A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

»Supra Demiserif« is the demi serif addition to the Supra family. I am no fan of slab serif fonts, so I designed this one with half serifs, that makes the serifs less important. Then I found, that the italic does not look nice with slab serifs, so I did only one italic cut for the normal weight. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts. with each other.

Chaweng is a coastal region on Ko Samui, an island in the Golf of Thailand, about 20 miles off the mainland. The design of Chaweng is based on some 'Latinese' characters Peter Rosenfeld detected while celebrating Chinese New Years Eve with people from Thailand and China on the beach of Chaweng. Ralph M. Unger took on the idea and developed a completely new typeface, very beautiful, very 'Latinese'. Chaweng obviously shows some of the typical characteristics of Chinese ideograms, still keeping a high level of legibility. To add something really special, Unger digitized the Chinese signs of the zodiac which change annually, on the occasion of the Chinese New Years Eve.Chaweng is perfect for signs and small texts, e.g. for any Asian restaurant and shops, menues, displays, China towns etc.

Hyperartism is an artistic movement born in La Chaux-de-Fonds (Switzerland) which advocates free and uninhibited creation, in all forms, for everyone. HyperBrush was originally created for the new collective's logo and is the perfect cross between the corrosive spirit, the assumed nonchalance and the natural class of Hyperartists' works. HyperBrush is the ideal font for anyone who wants to add a touch of fantasy to a soft design, or a bit of seriousness to a completely crazy project. Its quirky, edgy and clean look is just as suitable for a festival poster as it is for a DIY shop sign, for the title of a trashy short movie or else for a toilet door sign in a hipster lounge bar. With HyperBrush, it's easy to put more hyper into any project!

Engraving inspired typeface The AW Conqueror Carved encapsulates perfectly the lettering styles in fashion during the 19th century quite often in the frontispieces of books. It wasn’t rare to see these kinds of typefaces, with their variations in depth and relief effects, adorning boxes and other forms of packaging of the time. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Carousel is a fat faces display type designed by Gary Gillot in 1966. Fat faces were offshoots of the modern, or Didone, typefaces that were de rigueur during the early 1800s. These fat faces were among the first typefaces to be used solely for advertising purposes. Naturally, they were always used in larger point sizes, in display functions. Carousel could be called an optimization of these old advertising typefaces. With high x-heights, ultra contrast between thick and thin strokes, and perfectly engineered drawing techniques, Carousel is a highly crafted typeface. Give it a spin in your next advertising campaign! Carousel's fine thin strokes are very graceful in their appearance, and lend a strong, yet soft, feminine feeling to anything they touch.If you like Carousel check out wearing Annlie, another fat face from 1966."

Bougainville was inspired by many of my favorites and has been on the drawing board in excess of ten years. Only this year I decided to expand the original 1994 design to include other weight variants. The quirky Binner Gothic-inspired high axis and its funky g, rounded e, angled stroke endings together with the influence of contemporary designs such as Officina Sans, Din Mittelschrift and MetaPlus, Bougainville exhibits a similar flavor and compactness to Bodega Sans. This typeface family has been named in honor of the renowned eighteen-century French mathematician and explorer Louis-Antoine de Bougainville to whom we owe the naming of South Sea Islands and colorful tropical flora he discovered along his journey. Bougainville makes for effective headings at any size and is equally readable at semi-display sizes.

Poster artist A.M. Cassandre designed one of the most evocative typefaces of the Art Deco era, Bifur. This type was unusual in many ways, but one of the most distinct features was that besides a regular one-color font, it was also available as a two-part font for a chromatic treatment which was highly unusual for metal typefaces. This "bifurcated" type is almost impossible to find in print shops or even in specimen form. It has however become recognizable as a true icon of the Art Deco genre. The IHOF version of P22 Bifur features the addition of a lower case alphabet as well as multiple options for the shading layer, allowing for a wide range of design applications from straight-forward Deco headlines, to abstracted and de-constructed experimental design.

Arnold Therhoernen. (Arnoldus ther Hornen, Drucker des Dictys , Arnold ter Hoernen, Arnold ther Hoernen, Arnoldus TherHornen.) Who was this guy? He was a printer active in the city of Cologne, having graduating from the university there. He learned his craft under Ulrich Zell. He printed books from 1470 to 1482 when the plague carried him off. Was he just another printer of the era? No, he brought out the first edition of the "Fasciculus temporum'' (The most popular work by a living author at that time.) And he was the first to use both a title page and page numbers. His page numbers, an idea probably suggested to him by Werner Rolevinck, were interesting in that they were centered half way down the page on the outer margin and were set in Roman Numerals.

Almost every type designer feels the need, from time to time, to interrupt his or her serious work on complex text type systems for something more playful. In Luc(as)'s case this has often meant designing more typefaces. In the early 1990s, while working on Thesis, Luc(as) drew several display faces which were based on the shapes of TheSans but were either de(con)structive versions or experimental variations. Probably the most innovative of these was Nebulae, in which the lettershapes have been dissolved into clouds of bubbles; the three versions can be layered to obtain a denser (and more legible) structure which can also be multi-coloured. A fourth version called ThreeDee (3D) offers a convincing simulation of three-dimensional bubble-like type floating in space.

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

Being inspired by early Czech type design, Maiola is clearly a contemporary typeface, that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscence, more frankly so in the Italic. Nevertheless, through its personality, it attempts to create a welcoming tension on the page, without shouting too loudly at the reader. It handles its expressive tendencies with care and in doing so increases its usability, with legibility being of great importance. Subtle irregularities of the letterforms enhance furthermore the dynamic spirit and liveliness of the typeface. With the advent of Opentype, allowing for bigger character-sets and better language support, as a natural consequence, Maiola Multiscript covers Latin A, Cyrillic and Greek. Although basically independent from each other, they are, however, designed in the same spirit as the Latin, and harmonize well in multilingual text settings. The update to this beautiful font family includes the addition of over 240 glyphs featuring new ornaments, stylistic alternates, ligatures, superior letters, fractions and more. Furthermore, several glyphs were significantly improved and the kerning was fine tuned for better performance. Originally released in 2005, Maiola was an immediate success. It won the renowned TDC competition in 2004 where it was also recognized as a “judge’s choice”, was part of the touring exhibition e-a-t, and was selected in the Creative Review design competition in 2005.

A couple of years before the second World War, Marcel Jacno, the popular French graphic designer who in the 1930s designed iconic posters for Gaumont and Paramount and famously illustrated the Gaulish helmet that first adorned the Gauloises cigarette packs in 1936, was asked by Deberny & Peignot to design a calligraphic typeface for the advertising market. Jacno's Scribe design, billed by D&P as a "virile ad writing" typeface, was released to some great fanfare in 1937, enjoyed some time of French spotlight, and was ready to make waves in the rest of Europe before the war broke out and snuffed its chances at international recognition. However, samples of it can still be found in some specialty post-war publications as an example of a trend that lasted a couple of decades, when Western European type manufacturers commissioned famous visual artists to design typefaces in order to capitalize on the artists' fame - the trend that brought us standards like Futura and the long list of Lucien Bernhard and Imre Reiner faces. This exclusive digital version of Jacno's design expands on the original concept with a large character set that includes plenty of alternates, a couple of different ways for seamless lowercase connections, three sets of figures, and extended Latin language support, adding up to over 540 characters in a one big, contextually-programmed font.

Description Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gridink is a modern sans serif with a geometric touch. It comes in 9 weights, 18 uprights and its matching italics, patterns, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gridink family consists of 19 styles (9 weights, 9 Italics and 1 patterns), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

SGT PEPPERS LONELY HEARTS CLUB is a typeface inspired by the capital letters on the bass drum in the Beatles' Sgt Pepper album cover. The original lettering was hand painted by fairground artist Joe Ephgrave during March 1967 in an art deco style he called 'futuristic'. The font completes the uppercase, adds a lowercase, and includes a full complement of over 400 characters. SGT PEPPERS OUTLINE and SGT PEPPERS OUTLINE FILL are two fonts with matching spacing and kerning that can be overlapped for creating bicolor/multicolor effects and faux drums. The Outline and Outline Fill fonts do not contain lowercase characters, instead they comprise two weights of outline capitals as painted on the Sgt Pepper drum. The uppercase letters are in the wider style from around the outer edge of the drum, and the lowercase keys deliver the more condensed 'Lonely Hearts' inline style from the middle of the drum. The uppercase Y has been flipped to produce a more conventionally acceptable character with the thicker diagonal arm on the left. However, Joe Ephgrave's reverse Y (with inline) is included in the Outline fonts at the Section keystroke § (Alt-0167 on Windows). A simplified vector image (mono) of the bass drum without lettering is also included within the Outline fonts at the PlusMinus keystroke ± (Alt-0177 on Windows).

Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gravitica is a modern sans serif with a geometric touch. It comes in 6 weights, 13 uprights and its matching rounded, italics, patterned, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gravitica family consists of 13 styles (6 weights, 6 Italics, 1 patterned), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

The Sketchnote typeface was born of necessity: designer Mike Rhode needed a series of hand-drawn fonts to illustrate and produce his book, “The Sketchnote Handbook.” Because of its origin, this typeface was designed to be practical and convey the human character and quirks of his normal handwriting and hand-drawn lettering. The family is comprised of five fonts: Sketchnote Text in Regular, Bold, and Italic, the somewhat compressed and bold Sketchnote Square for headlines, and the playful Sketchnote Dingbats. Sketchnote Text is a casual script with a slightly bouncy baseline. In order to mimic the differences present in natural handwriting, OpenType features are built-in that automatically switch between multiple versions of each letter or number. In total, over 240 alternates in each of the text fonts are employed, making for a more authentic appearance. The warm texture of Sketchnote is the result of actual ink-spread on paper captured in the scans of written letterforms and was intentionally left intact during the digitization process to preserve that feeling. Rhode created Sketchnote Square as a display type to complement Sketchnote Text. Drawn instead of written, the letters often have neat little happenstance voids within the strokes. Sketchnote Dingbats features a selection of icons, rules, and arrows to provide some functional and fun tidbits, handy for bringing additional life to any design.

My motivation for designing the Lalibela family (which is based on Bodoni) was to pay homage to Ethiopic script. The script has been around for about 3 000 years, but I took artistic licence to deviate from the original model and add personal touches. I chose Bodoni as a historical model because of its display value and not its text size use because the extreme contrast made it difficult to read at small sizes. A Modern typeface characterized by consistently horizontal stress, flat and un-bracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography two-hundred-year journey away from calligraphy. The austerity, simplicity and greater contrast style was perfected.Contrary to all the refinements in Bodoni, I have revisited calligraphy with the font Lalibela that mimics Ethiopic Script. It was drawn with a much larger x height and less geometric than Bodoni for its primary use as a display font. For example, a lot of italic serifs were added to the roman face as well as 16 additional ligatures to obtain more a feel of calligraphy. I made the serifs thicker and bracket one side with straight steps obtaining a reduced contrast to withstand breaking up at smaller sizes.An additional variant, "Lalibela Alternate" was designed to provide an interesting mixing possibilities with the Bold face for more expressive headlines.

Features: • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Gravitica Slab is a modern serif with a geometric touch. It comes in 6 weights, 12 uprights and its matching italics, so you can use them to your heart’s content. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures, icons and patterned. Gravitica Slab family consists of 12 styles (12 weights, 12 Italics), in each of which there are more than 940+ glyphs. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/.[1][2] The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.

Stena is a very functional sans serif typeface with calligraphic feel, especially designed for contemporary typography. This family features deep and sharp ink-traps as part of its design. Thanks to its proportions, solid and balanced forms, combination of straight and curve lines, high x-height and expressive ink-traps, Stena combines readability with a strong personality. This dynamic typeface provides advanced typographical support with features such as ligatures, alternate characters, stylistics sets, fractions, etc. It also comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. This carefully designed family consists of 8 weights, ranging from Thin to Black, each with matching true italics. It comes with a set of 566 characters per weight, supporting over 40 different languages using the Latin alphabet. Stena is the ideal choice for editorial, branding, corporate identity, and more.

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

Prolific illustrator and veteran typographer Tracy Sabin draws on more than 40 years of multi-disciplinary design experience to bring us Muschamp Pro, a loopy, bouncy, free-form alphabet adaptable for many uses. It embodies the spirit of the massive art nouveau wave that broke out in the late 1950s and ingrained itself in popular culture for about three decades on both sides of the pond. Carefree, playful, rhythmic and versatile, this font evokes plenty of album jackets, children book covers, and cartoon titling from the times that really defined those design expressions and enshrined them as essential pop art. Muschamp Pro comes with plenty of alternates, ligatures of both standard and discretionary varieties, and extended Latin language support, all contained in a glyphset of more than 500 characters. Use this font if you want your design to transmit a message of crafty and joyful activity.

Core Deco is font family inspired by Art Deco posters from 1920s, '30s, and '40s. The font family is anchored by two fonts: Core Deco, an elegant monolinear update of Art Deco lettering, and Core Deco C1, a vivacious weighted counterpart. Both channel the era's affinity for geometry and are accompanied by a host of alternate styles. Three variants of Core Deco (A1–A3) offer drop-shadow options on the monolinear style. Eight variants of C1 (B1–B6 and C2–C3) offer contemporary takes on Art Deco outlining and shading of weighted strokes. One variant (C4) offers a drop-shadow only option that may be layered with any of the weighted fonts. The Core Deco family supports complete Latin 1252, Central European 1250, and Turkish 1254 character sets. If you are looking for an Art Deco–style style font which is modern and immediately usable in various artworks, get this family!

Mountain is a digital revival and extension of Teutonia, an old metal typeface released by the Roos & Junge type foundry (Offenbach am Main, Germany) in 1902. Teutonia’s design was popular during both the Art Nouveau and the Constructivist eras, where similar letterforms could be seen as far away as the Soviet Union. Although it slipped under the radar during the 1930s and 40s, this style feels extremely contemporary today. Mountain’s underlying geometric feeling is reminiscent of pixels and grids, suiting it for application with music and art, as well as history. Yet this typeface is not as static as it seems at first glance; playful diagonals—like those seen on the capitals D, L, P, and W—enliven the otherwise stern horizontal and vertical motion. Teutonia was a simple upper and lowercase display type. Mountain adds upon these by adding small caps and obliqued italic companions, rounding out this typographic toolkit.

Cushy is a versatile san serif font that’s stuffed with numerous plush swashes and unique alternates. But it’s not limited to display use only. Cushy is well suited for text or display applications. Cushy’s large “x” height, square proportions, and generous even weight enhance its legibility in all point sizes. The font’s bold personality radiates friendliness and warmth. Clean classic proportions lend it authority and vigor. Cushy bends around corners and flows throughout. You won't find any sharp corners. The diagonal strokes possess a subtle arch and enhance its characteristics. Available in 8 styles with multiple weights: Thin, Light, Regular, Bold, including italics. Cushy includes stylistic sets, stylistic alternates, swashes, ligatures & discretionary ligatures, and foreign language diacritic glyph support. Cushy provides 40 distinctive swash options, 17 ligatures, and 13 alternates. Weights include Thin, Light, Regular, Bold, with italics. Cushy is suited for corporate ID, retail, magazines, books, brochures, websites, logotypes, etc.

Scripta is a family of typefaces that leads "Scripta Pro", a commercial script writing similar to those used in ads advertising the decades 40 and 50, with fine lettering combinations of that time, Scripta Pro is ideal for composing headlines and subheads and this is supplied in two weights. This system is complemented by a Roman Sans "Scripta Gothic" an artdeco style typeface to harmonize with the style of that fonts. To add style to set fonts, created "Scripta Icons", one dingbats font based on a series of graphs that help recreate the ornamental fantasies of a postwar generation, a society in transition between the classical world and ornament and promises of a cosmic and atomic world. For those wishing to use words made was created "Scripta Catchwords". "Scripta Pro" is a script typeface inspired by the style works of the american typeface designer LH Copeland.

This is a challenge for elegant but radical typography layouts. Standard styles include classic and sophisticated serifs, while italic styles are designed with more adventurous handwritten touches. This serif font family included a total of 14 styles, including 7 weights and separately created italics. It can be the best choice for a unique and meaningful logo and branding design, and it will maintain a refined sense of unity. You need to understand OpenType Features to use these fonts well. Please check first whether the your apps plan to use supports these OpenType Features. Thanks. OpenType Features Discretionary Ligatures : ac, ad, ai, ak, ar, ay, az, ce, ci, ck, co, de, do, dr, er, ft, he, ho, ng, ro, se, sp, te, to, tr Standard Ligatures : fi, fl Alternates : a, d, h, i, k, n, u, z Oldstyle Figures Tabular Figures Fractions

Hi there! Hydric Design proudly present the Sunchilla Script font, inspired by The Day of the Dead is a Mexican holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican heritage elsewhere called "Dia De Muertos" design with a touch of Sweet, Unique and Fun style. Sunnchilla Script font is made in a handwriting style so it is suitable for use in product design and display titles. Sunchilla Script font are included in the display font category so can be used for any designs that have a cheerful, elegant and sweet impression. and also will be very suitable when used on titles, logos, product posters, websites, menu books, books, and many designs that can be explored using document fonts. it will looks very beautiful because it will easy to remember and very easy to use.

Patzcuaro is a summer resort by a lake of the same name. It is situated 370 km west of Ciudad de Mexico and a visitor from Europe, on seeing it, will be reminded of the Austrian Rust or the South Bohemian Trebon. The town's colonial architecture is protected as a historical monument, the reddish-brown tint of the footings of the buildings, their white facades and even the type of lettering with red initials is prescribed - and these regulations are also complied with as far as cars are concerned. This colour scheme is splendid in combination with the rich gamut of greys of the stone window jambs, vaults, lintels and pillars. Joking apart, even the local petrol station is 16th-century in appearance. Patzcuaro Regular is a cosy, welcoming type face which is good for use on labels.

A Nostalgic Signature Font for Christmas Sentimental Feeling is a script font that aims to capture the festive magic of Christmas with a retro design inspired by 1950s magazine editorials, classic movies and real hand-written signatures. It's a warm design that evokes Christmases of old, with a smooth brush-like flow and subtle human imperfections. It's equally at home singing carols, sharing Xmas Eve stories or serving cocktails at your New Years party. This happy holiday font comes with a complete set of uppercase and lowercase characters, plus numerals, punctuation, language support, symbols, alternatives, custom ligatures, underlines and a selection of festive clipart (including everything you might need to re-create the examples seen in my visuals). Add it to your toolbox and create the perfect Christmas designs, such as gifts and stationery products, ads, titles and much more!

Fashion is a trend, Style lives within a person *Oscar de la Rerta. I believe everybody's special. You have your own original character in every single appearance. And i feel so addicted to bring that something special in you to be shown to the universe. And that's what it cames from. Introducing, Steady Bonanza. A versatile hand lettering script typeface to dig up your authentic style. Made from the authenticity of brush and ink character, and delivers with so many style so you can always show up fresh in every use of it. Undoubtedly fit for your fashion branding, logo, posters, promotions kit, social media post, brochure, quote, lookbook, and a possibility to expand more such as wedding stuff, food and beverage, girly things, hand crafted stuff, you got the full control on it, dont stop yourself!

The British Vogue commissioned this typeface for their magazine re-design in 2001. After studying the originals of Morris Fuller Benton and the existing versions, this font was designed with all new thin weights. Just when the family was finished, Vogue informed that they had decided to use American Typewriter instead. Bastards. But here is a true classic typeface with a facelift. The pun intended. Tee Franklin has seven weights with obliques, the Heavy being just slightly heavier than the existing versions from Adobe and ITC, and moving down to totally new Ultra Light, using Luc(as) de Groot's formula to keep the weights optically correct. The glyphs are the same as the Morris Fuller Benton's original from 1902, except for the upper case Q, which was re-designed with a loop in the counter for added differentiation.

My goal for Harfang was to create a serif typeface that would be easy to read at text sizes, while having a strong personality at larger sizes. The initial design had a purely rounded style, but with each development pass I introduced some angularity. The final result is a typeface that is easy to read in long texts, advertising copy, annual reports and the like; but one that also provides a crisp and stylish appeal in more prominent display settings. I choose the name Harfang (Harfang des neiges — Snowy Owl or Great White Owl) because after my first typeface, Migration, I wanted something with a thematic relation. On a more personal level, Harfang is the official bird of Québec, a province with a long winter and a wonderful, white landscape, and the place I call home. —André Simard

Stonetype is a typeface that was used by stonemasons in the 70s & 80s of the last century. When I was starting as a stonemason, these were the first characters I had to draw, by hand, back then on grave monuments and memorial plaques. The idea was born to digitize all the material, to be saved for eternity. By digitizing all and fine tuning, plus the addition of some main characters, Stonetype has now grown into a user-friendly typeface that can, now still, be used by stonemasons, to improve their creation process times. But Stonetype can also easily be used in modern and contemporary designs. Stonetype is the perfect fit for graphic design, editorial design, magazines, posters, logotypes, brands and corporate design. Stonetype is designed by Coert De Decker in 2019 and published by Kustomtype Font Foundry.

The Samba family was inspired by the lettering art of J. Carlos, a Brazilian illustrator during the early 20th century. Turned into a workable series of fonts by the contemporary Brazilian designers Tony and Caio de Marco, Samba is especially recommended for use in logos, flyers, posters, and tattoos! This family offers the user a chance to mix three different styles of lettering into one coherent design, which can be very useful in solving certain design problems. While the regular Samba face is made up of mono-line letters, the style of Samba bold offers much more of a thick to thin contrast. The Samba Expert set displays lavish swash endings, which were inspired by Brazilian metal work. The Samba family was one of the winners selected during the 2003 International Type Design Contest, sponsored by Linotype GmbH.

SL Che is a homage to Ernesto Guevara de la Serna, “El Che”, who lived between 1928 and 1967. El Che turned into an universal icon through a memorable photograph which was reproduced and multiplied to the infinite. It was that way he became a synonymous of resistance, revolution and change for lots of generations. That "Che" comes back today by the hand of the genial Jorge Alderete, who designed heroic, laughing and cool variations of that popular first icon. SL Che unfolds like a fan of thousands of "Che", in a development plenty of metaphors. SL Che abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Che takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

Paradise Lost is a 1667 poem by John Milton which mostly concerns the Biblical story of the Fall of Man, Eve's temptation by the devil and the expulsion of Adam and Eve from Eden. It's quite a hefty read, as the poem consists of ten books with over 10.000 lines of verse. Needless to say, I didn't read it all. But, it did give me inspiration for a font, which I called Paradise Lost. It's a good name, even though there is nothing Biblical about this font. Paradise Lost was created (pun intended) using a broken bamboo satay skewer and Chinese ink. It is all caps, but upper and lower case differ and like to mingle. I also included several ligatures for double lower case letters (aa, ee, jj, kk, etc.). Paradise Lost comes with an eternity of diacritics.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Brahma V2 is here. The new version has been three years in the making. It has multiple new updates and improvements based on user feedback. The focus for this version has been improved readability while maintaining the unique, modern identity of Brahma type family that has received so much love since V1 was launched in Dec 2020. Brahma is a modern geometric sans-serif font family with weights ranging from Thin (100) to Black (900). Features: Available in 9 weights Over 550 glyphs supporting extended Latin Ideal for display texts: Titles, Logos and Headlines etc. Perfect for branding and rebranding Supports OpenTypes features like Ligatures and Stylistic Alternates Tabular Numerals included Symbols for 10 major currencies including Bitcoin provided in all weights Description: The name comes from Brahmā who is known as the god of creation. And manifesting the same spirit, the Brahma font family focuses on modern creativity. Every character effortlessly integrates with current design standards and interfaces. The fonts are professional yet have a hint of informal personality in them. This makes Brahma perfect for use in modern apps and websites. Brahma is built for the designing and marketing squads. It has a trendy geometric characteristic which is ideal for any branding and rebranding. Brahma has lot of OpenType features (like ligatures and tabular numerals) and the Extended Latin character set supports over a hundred languages. Start Creating!