Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

Laima is the brush-formed stencil from Bogidar Mascareñas that will create an ovation for branding, album art, upscale venues, and packaging. If wide appeal, attention to detail, or international reach is necessary for your brand, consider Laima’s high-calibre design as your personal ambassador. The general font user is accustomed to stencil typefaces that have a brute look to them — industrial, mechanical, restrictive, or even militarised. Stencils are commonly used because they serve a function, like spray-painting over template letters, giving the reader a warning that must be heeded for safety, or a command to follow immediately. Wooden crates and grunge art are the medium and black or red paint are the norm. Laima, instead, creates a stencil from the world of calligraphy to turn all this on its head. Laima’s 12 stencil styles (six roman and six italic) use the junctures of calligraphic strokes as an opportunity to achieve an uncommon stencil effect, shifting to create unexpected shapes and the illusion of twisted, disconnected overlaps. Inspired by “Arte Nueva de Escribir”, an engravings book published by Francisco Palomares in 1776, Laima progressed well beyond its beginning as a Type and Media Master’s project at KABK, The Hague (NL). It sometimes required completely new character shapes to accommodate the space needed for clear diacritic marks, and was further enhanced with flourishes and alternates for liveliness and variety in individual or branded work. Laima’s italic begins with swashes and uses OpenType features to automatically turn them off with more than two successive capital letters. Use one swashed character for a drop cap, two for ligatured fun, turn them on or off at your discretion, or change the ascender length and swash shape to suit your creative need. With two styles of numerals and stylistic sets for final forms, Laima’s 12 styles and hundreds of Latin-based languages can turn simple words into an occasion that would immediately benefit high-class brands and special uses. Set that article title, release that new product, code your best-looking UI yet, letterpress that business card, and print that gourmet label. Whatever is next, Laima is the unexpected stencil partner to introduce it to an expectant world.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Mofid Mahdi is a distinctive, bold Arabic display face, suitable for heading and titling work in Arabic newspaper and magazine composition. In this typeface the rounded internal counters and dots contrast with the angular and more robust outlines of the letterforms to give a decorative, harlequin-like appearance. The design was originally developed for use in dry-transfer format, and was first produced as a digital font by Linotype-Hell Ltd. in the early 1980s. Initially a simplified face, with its inherent limited range of letterforms, Mofid Mahdi was enhanced during the late 1980s by the introduction of medial letterforms to improve character spacing and balance. The recent advent of OpenType has led to the release of Mofid Mahdi. This OpenType font includes Latin glyphs from Memphis Extra Bold, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Mofid Mahdi incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Invisible is a geometric sans serif font family. Contains 9 weights with Regular and Family Look from Thin to Black and matching Slanted style. Invisible Normal character shapes have optimized proportions and improved balance perfect for use for text and heavyweights have strong characters have a unique style with smooth shapes to work with any look. Invisible fonts can be enhanced and used for any display medium to support your visual designs. Please contact us if you have any questions. Enjoy Crafting and thanks for supporting us! :) Thank you ____________________________________________________________________________________ Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, ManxMeru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, OromoPolish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss-German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu.

A must have item for your design, here's the Standing Flower. Standing Flower is a handcrafted script font combined with a refined sans serif font which suit your needs. Together, these complementary fonts portray elegant and modern vibes. The script font has natural feel to it, thanks to the handwritten letters not always connecting-much like when someone is written in cursive for a while and adds their unique spin to it. Besides that, the sans serif brings a flare of modern and sense of elegance. The organic feel of this font duo is enhanced by the amazing features provided. Easy to work with and pleasant to look at what else can you possibly need? Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It works perfectly for for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Watermint Script is a formal typeface that epitomizes the essence of elegance and sophistication. Envisioned for formal settings, its calligraphic strokes evoke a sense of classic beauty, making it an ideal choice for invitations or logotypes that demand a touch of class. Watermint Script is a harmonious blend of cute and lovely, wrapped in a feminine and romantic design. Its light and fresh appearance breathes life into each word, offering a clean and flawless presentation. The font's perfection lies in its attention to detail, with each character exuding a classy aura that enhances the overall visual experience. The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Designed by Mans Greback, Watermint Script is a testament to his commitment to creating fonts that are not just tools of communication, but artworks that enrich the visual landscape.

Introducing Lomesty, a captivating signature monoline font that exudes elegance and style. Designed with precision and attention to detail, Lomesty is the perfect choice for adding a touch of sophistication to your projects. Whether you're creating wedding invitations, branding materials, or personal stationery, this font will leave a lasting impression. With its seamless integration of uppercase and lowercase letters, Lomesty offers versatility and flexibility in your designs. Its extensive range of numbers and punctuations ensures consistency and harmony throughout your typography. Lomesty goes beyond language barriers with its multilingual support, allowing you to express yourself in various languages and cater to a diverse audience. From English to Spanish, French to German, Lomesty has got you covered. Unlock the full potential of Lomesty with its PUA encoding, which provides easy access to alternate glyphs and ligatures. This feature enhances the flow and uniqueness of your designs, making them truly stand out. Experience the beauty and finesse of Lomesty, where every stroke embodies elegance. Let this signature monoline font elevate your projects and bring them to life. Whether it's a logo, a website, or an art print, Lomesty will leave a lasting impression.

Yakout is an Arabic text face that was developed by Linotype & Machinery in 1956 for hot-metal typesetting. Similar to the typewriter fonts created during this period, it utilises a limited range of letterforms to represent a full Arabic characer set, thus forming a style of type design known as Simplified Arabic. The skilful reshaping of letterforms demanded by the constraints of the original restrictive technology has given Yakout a very dynamic effect, and has helped to produce a design whose overall pattern works particularly well in newspaper setting. Digital technology has enhanced the original design by permitting the introduction of wide characters and some additional letterforms, and by improving the joining of the strong, slightly curved baseline. Yakout is available in two OpenType weights: Yakout Light and Yakout Bold. Both of the fonts include Latin glyphs (from Times Europa Roman and Times Europa Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Yakout incorporate the Basic Latin character set and support all languages that use the Arabic script. They include tabular and proportional Arabic, Persian, and Urdu numerals and a set of tabular European (Latin) numerals.

Milk And Honey is a modern vintage serif font packaged in a modern and classy style, complete with your OpenType feature access to access a large selection of alternative fonts and bindings, the choice of fonts you like from large and small font variations for a luxurious and elegant look. A unique, fun and versatile serif family with 20 ligatures and 97 alternatives to enhance any design you love. This font is perfect for branding projects, Logo design, Apparel Branding, packaging, magazine titles, advertisements, T-shirts, postcards and more. This typeface has been enriched with additional alternate characters of up to 329 glyphs. Hope it helps to capture the soul of any design. Finally, there are no words that can be said other than "Success and enjoy. Milk And Honey is coded with PUA Unicode, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters to paste into your favorite text editor/app. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ

Voila! This is it . . Classical Romance Decorative Serif Family Classic serif with 125 stylistic alternates for a uniquely vintage, yet modern feel. Each letterform has a slightly rough exterior that works beautifully to enhance Classical Romance’s soft, conventional details. This versatile display typeface has enough character for logos and branding, as well as headlines, apparel, alcohol labels, poster, online magazine, automotive, and much more. Keep it classic, or get decorative with ornate alternates for both uppercase and lowercase glyphs! This Classical Romance font was handwritten under the inspiration of traditional calligraphy and the wonderful magical vibe of Bali Island. Classical Romance brings more lovely old day vibes with 12 weights to matchmaking with your own style and it has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. Immerse more your arts in the classic feel with Classical Romance, and be classy! A guide to accessing all alternatives can be read at: http://adobe.ly/1m1fn4Y Features: A-Z Character Set a-z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

URW Dock is a contemporary geometric type family inspired by the square sans typefaces of the 60s, notably the Eurostile, which is still used in countless applications to the present day. Designed to meet today's requirements for a multifunctional font, this reinterpretation includes numerous enhancements and optimizations to ensure a professional use in today's digital age. Including a wide range of styles, an extended character set and a careful composition, it has the potential to give brands, artworks, and interfaces a modern, professional and unique touch. Its high legibility and clear informative and technological appearance are perfectly suitable for infographics, signage and way-finding systems. And especially when embedded in app, gaming and infotainment software it will display its strength. While the upright styles communicate a clear, professional and informative message, the italics express a technological, dynamic and forward-thinking spirit. An extensive language support, several figure sets and a wide range of OpenType Features will make the URW Dock font family a perfectly suitable partner for a wide range of print, web and app projects. For more information please have look at the URW Dock PDF Type Specimen.

Introducing Mandilla, a captivating bold calligraphy font that showcases natural brush strokes and exudes elegance in every character. With its distinctive style and versatility, Mandilla is the perfect choice for a wide range of design projects, from logos and labels to magazines, books, packaging, and more. The bold and dynamic nature of Mandilla makes it ideal for creating impactful and eye-catching designs. Its smooth and fluid brush strokes lend a sense of authenticity and craftsmanship to your typography, adding a touch of sophistication to your visual compositions. Mandilla features a harmonious combination of uppercase and lowercase letters, offering flexibility and creativity in your design work. The font also includes numbers and punctuation, ensuring seamless integration of numerical and textual elements in your projects. With multilingual support, Mandilla allows you to communicate your message effectively in various languages, making it accessible to a global audience. The font incorporates ligatures and alternate characters, enabling you to add subtle variations and artistic flourishes to your text. Mandilla is designed with PUA (Private Use Area) Encoding, granting you easy access to special characters and alternate glyphs. This feature enhances your design process, empowering you to create unique and visually captivating compositions.

Introducing Hellow Script, a delightful and versatile handwriting script font that brings a touch of elegance and femininity to your design projects. With its pretty and girly style, Hellow Script adds charming and effortless beauty to your typography. This font is incredibly user-friendly, allowing you to install it effortlessly and start creating stunning designs right away. From logos to labels, magazines to books, greeting cards to wedding invitations, packaging to fashion, and beyond, Hellow Script is the perfect choice for a wide range of creative applications. Hellow Script features a seamless combination of uppercase and lowercase letters, providing you with endless possibilities to create eye-catching and personalized designs. The font also includes numbers and punctuation, ensuring your text remains cohesive and well-designed. With its multilingual support, Hellow Script enables you to communicate your message effectively in various languages. The font incorporates ligatures and alternate characters, adding a touch of uniqueness and enhancing the natural flow of your typography. Hellow Script is designed with PUA (Private Use Area) Encoding, granting you easy access to special characters and alternate glyphs. This feature-rich font empowers you to create captivating designs that stand out and leave a lasting impression.

Ratgohe is an elegant script font with a contemporary atmosphere and impeccable shapes, inspired by timeless classic calligraphy. Neither too thin nor too thick, balanced and varied, Ratgohe is designed to enhance the beauty of your project. These designs are used for branding, web and editorial design, print, crafts, quotes, It's great for logos, wedding invitations, romantic cards, labels, packaging, name spelling and more. Ratgohe includes OpenType style alternatives, ligatures, and International support for most Western Languages. To enable the OpenType Stylistic alternative, you need a program that supports Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Ratgohe is coded with PUA Unicode, which allows full access to all additional characters without having to design any special software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any additional characters for pasting into your favorite text editor / application. How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Sienna is a soft serif typeface designed for both text and display purposes. Its soft and sharp structure creates an unusual, yet pleasing appearance. This leads to a comfortable reading experience with enough personality to create impactful titles and headlines, and Sienna will really shine in your branding projects. Variable versions of the fonts are available allowing you to fine tune the weight to your exact liking. Small Caps are included (along with their matching diacritics) – adding another layer of versatility to this typeface. Proportional Lining figures are an option if you prefer them to the default Old Style figures. A number of swash alternates enhance Sienna, giving you the opportunity to add more flair and personality to your title and branding designs. Simply activate Stylistic Sets to start adding flourishes to your typography. There are 14 fonts altogether, with 7 weights in roman and italic from Thin to Black styles. Sienna has an extensive character set (800+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic Variable fonts included with full family 59 Alternates 8 Ligatures Small Caps Full European character set (Latin only) 800+ glyphs per font.

Are you ready to delve into the rich depths of history? Are you ready to make your branding bold? Are you looking for a statement font that exudes prominence, style, and adventure? Introducing Fenway - A Clean Script Font. This clean script font can be used for a host of different content needs and projects. Use it to make your headings stand out, enhance your logos, style up your business cards, elevate your website and social media, and bring class, style, and history across all your channels. Get ready to captivate, engage, and inspire your audience and clients with Fenway. What you’ll get: - Multilingual & Ligature Support - Full sets of Punctuation and Numerals Compatible with: - Adobe Suite - Microsoft Office - KeyNote - Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

The new Linotype® Devanagari typeface is a traditional text face now available in five weights (from Light to Black) and suitable for a wide variety of print and digital uses. A compact design, Linotype Devanagari also provides economy of space where textual real estate is at a premium. In addition, its large character set enables the setting of Hindi, Marathi, Nepali and is suitable for Sanskrit passages. The design’s open counters ensure high levels of legibility at small sizes and at modest resolution. The history of Linotype Devanagari is quite extensive. Inspired by the late 19th and early 20th century Nirnaya Sagar designs, it was originally designed in 1977 by Mathew Carter for phototypesetting systems. It was then revised and expanded for digital typesetting by the Linotype letter-drawing studio headed by Georgie Surman under the art direction of Fiona Ross. This new, enhanced revival was designed by Lisa Timpi and Gunnar Vilhjálmsson with Fiona Ross as a consultant. This new Linotype Devanagari is part of a project to refresh the pivotal Linotype Bengali and Linotype Gujarati typefaces and make them available for the first time in the popular OpenType font format.

Introduction to Rapsed Vintage – Stamp Font Rapsed – Vintage Font is a unique serif font, embodying a retro and vintage feel. It features a grunge, stamped, rough appearance, ideal for nostalgic designs. This font captures the essence of a bygone era, making it perfect for projects seeking a classic display. Design and Texture Rapsed’s design boasts large, prominent serifs, giving it a bold and distinct look. Its textured, rough edges simulate a stamped effect, adding an authentic vintage character. This grunge aesthetic is not only eye-catching but also adds depth to the font, enhancing its retro appeal. Versatility in Use Rapsed is versatile for various design applications, from branding to poster creation. Its vintage style is perfect for thematic restaurants, event flyers, and historical projects. Additionally, its distinct appearance makes it suitable for book covers and merchandise that require a touch of nostalgia. Accessibility and Appeal Designed to be user-friendly, Rapsed appeals to a wide range of audiences. Its simplicity in design ensures readability, while its unique character captures interest. This font is a valuable asset for designers aiming to infuse a vintage feel in their work, bridging the gap between past and present design trends.

Velo leads layouts with a grand tour champion’s panache but is also a hard-working design domestique for text-heavy applications. Superelliptical shapes and sturdy serifs will keep pace with contemporary culture with an aesthetic agility that will never go out of style. Velo Serif includes sixteen fonts: Twelve display styles ranging from thin to black with complementary italics and four text styles designed for longer settings. Velo Serif Display features an increased x-height for more illustrative headlines while Velo Serif Text maintains a readable cadence in high word count environments. Designed by House Industries, Christian Schwartz, Mitja Miklavčič and Ben Kiel. FEATURES Text vs Display: Velo Text maintains the distinctive style of its Display siblings, but is enhanced for optimum legibility in running text settings. Key ligature combinations keep headlines and running text flowing smoothly. Velo Serif Text includes a complete small cap alphabet to add another typographic dimension to your layouts. Select Velo Serif figures include illustrative alternates to display numerical superiority. 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.

Ramadan Letter is a striking display font that draws its inspiration from the intricate beauty of Arabic calligraphy. Ramadan Letter is more than just a font; it's a symbol of heritage and visual artistry. It's the perfect choice for projects that require a touch of cultural sophistication and a bold presence. The characters in Ramadan Letter are meticulously designed with a substantial weight that exudes a sense of boldness and presence. The elegant line ornaments add intricate details, enhancing the font's beauty and cultural significance. The low contrast between letters ensures legibility and a harmonious visual flow. In addition, you can also enjoy the features here. Features: Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuations Ramadan Letter fits in headlines, logos, posters, flyers, branding materials, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing

URW Dock Condensed is the matching complement for the URW Dock. Including 20 additional condensed styles the URW Dock Condensed is the space-saving alternative in the URW Dock family. URW Dock is a contemporary geometric type family rooted in the square sans genre. Inspired by the square sans typefaces of the 60s, it is a reinterpretation and enhancement particularly designed for today’s requirements of a multipurpose font: to work excellent in print and screen environments. Including a wide range of styles, an extended character set and a careful composition, it has the ability to give brands, artworks, and interfaces a modern, professional and unique touch. Its high legibility and clear informative and technological appearance are perfectly suitable for infographics, signage and way-finding systems. And especially when embedded in app, gaming and infotainment software it will display its strength. While the upright styles communicate a clear, instructional and informative message, the italics express an industrial, dynamic and forward-thinking spirit. An extensive language support, several figure sets and a wide range of OpenType Features will make the URW Dock font family a perfectly suitable partner for a wide range of print, web and app projects.

Discover the versatile and stylish Abraham Font Family at MyFont. With 8 unique styles, including Regular, Italic, Rough, Stamp, Shadow, Outline, and Rounded, this modern sans-serif modular family offers endless creative possibilities. Perfect for a wide range of design projects, Abraham is suitable for logos, greeting cards, quotes, posters, branding, business cards, stationary, blog headers, and more. Each style of the Abraham Font Family features both uppercase and lowercase letters, ensuring flexibility in your designs. Additionally, it includes stylistic alternates, standard ligatures, and numerals & punctuations in OpenType format for seamless typography. Enhance your artwork with the multilingual support of the Abraham Font Family, which includes a wide range of accents and characters to accommodate various languages. The font family is PUA encoded, allowing for easy access and usage across different platforms and software. With the Abraham Font Family, you'll receive the following fonts: Abraham Regular, Abraham Regular Italic, Abraham Outline, Abraham Outline Italic, Abraham Rough, Abraham Stamp, Abraham Shadow, and Abraham Rounded. Whether you're designing greeting cards, package designs, brand identities, or art projects, Abraham Font Family will add a touch of sophistication and creativity to your work.

Designer RD was created in 1999, at the same time as Just Square and Why Square typefaces, and envisioned to be their rounded alternative. Zoran based the font on the logotype his son Nikola made and its primary purpose is to be used in logotypes, headlines, fliers, websites, etc. that are going for a hard geometric look. Designer RD’s character set supports Western European languages, as well as the Cyrillic script.

Céline was inspired by a recent trip to a vineyard in the South of France. A vintage stencil numeral set was etched onto the wine fermentation tanks. Céline is a one weight stencil display typeface with plans to expand the family with multiple weights and non stencil versions. Céline includes some language support, standard and discretionary ligatures. I hope you enjoy it as much as I did making it.

The Brave Brigade font is inspired by military uniforms and badges. It is suitable for use as a display font for display purposes. We desire to provide military fonts that have a variety of styles not just based on military themes. It is available in three styles: regular, halftone, and military stencil. There are tons of uses for it, including branding projects, posters, packaging, magazine covers, and more.

The Theo Ballmer font family is based on Theo’s design ideas which were completed by his son Theo Ballmer (Thierry’s father), and digitized by Thierry, with the help of URW++ and their Ikarus technology. Theo Ballmer is available in 3 x 5 variants: condensed, regular, expanded each in 5 weights. Theo Ballmer is a masterpiece, which fills a historical gap and provides a real font family from the Bauhaus era.

Colonna is an inline roman typeface with some very elegant letterforms, based on artwork obtained by Stanley Morison during 1926 as part of a program to increase the range of display faces in the Monotype library. The letters of the Colonna font have an inscriptional feel about them, figures are non-ranging. Originally developed as an advertising face, Colonna is at its best when used in large sizes.

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

With its well-defined characters that are readily legible even in the small font sizes, Mantika Sans by Jürgen Weltin is ideal for typesetting. The elaborately designed and highly individual set of italics enhances the attractiveness of the font.Jürgen Weltin developed the Mantika™ Sans sans serif font using older designs for an serif font as his inspiration. Nothing more than the merest suggestion of the original serifs has survived. Bevelled line endings and the slight variation in thickness of verticals, in particular, provide Mantika Sans with a very dynamic character that evokes manuscript. Short ascenders and descenders give the font a compact appearance that is also underscored by its condensed proportions. Weltin has achieved his aim of producing a typeface with excellent legibility even in small sizes not just by means of the x-height, which is tall in comparison with the capital letters, but also by using clearly defined and well differentiated designs for critical letters, such as i", "I" and "l". Lower case "i", for example, has a serif while the "l" has a curved base.In addition to uppercase numerals, Mantika Sans also has lowercase or old style numerals that have been designed so that they can be used in both tabular and proportional settings. The uppercase numerals are slightly shorter than the uppercase letters, ensuring that the latter can be sympathetically incorporated within continuous text.The Mantika Sans italics are very unusual. They are inclined at only 4.5° (the usual angle for italics is 10 - 12°) and so appear to be almost upright. In addition, they also have quite distinctive forms. The overall effect calls attention to their curvilinear, manuscript character, enhances contrasts and further emphasizes the terminals. Weltin explains: "Within the variety of forms of the italics there are many contrasting terminal elements that create dynamism. The result is a diversity of interaction between the rounded and angular forms". Mantika Sans Italic thus has all the features of a display typeface, but can also be happily used on its own to set longer text passages. Mantika Sans is available in two weights; Regular and Bold, both of which have corresponding italics sets. Mantika Sans has been designed so that the widths of the four related cuts are identical, meaning that a change of font within a single layout will have no effect on justification. In addition, the members of the Mantika Informal font family, designed by Jürgen Weltin in 2010, also have the same thickness. Other font families having weights with equal thickness can be found in the "Linotype Office Alliance series".The Mantika Sans character sets are paneuropean. There are characters for setting texts in Eastern European languages, Greek and Cyrillic. There is also a range of special symbols, including right-angled brackets, subscript and superscript lower case letters, together with numerals, arrows and many different bullet points.As a vibrant and highly legible text font, Mantika Sans has a broad spectrum of potential applications. Its unusual italics are not just perfect for use in display text. The fact that it has only four cuts means that Mantika Sans is particularly suitable for office use or for the setting of business reports. Its excellent legibility even in the small font sizes also makes it ideal as a text for electronic reading devices; this also applies to Mantika Informal.At the 3rd International Eastern Type Design Competition Granshan 2010, Mantika Sans was awarded in the category Greek text typefaces."

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.