Princess Berlianty is a new modern calligraphy monoline script font. It has a classic and elegant touch and can be used for various purposes such as headings, logos, invitations, t-shirt designs, greeting cards, posters, labels, book covers, brochures ,quotes, headlines, titles, thumbnails, and any other creative design. Features : - Uppercase & Lowercase - Numerals - Punctuations (OpenType Standard) - Accents (Multilingual characters) - Ligatures - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word. don't wait anymore, put it in your shopping basket :) and follow me, because there will be many promos!

Merosa is an experimental display serif font that I crafted for fashion design. You can also use this font for other purposes such as logos, labels, invitations, magazines, books, greeting/wedding cards, packaging, stationery, novels, labels, any type of advertising and etc. Feature : - Alternates and Ligatures - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in Adobe Illustrator, Adobe Photoshop, and Adobe InDesign, and even works on Microsoft Word. We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. Thank You!

Personally I think a brush font should have the word ‘Brush’ in its name. It’s not that easy finding a name - you need some magic to come up with a good one! Magical Brush is a completely handmade font. I used a small brush (a number 3 to be precise) and Chinese Ink. I wanted just a little ‘erosion’, so I used copier paper rather than my expensive French water color paper (which is quite rough). Magical Brush comes in the normal variant and a chickenpox one. Use it for your posters, your book covers and your Christmas invitations!

Moonspace is a unique display sans-serif font with a captivating wave-like character on each letter. Despite its slightly taller height, this font remains highly legible and suitable for a wide range of designs. With its distinctive design that sets it apart from other sans-serif fonts, Moonspace adds an artistic touch to your designs. It's perfect for use on posters, magazines, brochures, and other creative projects. Crafted with precision and balanced letter proportions, Moonspace delivers a professional and eye-catching look. It's suitable for use in a variety of designs, from modern to classic.

Introducing Dauntea - Modern Serif Typeface, created by ikiiko. Dauntea is a bold serif typeface with a unique decorative shape. The form is inspired by the shape of leaf with the unique tail character on uppercase. Dauntea is a simple font with calm impression. This typeface is perfect for an elegant logo, branding, layout magazine, home & decor layout, beauty product, packaging product, quotes, or simply as a stylish text overlay to any background image. What's included? Uppercase & Lowercase Number & Punctuation Multilingual Support Works on PC & Mac Enjoy our font and if you have any questions, you can contact us by email : ikiikowrk@gmail.com

Hand-hewn along the banks of the mighty River Raisin in Southeast Michigan, this heavy block typeface is the perfect addition to any design project in need of a stout, yet fun typographical treatment. Before this font made its journey into the outside world, it began its life as a 4B pencil sketch on cheap inkjet printer paper, as many of my projects do. This typeface, not unlike me, doesn't waste its time with finesse, or convention, and truly doesn't mind being a little bit on the thick side. There is a time for refinement and propriety, but this ain't it.

Mexiland is a display script and serif font duo with a unique vintage aesthetic. it has charming retro characteristics, but still maintains a timeless and universal appeal. Mexiland is perfect use for a logotype, typography design, product packaging, quotes, t-shirt design, label poster, headings, letterhead, cutting sticker, hot stamping, signage, and anything that need vintage vibe. Combine them to give your designs an extraordinary look! Feature : - A lot of Alternates ( With a Total of 700+ Glyphs ) - Multilingual Language - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even works on Microsoft Word.

Introducing Kagnue Serif Font - A Brand New Serif Font with Classy and Modern style, Kagnue Serif font made with combination from classic italic font and modern shape. Kagnue Serif font come with More Opentype Feature, more neat curves. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! Fully accessible without additional design software. I really hope you'll get pleasure using Kagnue font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

KINDERS is a Thin Linear typeface with elegant in every single letter. This font looks modern, readable, stylish, catchy and easy to use. KINDERS Font is the best choice for your professional design projects, including : logo, poster design, t-shirt, headline, flyer, cd cover album, quotes, business card, branding, magazines, social media, advertisements, product designs. Highlight: - Easy instalation - Work on PC or Mac - PUA Encoded Support - Basic Latin A-Z and a-z - Numbers - Symbols - No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word.

Halisah is monoline script font which natural movement and elegant for valentine style. Halisah perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste. ________________________________________ What’s Included : • (OTF / TTF/WOFF) • Standard Glyphs • Ligature • Works on PC & Mac • Simple installations • Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. • PUA Encoded Characters – Fully accessible without additional design software. • Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ ________________________________________ Thank you for your purchase! Hope you enjoy with our font!

Aladdin Black is the 3rd member of our Aladdin Bold Font Family. This new style is extra bold and slightly rounded on the outsides of the glyphs. It is fat, fancy, fearless, forward, devilish, heavy, and stylized. Aladdin Bold was my first font introduced in 2012. I've always felt there were possibilities of adding styles to this family and something triggered the decision, so...here it is. I took much time deliberating over many of the finer details in this version of Aladdin and I hope the 'devil is in the details' for whoever decides to try on Aladdin Black.

The font Eckmann is named after its designer, Otto Eckmann, and appeared with the Klingspor font foundry in 1900. The influence of the Jugendstil is clear to see in the flowing floral contours of the letters. This font was made for larger point sizes, like on posters, and while relatively legible, it is not meant for smaller print. The font was often used in book titles and advertisements of the 19th century and today Eckmann is often used to suggest a feeling of nostalgia and is often found on the Jugendstil facades in Germany, Austria and Switzerland.

Say hi to our newest product called ‘Herlianty‘ which is a natural handwritten font, with an original handwritten look, highlighting the uniqueness of each character and having several ligatures that will add an elegant impression to the design. This font is very perfect for wedding designs, wedding invitations, stationery, logotype, branding, display, fashion design, poster and more. Herlianty includes full set of uppercase and lowercase letters, numeral, punctuations and ligatures. Included in this set: Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software

Introducing Boiller Typeface 💖💖Boiller💖💖is a sans serif font that has an elegant romantic concept, supported by 736 glyphs. The Boiller font has a lot of alternative characters, from swash, ligature and of course it is also supported by multilingualism. In addition, Boiller also has 14 families from Thin to Heavy. So it can be used for body text and header text. Boiller is very suitable for design concepts that are elegant, simple, minimalist and romantic. Can be used for wedding card designs, shop signs, logotypes, promotions on Instagram and so on.

Cottonwood is a group effort of the typeface artists K.B. Chansler, B. Lind and J. Redick and displays the unmistakable look of the Wild West. It is stylistically modelled on the typefaces used in advertisements and signage toward the end of the 19th century. Typical for these capital alphabets are the split serifs which emphasize the markedly decorative character. Cottonwood is a kind of homage to the Western typefaces (woodtypes) which became popular through their use on Wanted signs in Western films. Cottonwood is best used sparingly in headlines to best emphasize its decorative, 'wild' character.

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" Featured in: Best Fonts for Logos

ITC Legacy¿ was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and character. As Jenson did not include a companion italic, Arnholm turned to the sixteenth-century types of Claude Garamond for inspiration for the italics of ITC Legacy. Arnholm was so taken by the strength and integrity of these oldstyle seriffed forms that he used their essential skeletal structures to develop a full set of sans serif faces. ITC Legacy includes a complete family of weights from book to ultra, with Old style Figures and small caps, making this a good choice for detailed book typography or multi-faceted graphic design projects. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e."" ITC Legacy® Sans font field guide including best practices, font pairings and alternatives.

Aldero™ strives to be as useful to any design environment as Alder trees are to the forest. Wildlife and insects feed on Alder leaves and seeds. The tree also provides shelter for animals in winter while its shades keep streams from getting too hot in summer. The trunks and branches are excellent habitats for lichens and mosses. The nitrogen-rich leaves help fertilize the soil where they landed. Alder’s utilitarian nature inspires us to create Aldero™, a handy, versatile, go-to type family for all professional designers. To achieve what we set out to do, we gave Aldero™ the two-in-one looks, doubled the sets of ligatures, and loaded it with plenty more of Opentype features. We put in long hours, months after months, until we are proud of the outcome. And we truly believe that you will enjoy working with this typeface as much as we do. With five weights, ten styles, and 1,100+ glyphs per style, this versatile typeface comes with virtually two looks. The standard glyph set is perfect for formal, corporate design, while the stylistic alternate set elicits a fun, friendly, and casual feel. You can use each style separately or mix and match them to achieve your design aesthetic. Thanks to these options, a wide range of design possibilities are at your fingertips. In addition to the two large sets of ligatures (for both the standard and the stylistic glyph sets), we also pack tons of Opentype features into Aldero™ to improve your user experience while working with this typeface. To activate the case-sensitive features, for example, highlight the phrase with the type tool, then hit the “All Caps” button; or select each mark, punctuations, or symbols with the type tool, then choose the case-sensitive option from the Opentype popup window. Hope you enjoy working with Aldero™ as much as we do! To find out more about Aldero™ Opentype features and type specimen, please visit https://r9typedesign.com/aldero-features

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.

Archive Garamond is a typeface roughly based on the designs of Claude Garamond (ca. 1480 – 1561), a French publisher and a leading typeface designer of that period. Garamond’s influence on type design is reflected in many typefaces that are today known under different commercial names. While the majority of contemporary digital interpretations of the “Garamond types” are cleaner and more polished versions of that genre, Archive Garamond tries to keep the rough nature which was typical in the early days of printing. Archive Garamond has a rather unique, distinctive temperament which is even more emphasised with the preserved non-uniformity, such as irregular glyph shapes or a variable baseline. Although Archive Garamond was clearly made to be used for display sizes it works surprisingly well in text. Archive Garamond is availale in three versions, each containing approximately 600 glyphs (in Pro versions). Archive Garamond Pro A Professional version of the typeface contains all glyphs, including the advanced typographic forms, such as different sets of figures, small caps, swashes, historical forms, etc. The font also enables full use of the OpenType features. It fully supports the languages listed in the language list. Archive Garamond Std A Standard version of the typeface is meant to be used for the basic typographic work. It typically contains the most common glyphs. The standard figures are proportional lining. Besides kerning this version does not contain any advanced OpenType features. A Standard file type fully supports the languages listed in the Language list. Archive Garamond Exp An Expert version contains glyphs that are supposed to be used in advanced typographic works. This type of file contains uppercase and small cap glyphs with the proportional oldstyle figures as the default set. Besides kerning this version does not contain any advanced OpenType features (all OTF features have to be replaced manually). An Expert file type fully supports the languages listed in the Language list.

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

This is the 100th font released by CheapProFonts, and I wanted to make something special - so I have chosen to upgrade one of the most popular free fonts ever: the one and only Scriptina by the infamous Fredrick “Apostrophe” Nader! After first cleaning up the outlines, spacing and kerning, Scriptina Pro has been expanded with a set of alternate letters without the loops and swashes, using the OpenType contextual alternates feature to switch them around automatically to avoid too many overlapping and repeating elements. You can also manually turn off the loops and swashes with the OpenType titling and swash features respectively. The originals alternate letters have been incorporated as stylistic alternates (and stylistic set 02) and the ligatures as discretionary ligatures if you should want them. The alternate non-script lowercase z is programmed as stylistic set 01. In addition Scriptina Pro has been given the usual CheapProFonts large multilingual character set, of course. I hope many will enjoy the improvements and additional language support. And, naturally: it is still free! 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.

Koufiya is designed by Nadine Chahine in 2003 as part of her MA project at the University of Reading, UK and later released by Linotype in 2007. It is the first typeface to include a matching Arabic and Latin designed by the same designer at the same time with the intention of creating a harmonious balance between the two scripts. The Arabic part is based on the Early Kufi style popular in the 7th to 10th century AD. It is characterized by a strong horizontal baseline, horizontal stacking order, clear and open counters, and a general open feeling. Though based on the earliest styles on Arabic manuscript, the design paradoxically appears quite modern and fresh. The Latin part of Koufiya recalls a Dutch influence in its shallow top arches and rather squarish proportions. Both Arabic and Latin parts have been carefully designed to maintain the same optical size, weight, and rhythm. However, no sacrifices were made to make them appear closer to each other. They are designed so that they work well together on the printed page, and to make sure that the two scripts are harmonious when they are mixed together even if within the same paragraph. The font includes support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

I am so happy to introduce my brand new handwritten font that exudes chic elegance like no other - meet In Love With Rome Script. Every single letter has been lovingly crafted by hand, resulting in a stunningly unique typeface that's perfect for anyone looking to add a touch of sophistication to their designs. With 274 alternate letters and ligatures, you'll have all the tools you need to create truly one-of-a-kind pieces. But what sets this font apart isn't just its beauty - it's also incredibly versatile. Whether you're working on a wedding invitation, a branding project, or simply adding some flair to your social media posts, this font is the perfect choice. It's feminine, cool, and it strikes the perfect balance between modern and classic. So if you're looking for a font that's as beautiful as it is functional, look no further! In Love With Rome Script Font Includes: Over 274 Ligatures and Alternates Full Language Support Lowercase and Uppercase letters Numerals & Punctuation Web Font Kit is Included as Well NOTE: Ligatures are supported in most desktop programs including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Most of them will have this option automatically switched on. If you're using Canva, ligatures are not supported out of the box, however, I have included detailed instructions on how you can use them for your designs as well! Happy creating everyone!

A narrow, modern Slab Serif. JOSEFOV is directly derived from the sans serif text font ”Hedwig“. Therefore, of course, it pairs best with “Hedwig”. The basic thought was to create a font with heavy rounded serifs in the style of ”Clarendon“ but which hardly reminds one of that particular font. The form principle of rounded serifs is applied whenever possible — for example at the points where the individual strokes of the characters join one another. JOSEFOV seems very technical, very constructed (and truly is). In order to soften up the rigid impression, the serifs are applied at some points contrary to the tradition handed down, as with the upper case A C G K M V W and the lower case a b d h i j k l s t. Historically there is no example of the laterally oriented serifs of capital and small s (S) and C G. On the other hand, the double-sided serifs on the stems of b d h k l appear at the beginning of modern times in the very first serif types from five hundred years ago. The double-sided serifs of A M V W were also customary in the first decades of printing. JOSEVOV is particularly suitable for topics such as nature, folklore, culture, music, nutrition.

Since many years I live in Munich and read the daily newspaper Abendzeitung. One morning they had redesigned the paper, using Eric Gill's Joanna for the body copy and a tweaked version of Franklin Gothic for the headlines. Since both typefaces are my all-time favorites, I was very pleased. The old hand-lettered title lettering designed by in-house designer Ernst Friedrich Adler around 1947 or 48 was untouched as it always was. Adler had worked for the newspaper an incredible 47 years! Ernst Friedrich Adler celebrated his 100th birthday in the summer of 2007 looking very healthy. But someone had adapted his title lettering for use in the chapter headings, and I did not like the way that was done. Every morning I saw those letters and thought "one day I have to clean that up". About 15 years later I finally did it! Being at it, I designed the whole typeface and added a second fancy cut. And, what do you know, the people at the Abendzeitung called me up and said they liked what I did and started using it. So since that day in 2005 I can read my morning paper without having to wonder about the chapter headings. Well maybe one day they will do another redesign and maybe they will use another one of my fonts. Your editorial typeface designer, Gert

OkayCursive began over coffee, in a local flower shop, where my wife takes a floral arrangement class. I discovered a book there, with old photographs from Paris of flower shop displays. What caught my eye in the background of one of these photos, was the hand-painted lettering on a sign. Inspired, I quickly sketched some of the letters on a napkin and stuck it in my pocket. I began to sketch more over the next few days, looking to construct a full-out cursive font with this distinct French look. I wanted my design to be creative & free flowing, but I also wanted it to be at least somewhat proper. So, I consulted some schoolbooks for reference on the correct cursive forms. After more drawing, I began to create the final vector art. Gradually, these ideas -- plus many hours of careful kerning and metrics -- came together to form OkayCursive. Use OkayCursive any time you want fancy, legible, and luxurious text. Works great if you are designing a logo, or use it to create some beautiful titling. Use it for advertisement copy, or even for short to medium-length bodies of text -- go ahead and have fun with it. OkayCursive is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications.

Noyh is a modern geometric font family that is based on research of similar typefaces of the 1990s and 2000s. Based on that research, font designer Chatnarong Jingsuphatada created a design whose main purpose is to perform equally well in as many environments as possible. Noyh offers a geometric structure with smooth corners, giving it great legibility and making it clean and friendly. As a result, Noyh works well both in print and on screen; it can be used freely for e-books and mobile applications and is perfect for headlines, banners, posters, web-sites, magazines, etc. Perhaps the greatest advantage of Noyh is the stunning number of fonts it includes. There are no less than 72 fonts, each containing over 350 glyphs. The family has 4 formats – Normal, Rounded, Slim and Slim Rounded. Each format is supplied in 9 weights – from Hairline to Black with their respective italics. The individual fonts work very harmoniously with one another, giving the potential user a variety of options. The Noyh font family was created by Thai designer Chatnarong Jingsuphatada and is released by the Typesketchbook type foundry. Chatnarong intends to add an additional member to the family – Noyh A – that will include ornaments, undoubtedly making the Noyh family even more versatile and multi-functional. In the meantime, please take a look at his other typographical projects: Delm, Mairy, Tolyer, Abula.

While I was in Boston in 2014, I visited the Museum of Fine Arts and to my good fortune there was an exhibit of etchings by Rembrandt, one of my favorite artists. As to be expected, many were simply gorgeous, but one especially caught my eye. It was an etching of a priest (Jan Cornelis Sylvius, Preacher) with an extensive amount of writing in Latin. While I'm not certain that it was Rembrandt's own hand, the script was beautiful and I was fascinated by it because it had to be written on the etching plate in reverse. I snapped a few photos using my phone and later found other editions on line. I was so taken by the script that it begged me to create a modern typeface from it. The result is Saskya, named after Rembrandt's wife Saskia. There were many ligatures and glyph variants in the print, of which I captured many of them and made them accessible via OpenType features. The complete alphabet was not present in the sample, however, I discovered some other source material to sensitively fill in those gaps, with a remaining last few that I created myself. A truly romantic hand, Saskya will work well for invitations of many sorts, and when you're looking for that 'old thyme' scripty feeling in your graphics.

One of the earliest fonts published by Canada Type was Almanac, Phil Rutter's digitization of Imre Reiner's 1957 calligraphic typeface, London Script. In 2007, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch, using larger originals. This new digitization maintains a soft contour and, slightly darker and steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Reiner Hand, to better reflect the origins of the design. Reiner Hand is soft and irregular jolts from a calligraphy master's hand. In a very Reineresque fashion, most characters include the one finishing stroke that makes professional calligraphers pause and ponder this additional touch to a letter's personality. Reiner Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them loaded with alternates and ligatures. The OpenType version combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.