font makes it a perfect choice for retro signage and display purposes. Event Posters and Flyers: When designing promotional materials for events, concerts, or parties with a vintage theme, the Youth Heritage Font can contribute to a cohesive and visually appealing poster or flyer design. Social Media Graphics: Its bold and expressive script style can make posts and announcements more engaging and shareable.

Acarau is a 6 fonts display typeface with high reverse contrast—since from Roman capitals and calligraphy, usually Latin alphabet letters have thiner horizontal steams and thicker verticals, these features being optical or visual—quite adequate for logos, headlines and posters. Moreover, the style of the typeface is inspired by Italics form factor: lowercase letters having less strokes to make their shapes; A has one story; E has one stroke shape, such as K, G, Y and Z; F has a descent. To give it more calligraphic feeling, there is contrast for uppercases as well, this is very perceived by the diagonal letters like A, K, M, N, V, W, X, Y and Z. J also has a descent. Q and R have natural swashes, but they have alternates in case the costumer want to go for more usual forms—including accent marked letters. Acarau is a 12 months project, the contrast for uppercases were increasing as the process was made. In the middle it is found suitable blend the letter shapes with the history of Brazilian music from the 70’s and 80’s, since the font has a tropical, warm, spicy and nostalgic feeling. Songs from bands and singers that emerged on Rio de Janeiro like Paralamas do Sucesso, Cazuza, Lulu Santos and Kid Abelha bring the beach accent and rhythm that this font has. OpenType features complement the set, which has Multi-Lingual support for a comprehensive Latin set, including Vietnamese—meaning more than 640 glyphs: Case-Sensitive forms, so symbols can properly align to uppercase letters; Ligatures, to better reading for z_y and L_I, and style for s_s, w_w_w; also for ease arrows and punctuation typing; Stylistic Set 1: two story a—including accent marked letters; Stylistic Set 2: two story g—including accent marked letters; Stylistic Set 3: diagonal (usual) z—including accent marked letters; Stylistic Set 4: flower i and j dots; Contextual alternates; Terminal forms, for R and Q; Ordinals.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Introducing Bleck Stome Is a Layered fonts of retro style, with Bleck Stome Give your typography design a touch of retro style, Bleck Stome is one of hand lettering project. It was very inspired from the famous retro typography designs, Bleck Stome also comes with extra Extruded Font version. So you don’t need extra effort for create an extrude effect for this font. This mean it will saves your time. With Bleck Stome Font it suitable for Logotype, posters, business cards, merchandise, wedding invitations, greeting cards, banners blogs, clothing, water-based paint designs / prints, correspondence, quotes and more! . Bleck Stome Comes With 480+ Glyphs and OpenType Features are also added to this font. The Features includes: Stylistic Alternates, Swashes, Ligatures, and Stylistic Set. You can pick the alternate for all style Bleck Stome has given PUA encoded (fonts with special code). If you have any questions,please contact me at: malindocreative@gmail.com. Feel free to contact me, I am happy to help you. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as, Adobe Indesign ,Adobe Illustrator CS & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access alternate glyphs? you can see it on this link goo.gl/1vy2fv Thank you for your kindness and support,it’s not hidden,what you see in preview is what it contains, Hopefully Useful, Good Luck For You, And Love You All.

Brailganta Script is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Brailganta script provides alternative variants of most fonts, binders, and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, verses, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). 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 advice, please contact me by email Thank you for watching!

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

This fine lined display type face was named Allioideae because of the ascenders of the lower cases. They are rising upright with a single stroke and are ending - depending on the font style - into a spherical blossom. The name was chosen concerned to the plant allium, that forms an umbel at the top of a leafless stalk, when it is blooming. Allioideae is the name of a subfamily of monocot flowering plants in the family Amaryllidaceae. The name is derived from the generic name of the type genus, Allium. The wide and round capital letters are showing a nice contrast to the lower cases and giving the font a kind of female feeling. That provides a functional and lovely use in headlines for all beauty and cosmetics issues.The typeface appears in 4 different styles. a plain style – Allioideae, a stencil style - Allioideae Stencil, a (dotted) style for both - Allioideae Dot and Allioideae Stencil Dot. It supports multi language as it covers all the latin diacritics and a cyrillic character set. Lots of numbers as monospaced, lining figuers, old styles, sub- and superscript and many fractions in two different styles are giving a nice finish to that font. Also some matching ornaments are included.

We named this font Scholz Secession. Fin-de-siecle Vienna, Austria is the source of this Jugendstil design from Schriftgiesserei Eduard Scholz. The original release was under the name Reklameschrift Secession. Most of the curve strokes look like commas to me. The letters are as soft and plump as the comforter on the bed I slept on in a Salzburg B&B many years ago. I was traveling with a college buddy and our next stop was Vienna. There a kind, young student named Hanna and her boyfriend took us under their wing. One of the places Hanna proudly showed us was Otto Wagner’s Majolika Haus, built in 1898, and only about 8 blocks from Secession Hall. Hanna explained to us that the style was called Jugendstil and represented Art Nouveau as interpreted within the framework of their culture. I even took a picture. After all, memories are part of who we are. Figures are old-style for text use. This font would not be my first choice for a spread sheet. Included are German ligatures ch (alt-0123) & ck (125), two period ornaments (135, 175) and lower case o and u with Hungarian long umlaut (215, 247)). A very likeable and easy-to-use font.

Oktah is a geometric grotesk that comes both as a variable font and 22 static fonts: 11 uprights and 11 matching italics, which make it a great tool for those seeking a versatile font with a strong character and high legibility. Throw in a very pleasing look, elegant curves and a wide range of weights, and you'd get what Oktah aspires to be: a perfect typographic tool for every need.In Oktah, elegant geometric curves meet bold strokes and wide apertures. Round letters are nearly circular, but, to boost readability, slight changes were introduced for optical compensation. Oktah is also equipped with amazing OpenType features: case sensitive punctuation, ligatures, fractions, superscript and subscript figures, two kinds of circular figures, stylistic & contextual alternatives and much more! Oktah supports all major European languages, as well as Vietnamese and some dozens of foreign languages that you may encounter in your designs. We've got all that covered. The glyph count for each of the styles is 800+ characters. Two styles (Extra Light and Bold Italic) are free to try and experiment with. If you need wide language support and more extensive OpenType features, consider taking a look at Oktah Neue, a bigger version of the classic Oktah.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Peter Schnorr was a German artist/illustrator of Art Nouveau period (called Jugendstil in Germany and Austria). He was quite adept at calligraphy and did a variety of commercial work, including business signs. He designed at least four different alphabets and collaborated with Bruce Rogers on advertising work and title page designs for books. One of their clients was the publishing house of Houghton Mifflin. I have not been able to discover anything else about him, but I suspect he might be the grandson of the Bavarian artist Jules Schnorr von Carolsfeld, who was once commissioned to do a mural by Ludwig II of Bavaria (whose famous castle was copied by Disneyland). Schnorr did not give individual names to his fonts. Where there is no historical name, we like to follow the tradition initiated by Bauer and name fonts after their designer, with a descriptive adjective in the designer’s native language. Gestreckt is German for stretched or elongated. An interesting deign detail of this typeface is the cross bar of the “T” --it is NOT symetrical. The right hand side extends only 88% as far as the left hand side (a ratio of 9:8). I presume this was done for a more pleasing letter fit. Today Schnorr’s design is frequently offered under the name “Ambrosia.” However. close inspection will usually reveal that the serifs have been treated differently. I believe our font has a greater fidelity to the original design. Please also compare the design of the various auxiliary characters to those in other fonts. Often they are either borrowed from an inappropriate font of a different period or are missing altogether. We make every effort to design characters that are in keeping with the overall design and spirit of the typeface. For example, see the superscript Registered Trademark symbol (0174) and the Double s (0223). I think both are quite successful. Schnorr Gestreckt ML represents a major extension of the original release. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also two alternate letter forms, one ornament and seven ligatures with Unicode codepoints (Private Use Area) and OpenType aalt, ornm & liga GSUB layout features. There are a total of 318 glyphs and 351 kerning pairs. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). This release also incorporates a redesign of several glyphs: the comma, quotes, acute accent, and grave accent.

BF Corpa Gothic™ Pro is a kind of “Neue”-Edition of the beloved typeface designed by Guido Schneider. Inspired by hand-drawn geometric fonts from 1920s posters, this sans serif typeface is slightly condensed, and it appears compact and captivates with its expressive shapes and unique details, despite its pronounced Grotesque character. With its rather constructed, technical – but also vivid – appearance, the BF Corpa Gothic™ Pro is not only suitable for headlines and display applications, but is also pleasant to read in short and middle length text. The type family is engineered for exciting, professional but unusual designs. It is equipped with OpenType Features like 4 figure sets (LF, TF, OSF, SC), nice ligatures, many currency symbols, fractions, alternates, special characters, arrows and symbols – and small caps. 9 style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling. In this way you can also switch the simply slanted styled Italic into a “real Italic”. Each of the 16 fonts (Upright and Italic) contains more than 940 glyphs and supports up to 220 Latin-based languages.

HWT Etta is a fun display typeface that has two styles: East and West! Its two variations ensure you have maximum wood type swagger in every display size that you might want. This fresh design takes a cue from the wild design experimentation that was happening in the heyday of mid 19th Century wood type—but filtered through 1960s photo-type sensibilities and served up for today’s design needs. Etta West is a decorative inline style and the Etta East is a whimsical reverse contrast style. They live together harmoniously, with their own specific flavors. Practically speaking, both styles are intended for display use, so use them big and use them proudly! Set your XXL size titles in West and your L to XL size types in East. As different as they might look at first, both fonts share a common DNA—Don’t be shy about using them together. The HWT Etta font is part of the Hamilton Wood Type and Printing Museum’s Type Legacy Project. In keeping with the project, Etta is named after Etta Shove Hamilton, who was J.E. Hamilton’s wife and the company’s first bookkeeper.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Pickatoon is a fun display font that we made because we knew what people wanted. Pickatoon has the look of your favorite childhood markers. It's not just for comic books, it's for EVERYTHING. It's for your Instagram selfies, it's for school projects, it's for your business logo, it's for your coloring books—it even works great with watercolors! We put a lot of time into making Pickatoon perfect. We knew you'd need it to be thick and thin and fat and skinny, so we did our best to make sure all those variations were available in every letter. And when you're drawing, you don't just want to draw the same thing over and over again—you want to be able to change things up with some simple tools. So we made sure that Pickatoon had different ways you could vary the thickness and give your work some character. Start create with this font!! A Million Thanks www.colllabstudio.com

Bon Air was one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) in the mid 20th Century. These were some of the last new designs cut into wood by Hamilton until the museum revival in the early 2000s. Bon Air was created in 1958 and trademarked in 1961. The wood type made for Morgan was used largely in department stores to make their own signage. The script styles are reminiscent of sign painters alphabets and evoke a Mad Men era advertising aesthetic. The font was only cut in four sizes: 12, 18, 36 and 72 line. It was distributed by Morgan for use in their presses, but as type high wood type, it could be used on any press. The font was issued with several alternate letters and ligatures to simulate the effect of hand lettering. Its lively strokes and odd details give it an exotic flavor suitable for advertising display work. The digital version includes all of the original alternates plus new characters to fill out a full European character set.

This font has that grungy, gritty look, and combines it with some elegant swirls. Weird and wonderful. I have added swirls and decorations to ALL the uppercase letters that did not have them, so there are now wider possibilities to add interesting decorations to your composition. In addition to the expanded language support, of course. 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.

Shelflife is a display typeface with some extras under the lid. It features all the Standard Open-Type features you'd expect, like Class Kerning and Ligatures, plus some other useful additions and of course accented characters for most European languages and others. In essence it's an easy-to-read headline font with clean lines and a bit of character. There's an outline version that can be layered with the standard version to give the shadow effect seen in the accompanying graphics, simplicity itself to do. There's boxed headlines for SALE, SPECIAL, DISCOUNT (20 in total) all ready-made, plus some which can be tilted at an angle, and done automatically - just easily typed in; easy-to-do bullet numbers; a choice of square or rounded dots on j,ffi, and so on in Stylistic Alternatives; and shorter alternatives for U and N with accents. Details are included in the zip files. The zip file will contain both the OTF and TTF versions of the font. Install only one version, either the OTF or TTF, but not both - otherwise you will get all sorts of incompatibility issues and problems.

You can download usiful link: Bodrum Sans PDF Type Specimen Bodrum Sans is a sans serif type family. Designed by Bülent Yüksel in 2018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. Bodrum Sans is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Bodrum Sans a harmonious and sensible appearance for both texts and headlines. Bodrum Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Sans 14 Regular” forms the central point. "Bodrum Sans" is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy in all graphic programs. Bodrum Sans is the perfect font for web use.

Lattolatoo is a unique modern display font with a fun and trendy kind of street style twist. From poster designs to t-shirts and packaging, Lattolatoo will give your designs an alternative to the minimal look and supercharge your creative work. Lattolatoo is hand-drawn, having an almost handwritten appearance; the characters skip the baseline giving it a charming yet modern look and feel. Alternative All characters A to Z one alternative. To make your text look less repetitive, you can substitute the letters for something else—this makes your design look more like handwriting. Ligature Lattolatoo has standard ligatures, 7 of them in total. You can activate it through the glyph panel in Adobe applications. The binder makes a huge difference in the look of Beautiful Freak. It switches the order of two popular letters making your design look more individual. opentype Please note: Alternatives and Binders use OpenType features. Therefore, you'll need a design application to access these options—an application such as Adobe Photoshop, Illustrator, or InDesign. Included : - Uppercase glyphs only (This font is unicase) - Punctuation, Symbols, and Numbers - Alternate A-Z characters (1 character) - 7 Ligatures - Support for Central, Western, and Southeast European characters

“Bodrum Slab” is a slab serif type family. Designed by Bülent Yüksel in 20018/19. The font, influenced by style serifs, popular in the 1920s and 30s, is based on optically corrected geometric forms for better readability. “Bodrum Slab” is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give “Bodrum Slab” a harmonious and sensible appearance for both texts and headlines. Bodrum Slab provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Bodrum Slab 14 Regular” forms the central point. “Bodrum Slab” is available in 10 weights (Hair, Thin, Extra-Light, Light, Regular, Meduim, Bold, Extra-Bold, Heavy and Black) and 10 matching italics. The family contains a set of 650+ characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Bodrum Slab is the perfect font for web use.

First designed in the early 1800s, Walbaum never achieved the audience or acclaim it deserved – despite its easy elegance, and sophisticated persona. It’s been fully restored for this expansive family, which includes 32 weights including ornaments and two decorative cuts. Walbaum offers the kind of warmth that’s missing from comparable typefaces such as Bodoni or Didot, feeling effortlessly approachable and legible. Monotype team Carl Crossgrove, Charles Nix and Juan Villanueva have adhered to designer Justus Erich Walbaum’s original intentions, also incorporating work by the designer’s son into some of its more extreme display weights – pushing the possibilities of Walbaum without compromising on its spirit. Text weights work well for the demands of digital environments, while decorative and display weights offer more dramatic, sculptural forms. Unusually, the family also includes a generous range of ornaments. From massive billboards, to micro-type on e-readers, Walbaum has it covered. The family is available as OpenType OTF font format, and includes over 600 glyphs with OpenType typographic features including small capitals, old style and lining figures, proportional and tabular figures, fractions and ligatures. Featured in: Best Fonts for Logos

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

Amazingly easy on the eye; it draws the reader in with minimal brain bandwidth use. Designed to enable more focus on the content. Good for web pages. Very Dyslexia friendly. Our mission has been to create a font that scientifically designed to be dyslexia friendly while also being attractive and useful. Dyslexia features: Each letter is unique even if reversed or flipped. The spacing is carefully designed using scientific evidence to help all readers from those who read via word shapes to those who read using phonemes and syllables. The visual stress caused by contrast pattern glare is minimised and has fared well when measured by professionals against other common fonts. Usefully mid-sized to make it easy to transfer artwork from common fonts to Aravis. This is very helpful when providing reasonable adjustments for people with Dyslexia. Based on algorithms found in nature. Range of use: Ø 72 Latin based languages Ø Greek and Coptic Ø IPA extensions Ø Good Maths symbols provision with OT support for vulgar fractions Ø Innovative OT support for creating boxes for forms Ø Small Capitals with some accents also supported (Czech) Ø Subscripts and sups: Complete alphabet upper and lower case and numbers Ø Customers can request additional symbols and characters within reason, or add an accent /shape unique to their country if it fits with the overall mission of the font.