Charming young Italian lady named Donna Lucia that is my handwritten script font. Donna Lucia is feminine and graceful calligraphic handwritten script font as plus a Symbols font with 52 lovely hand-drawn swashes and illustrations. Donna Lucia script is perfect for branding, logos, wedding stationery, social media, packaging, and other projects that require an elegant touch. Donna Lucia feminine font includes also Cyrillic glyphs. Uppercase lowercase and lowercase with flourishes. Donna Lucia script contains a full set of uppercase letters and 3 full sets of lowercase letters, (standard, alternative, and initial form) and 27 ligatures - which can be used to create a handwritten calligraphy look. Donna Lucia Symbols is a font with over 52 hand-drawn elements, illustrations, and swashes and can help to make your design more original. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Donna Lucia Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian and Ukrainian languages.

LunchBox Slab is the pair of LunchBox, a uniquely hand-drawn typeface that gives numerous customizable options and a fully authentic look. The serifs in LunchBox Slab are simple blocks, with bulbous terminals on curved letters, which creates a unique effect. Identical to its pair behind the scenes, LunchBox Slab’s OpenType features allow access to over 1,500 different characters. Contextual alternatives give each letter 4 different character styles, all cycling through each other to ensure that no two letters ever show up together. There is also a custom set of small caps, each with 4 style variations as well. Stylistic alternatives give an extra hand-drawn flourish, loop and slight variation, also with 4 different styles per letter. Discretionary ligatures pertain to both regular all caps LunchBox as well as stylistic alternatives. It gives special letter combinations a unique interaction, giving your design a unique and personalized look without spending hours creating it and outlining your text. Included are also a set of swashes that also have four style variations to both the regular and stylistic alternatives, as well as lowercase letters with ascenders and descenders. All of these options are available in Light, Regular and Bold. LunchBox Slab Ornaments includes nearly 200 different graphics, flourishes, frames, catchwords, text breaks and arrows. If you do not use OpenType but are using a program that includes a full glyph panel, you will be able to manually access each of the style variations you want. Enjoy!

Aeonian, designed by Emilia Adorno, was mostly inspired by the iconic morphology adopted by the arts of the 1920s. One hundred years later we can still see the resemblance between the wants and the needs of now and then to reach for the sky, to look ahead and enter the future in style. Now as then, we seek the right tools to do so, then once again, we embrace the rational, yet elegant and stylish forms of simplicity, geometry and symmetry. At the same time, there is a strong and growing need for a warmer approach to creating lovemarks. For that, Aeonian’s alternates hold attractive, soft and inviting shapes to an emotional appeal. Aeonian is a combination of all of them. A rational side entwined with an emotional one. Born a geometric sans, Aeonian ended up being a 2 in 1 font with a sans serif set and alternates reaching over 1200 glyphs. The entire family contains 6 weights, from thin to black, with its matching italics. It features a variety of ligatures to be used as connectors, specially for display. It also offers multilingual support, even for certain display ligatures. Later, Aeonian kept growing, with stylistic alternate sets of initial, mid and final glyphs. These are its arms to reach for infinity with a warm heart. The wide range of possibilities that Aeonian offers, makes it the best font for creating vast design systems with a rich visual language.

While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread from those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather’s library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century. Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling’s exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase. Bellissima has an effusive energy that appeals much beyond its sourcing. It’s intended for these modern times of appreciation for old crafty things like stationery and letterpress, where its origins help it shine brightly. Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.

Elsain is a serif family font that is very unique on the edges with different angular styles, the spacing between these fonts is made very tight to deepen the character of this font. This font is great in layout design for quotes or body copy, best used as a display for headings, logos, branding, magazines, product packaging, invitations or anything else. Elsain Serif Family has many features such as Multilingual support, has 14 font families from thin to thick and also 2 variables. This font is also available in Cyrillic to complement many other languages. Not to forget it is also available in Greek form, and some other accessories. This completeness can be used in various letters from various countries such as English, Indonesian, Afrikaans, Basque, Breton, Catalan, Danish, Dutch, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Norwegian, Portuguese, Saami, Spanish, Swahili , SwedenCroatia, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian, Slovak, Slovenian, Turkish, Avar, Balkar, Belarusian, Bulgarian, Chechen, Erzya, Ingush, Lezgian, Macedonian, Moldavian, Ossetian, Russian, Serbian, Ukrainian, Greek and others. What do you get: Elsain Serif Regular and Italic Elsain Variable Regular and Variable Italic TTF. Accessible in Adobe Illustrator, Adobe Photoshop, and Adobe InDesign, it even works in Microsoft Word. Fully Encoded Characters are accessible without additional design software. Images used: All photos/images/vectors used in the preview are excluded, for illustration purposes only. Feel free to follow, like and share. thank you very much for checking my store!

The slope and clear rhythm of the Hello January Cyrillic cursive script font will harmoniously blend in with the laconic design of your projects. Also, elements from the Hello January symbols font will be a good addition to it when creating logos. The font pair Hello January script font will look gorgeous on wedding stationery, love stories, branding materials, monoline logos, business cards, Insta quotes, elegant fashion sketches, and much more. Hello January script font contains the Cyrillic glyphs too. Hello January script is pretty monoline cursive font, plus a Symbols font with 36 lovely hand-drawn swashes and illustrations. Hello January script font contains a full set of uppercase and lowercase letters. Hello January Symbols is a font with over 36 hand-drawn elements, illustrations, and swashes that can help you to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Hello January Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. Cyrillic glyphs support Russian, Belorussian, Bulgarian, and Ukrainian languages.

FF Kievit Slab is an industrial strength, do anything, go anywhere, kind of design. Its exceptional legibility and straightforward strength contrasts with a friendly humanistic underpinning. Michael Abbink and Paul van der Laan carefully revised character shapes and stroke contrast of FF Kievit, when they adapted them to FF Kievit Slab. The result is that the striking and powerful FF Kievit Slab easily complements the other members of the FF Kievit super family, that also includes FF Kievit and FF Kievit Serif, and stands on its own in as a multi-talented design. Though created from the sans, FF Kievit Slab is not FF Kievit with slabs serifs tacked on. The family is the fruit of a four-year collaboration between Abbink and Van der Laan, to make the perfect companion to the FF Kievit family. Each glyph was painstakingly adjusted and to achieve proper density, contrast, and balance, while remaining a perfect companion to its sans serif and oldstyle cousins. Its nine weights and italics also harmonize perfectly with the original FF Kievit design. Each of the FF Kievit styles is a typographical all-rounder that is equally at home in headlines as it is in text copy. Together, the three designs of the FF Kievit super family span a wide and deep typographic universe in which they support one another perfectly. These fonts will help you achieve your typographic goals, no matter how lofty. Featured in: Best Fonts for Websites

Every font designer has their own favorite font type, which you do not need to find as it takes too much time to figure it out for you until you can match it with a perfect font. Ringtail has the best answer to your needs. Ringtail is a font containing two font types to use together or separately: sans serif and script fonts. Sans serif font has firm, modern, simple looking lines without curvy edges. Meanwhile, the script font has curvy lines in water paint or ink textures. The textures are extra lines added to each letter and to the background letter patterns. A textured script font looks more artistic and more detailed than the other ordinary script fonts to show elegant, romantic impressions in your designs. Additionally, script font can be applied for adding extra visual contrasts to designs with sans serif font. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Ringtail fits best for various design projects, such as brandings, posters, banners, logos, magazine covers, quotes, headings, printed products, invitations, name cards, merchandise, social media, etc. 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.

Space Rocks! A Retro Sci-Fi Font Inspired by 1950s Television Serials “Oh boy, oh boy, oh boy! The next episode of Space Rocks is on tonight! What’s it about? Well, it’s all to do with this family of astronauts who crash land on Mars and how they survive all sorts of alien creatures and killer storms! The science is really real too! Who needs school!!!” And so goes the story of one young fan whose imagination is captured by the latest offering in a golden-age of TV science-fiction. A brand of 1950s programming that offered a light-hearted and optimistic view of the future full of exploration, discovery and hazardous adventure! Sometimes even a cautionary tale to live on in your nightmares! With Space Rocks I want to capture this vibe with an all-caps design inspired the opening titles of these shows, fully hand-drawn with a range of discretionary ligatures that add a comic (not atomic!) touch. The package includes Regular and Outlined (all hand-drawn) versions with a complete set of alternatives to help maintain the analogue look. This font also includes unique uppercase and lowercase characters, along with numerals, punctuation, language support, underlines and symbols. It’s perfect for movie and television titles, album covers, posters or any design that needs a dramatic, spacey and fun look. Check out the visuals to see it in action.

Welcome to the world of Saqtah! A display font with a superhero style that will bring strength and courage to your projects. Whether you’re working on a film, game, or design with a strong and bold theme, Saqtah is the perfect solution for you. With a stunning appearance, Saqtah will be the main highlight in every design. Each letter is filled with strength and thickness, creating a powerful and impressive look. However, the advantages of Saqtah do not stop there. This font is also equipped with special features. Alternate ligatures and characters allow you to create unique and creative typographical combinations, providing endless possibilities for the expression of your designs. Apart from that, Saqtah also supports multiple languages, so that your message can be well received by audiences from various countries. Make Saqtah your choice and give your project a hero touch. With the strength and boldness that this font has, you can create a bold and unforgettable look, captivating the heart and eye of every viewer. With its special features, Saqtah provides unlimited flexibility and creativity. Let’s be creative and bring an awesome impression with Saqtah in your project. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Sánchez Niu is a redesign of Sánchez—one of the first font families by Latinotype designed in 2011. In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! This new version includes improvements that make it work well with longer text. Such improvements have not had a major effect on the look of the font, though. We have adjusted the original proportions and added a number of new characters as well as OpenType features such as small caps, oldstyle figures, tabular numbers and stylistic alternates. Sánchez Niu contains a set of 720 characters that support 219 languages. The font is well-suited for long text, headlines and logotypes, and it has been optimised for web usage. Sánchez Niu comes with two free fonts—Regular and Regular Italic! Corrections, digital editing and review by César Araya, Rodrigo Fuenzalida and Alfonso García.

Introducing Patihan Variable, a variant that makes it easy for you to access fonts with sharp, strong, bold characters. Patihan Variable is a combination of three different styles – Sans, Slab, and Serif – which are united into 2 Axes weight axes and serif axes, where weight axes have instances: Thin, Extra Light, Light, Regular, Medium, Semibold, Bold , Extrabold, and Black. This font has beautiful Ligature and Stylistic Alternate settings, Patihan font is also equipped with the Smallcaps feature which gives more control over typography, allowing you to create elegant and unique typography. The sans version of this typeface is versatile and easy to read, with a minimalist but impactful aesthetic. The Slab version is characterized by its solid and powerful strokes, while the Serif style has that extra classic flair with elegant curves and a stark contrast to the look. Patihan Variable is optimized to make it easier to access each variation, all you have to do is slide the slide in the software, and then you can access the style you want. Without sacrificing easy readability, this makes it a great choice for headlines, titles, and any long-form content. Ligature settings and discretionary styling add an extra layer of sophistication, making this font a great choice for magazines, branding and advertising. Overall, this font is a great choice for those looking to make a lasting impression. Its versatility, readability and unique features make it an excellent choice for any project.

Karlo is a super family of several branches, originating in the same lightweight skeleton. The lightweights are based on a pen of an even stroke-width. Inspired by the writings of calligrapher Edward Johnston, the family moves on in two directions in the heavier weights. Johnston demonstrated that the broad nib pen can produce different writing styles. Following this, one heavy weight has a humanistic low stroke contrast (KarloSerifBold and KarloSansBold), and another has a high stroke contrast of vertical axis with references to the 19th century jobbing typefaces (KarloOpen). The latter is inspired by Johnston’s demonstration of the broad nib pen, where he suggested fastening two pencils together. With each pencil representing an edge of the pen, it becomes more evident how the pen works in writing. The friendly informal look makes KarloSans and KarloSerif usable for both running text and for display sizes. KarloOpen, on the other hand, is solely designed for display purpose showing few words at a time. In Denmark, a guy named Karlo would typically be an old fellow with a slick hairstyle that makes an effort with his appearance. He is a handyman who can do a bit of this and that when needed. He is a happy go lucky kind of guy that takes one day at a time. To me, the typeface family has some of the same qualities. Check out Pyke which is a great pair for Karlo.

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger’s Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger’s brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger’s spirit as closely as the drawings permit, and elaborately expands the work to cover a multitude of codepages and languages. It took more than 65 years for Schlesinger’s drawings to see the light, so van Maanen made sure to bring them to life stylishly and respectfully. Serena embodies the peace and calm rarely ever found in mainstream calligraphy or other genres of display type. With upright elegance and a slight Eastern touch, this typeface expertly bridges the gracefully casual with the deeply spiritual. The light and soft letter forms add a pleasant, breezy element to anything they touch. When used sparingly in titling or display, Serena is like a sigh of desire, rare but quite memorable and very appreciated.

P22 Klauss Kursiv is the first ever digital revival and expansion of the last face Karl Klauß designed for the Genzsch & Heyse foundry in Stuttgart before he died in 1956. Karl Klauß’s classical training in the graphic arts gave him solid chops to use as a springboard for design ideas that remained relevant among the countless trends fleeting around the turmoil of two world wars. By the mid-1950s, a kind of ornamental deco aesthetic was well on its way into mainstream design in post-war Europe, and demand was high for unique, lively and non-minimal ad faces. Klauß, a reliable designer with a proven track record of calligraphic faces, pushed the envelope on his own calligraphy and designed something that packages elegance in a boldness seldom seen before in luxury scripts. Quite a bit of talent is on display in Klauss Kursiv. In spite of the restraint this kind of design imposes on itself almost by default, the interplay between thick and thin never seems forced or challenging. Clear, natural strokes build a compact alphabet that demonstrates the wrist control of a veteran calligrapher. Creative nib angling segues into very clever start-and-stop constructs to make attractive forms that work quite well together, yet stand well to individual scrutiny. P22 Klauss Kursiv comes with a load of built-in alternates and ligatures in a font of over 470 glyphs, providing extended support for Latin languages.

This is the redrawn and expanded version of an alphabet Rebecca Alaccari made back in 2009 as a bespoke font for a tourism agency looking to recapture the appeal of New Orleans after the hurricane Katrina disaster robbed it of its core industries. The brief back then was to "revive the unique spirit of what always made Nola great for new adults, which is the excellent combination of history, romance, food and music." No word of a lie, the brief actually contained "new adults." Storyville contains two interchangeable sets of forms drawn in the doodly, loose and organic way now conspicuously popular with today's young designers, almost every one of whom thinks they will get to design something for a boutique coffee bar somewhere. Well, this whole thing perhaps means freedom, youth, fun, happiness, good stuff like that. But just in case, a little caution doesn't hurt: Use this font only if you know what you're doing. We don't want to go back to the 1990s. Please. We were nearly done for by that exposure the first time around. The ligatures feature in this font does some pseudo-randomization, so the forms in doubled letters don't repeat. Serious fun can be had by also applying the stylistic alternates feature, or picking a letter in the middle of a setting and disabling the ligatures feature. Or various sequences of all that. If you don't like any of that stuff, just forget about it. Uh, wutever.

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Milibus, the refined and expertly crafted scientific sans-serif typeface, is a design marvel that stands out from the crowd with its unparalleled mechanistic aesthetic. Drawing inspiration from utilitarian alphabets like DIN and plotter fonts from the 1980s, Milibus is a testament to the fusion of technical and artistic excellence. Crafted with an eye for detail, Milibus boasts robotic angles that lend it a distinctive character that is both modern and vintage. The angle cut stroke endings are typical of industrial typefaces such as Expressway, making Milibus the go-to choice for designs that require a bold and commanding presence. In addition to its exquisite visual appeal, Milibus is also highly functional. Available in three weights and italics, it is a versatile typeface that can be used for a wide range of design projects. From scientific papers to technical manuals, Milibus is the perfect choice for those who demand precision and clarity in their typography. In short, Milibus is an exceptional scientific sans-serif typeface that is a testament to the beauty of mechanistic design. With its technical look, robotic angles, and angle cut stroke endings, Milibus is a design marvel that will elevate your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the gritty, raw world of Ceroxa. This rugged stencil typeface is not for the faint of heart. With its spattered spray-paint look and hardcore letterforms, Ceroxa is the ultimate tool for delivering your message with an assertive, in-your-face voice. Inspired by the urban street art of stencils, Ceroxa is a font that doesn’t shy away from making a statement. Its bold, aggressive letterforms will grab your audience’s attention and demand to be heard. And with bespoke letter pairings in OpenType-aware programs, your message will be delivered with a realistic, filthy tone that will leave a lasting impression. But Ceroxa isn’t just a typeface—it’s a statement. It’s a declaration of your raw, unapologetic voice. It’s a nod to the rebellious, DIY spirit of street stencils. And it’s a call to action for those who refuse to be silenced. So if you’re ready to make a statement, if you’re ready to deliver your message with an uncompromising voice, then Ceroxa is the typeface for you. Embrace the hardcore, raw energy of this stencil typeface and watch as your words become a force to be reckoned with. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Overview of BD Megatoya Consists of 41 fonts, including nine upright, nine italics, nine extended, nine extended italics, all in nine weights from thin to black. 4 outline version in black weight. 1 variable with three axes (weight, width, slant). 1,470 glyphs in each font. Opentype features include small caps, stylistic alternates, ligatures, complete numeral figures, ordinal, case-sensitive forms. language support: Western European, Central European, and Southeastern European. About BD Megatoya Taking a geometric sans serif approach, we designed the letterform with details on round characters to pursue harmony and leave a slightly boxy feel to the extended style. The stylistic alternate is one of our concentrations to make them versatile yet still preserve consistency in stem and metrics to provide good readability in small text. Overall, the various treatments for each character will encourage each other to dynamic colours, flexible, and functional impressions in their application. Slicing edges The edge of the letter slice in 45 degrees will give the impression of a sparkle of light when you look at them for the first 2 seconds (our experience). This is what we did a few years ago when working on automotive branding. The word-mark logotype with slicing form gives an exclusive and different impression from its crowds. If you agree with us, does BD Megatoya deserve to be called a problem solver in branding projects? Jump over to .ss07, .ss08, .ss09, and .ss10 to find them! The Features BD Megatoya font family includes 41 great fonts in nine weights, an extended character set of over 1400 glyphs, multilingual support such as Southeastern Europe, Central Europe, Western Europe. Also advanced & useful open-type features: case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Use BD Megatoya BD Megatoya is very suitable for branding projects and many designs purpose like advertising, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. It's a FREE Get one weight from the BD Megayoya family for Free! Apply to your amazing projects and enlarge your creative tools by adding the complete BD Megatoya family to your font library.

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.

In the world of graphic design, the right typeface can make or break a project. It’s not just about choosing a font that’s legible, but one that speaks to the essence of your brand or message. If you’re looking for a typeface that embodies classic charm and warmth, then look no further than Telephoto. Telephoto is a sans-serif typeface that harkens back to the twentieth century when analog was king. Its gentle, analog feel sets it apart from other typefaces on the market. When you use Telephoto, you’ll notice that it has a smooth personality that immediately injects classic ambience into your projects. But what really sets Telephoto apart are the subtle letter pair ligatures. These ligatures are a true testament to the attention to detail that went into creating this typeface. They break up the monotony of plainly repeating letters, creating a soft and organic feel that’s hard to find in today’s digital world. OpenType-savvy programs are where Telephoto truly shines, so make sure to turn off your application’s “standard ligatures” function to fully appreciate this effect. Telephoto is perfect for photographers, designers, and anyone who wants to bring a soft, analog feel to their work. Its delicate rendering is truly one-of-a-kind and adds a level of sophistication to any project. So why settle for a run-of-the-mill typeface when you can use Telephoto to make your work stand out? Give it a try and see the difference it can make. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

Milan-based Leftloft studio developed LFT Iro Sans, an expansive family that solves the significant, wide-ranging challenges of branding, wayfinding, pictographic language, and complex editorial use. LFT Iro Sans began as the clear and welcoming wayfinding project of San Siro stadium in Milan. Over time many other styles and weights have been added. LFT Iro Sans never finds itself outmatched by the task at hand. The primary aim was to design a technical typeface that was readable in any low visibility condition, for instance in a poorly lit area with awkward wall shapes and overhangs. This worked well for stadium and large lettering use, but other problems also needed to be addressed, such as complementary iconography. A location developer was left mixing — clashing, really — one type family with a different family of icons, resulting in a cobbled-together look which diluted the brand and the experience. They set out to radically simplify and clarify each shape and its meaning, accepting uniqueness as part of the final visual language. LFT Iro Sans pictograms answers the need for having a consistent and large group of icons, perfectly suited to the text typeface. As it concerns public spaces, this didn’t exist before. LFT Iro Sans incorporated a branding project too, so they decided to let LFT Iro Sans go out on a limb and created a unicase style that demands attention. Each unicase letter is a combination of the lowercase and capital form, quite noticeable in the ‘i’, ‘m’, ‘t’, and unique ‘d’ and ‘b’, balanced by more restrained forms of ‘a’, ‘s’, ‘c’, and ‘e’. LFT Iro Sans is not only a technical typeface, but, thanks to letters’ proportions, can also be used for editorial purposes. Assertive and economical in stature, the text weights are clear and assured. And a display version for headlines in Ultralight and Heavy (with italics) was developed for stunning headlines. For enthusiasts of every stripe, LFT Iro Sans can be a brand’s rallying cry with its arresting unicase, be a developer’s go-to pictogram choice, or set the most demanding editorial text in digital or print. With its many OpenType features, simplified pictogram commands (even available in Apple’s Pages and Microsoft Word), and a total of 30 targeted family members, LFT Iro Sans is a brilliant, easy choice. As with the rest of the TypeTogether catalogue, the complete LFT Iro Sans family, designed by Lefloft and developed by Octavio Pardo, has been optimised for today’s varied screen uses.

Introducing "Anger Style": Unleash the Power of Emotion Are you ready to harness the raw energy of emotions and bring them to life in your designs? Look no further than "Anger Style," an electrifying and dynamic font that will leave a lasting impact on your audience. Designed by our team of expert font designers, "Anger Style" is a captivating blend of intensity, power, and expressiveness. Possible Design Uses: "Anger Style" is a font that excels in making a bold statement. Its commanding presence and fiery nature make it perfect for various design applications, including: Headlines and Titles: Grab your audience's attention and make a lasting impression with powerful headlines that demand to be noticed. Logos and Branding: Infuse your brand identity with passion and intensity, creating a memorable and distinct visual presence. Posters and Flyers: Advertise events, concerts, or special promotions with eye-catching designs that embody rebelliousness and energy. Book Covers: Create striking covers that captivate readers and convey the emotional depth of your story or message. Apparel and Merchandise: Add an edgy touch to your clothing designs, making a statement that resonates with your target audience. Unique Qualities: What sets "Anger Style" apart from other fonts is its ability to evoke a wide range of emotions, not just anger. It transcends its name, allowing you to express passion, determination, and rebellion through your designs. Its versatility lies in its bold strokes and sharp edges, which convey a sense of intensity and power. By choosing "Anger Style," you gain access to a font that embodies the very essence of raw human emotion. Font Pairing: "Anger Style" pairs exceptionally well with other fonts that complement its intensity and create harmonious combinations. Consider combining it with: "Bold Sans Serifs": The clean lines and strong presence of a bold sans serif font can enhance the impact of "Anger Style," creating a balanced and eye-catching composition. "Elegant Script Fonts": To add a touch of contrast and sophistication, pairing "Anger Style" with an elegant script font can create a visually engaging and dynamic design. Functional Aspects: "Anger Style" offers a range of functional aspects designed to enhance your creative possibilities: Styles: "Anger Style" is available in bold and regular styles, allowing you to emphasize different levels of intensity within your designs. Character Sets: The font includes an extensive character set, covering uppercase and lowercase letters, numbers, punctuation marks, and special characters. This ensures versatility and legibility across various design projects. Special Features: "Anger Style" includes stylistic alternates and ligatures, providing you with additional design options and allowing you to create a truly customized and unique look.

The great value of something crafted thoroughly by hand has been observed for years by Guille Vizzari throughout a wide spectrum of clients and projects developed at «Yani & Guille» —the studio he runs cheek by jowl with Yani Arabena—, and they both noticed that recently it has been taking on a new meaning. From barbers at their shops, to a barista that passionately prepares coffee every morning, or a bartender that deeply enjoys diving towards unknown ingredients, and even Guille’s admiration for sign painters worldwide that keep spreading their passion for the perfectly constructed letter. This wide trades universe, where craftsmanship represents a huge difference, is where «Proprietor» lives, and it’s the reason why it exists. «Proprietor» was born in a Moleskine notebook —just pencil, paper and ink— as a tribute to those crafts, and to regain the art behind Type Design that involves the fusion between tools, materials and the action of the hand. Fed by these principles, every single glyph within the whole «Proprietor» Family has been fully designed and illustrated by hand by its author (including all the ornaments, frames and crafts icons that can be seen along this specimen), showcasing Vizzari’s solid formation in the drawing field. Proprietor can be described as a compact type family system illustrated by hand, intended and designed to be able to create solid —but beautifully ornamented— paragraphs, and elaborate compositions. For this purpose, Proprietor Roman and Open displays a notorious x-height which goes perfectly with plenty of ornaments that unfold along the ascenders and descenders, but always containing its swashes inside the text line. The icing on the cake, Proprietor Script, a copperplate-based font unbelievably flooded with ornamented capitals, flourishes and endings to break through the coarse feeling of the Proprietor non-script sets, with a huge load of delicate and warm letterforms. Proprietor Wide and Wide Open hand a complete font set to complement the family for composing extended words in uppercase, matching in style and adding a striking personality. And as being part of Sudtipos’ catalogue «Proprietor» comes packed with full Open Type support —thanks to Ale Paul, fearless to tame this hand–drawn beast, supported by his vast knowledge in programming and optimization—. 7 imperfectly elegant and completely handmade fonts join the «Proprietor» system, bringing life to designs that are meant to represent the spirit of the genuine and skilled craftsmen, showing respect for their trade, and at the same time being part of it.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.