Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva. The fonts were based on Cyrillic version of Excelsior that was developed in 1936 in Moscow by professor Michael Shchelkunov, Nikolay Kudryashev et al., that in its turn was based on Excelcior by Chauncey H. Griffith, 1931, Mergenthaler Linotype. Digital version was developed in ParaGraph (ParaType) in 1991. In 2012–13 designer Natalia Vasilyeva made some corrections in original digital data, extended character set and add bold italic style. The family was rereleased in ParaType in 2013.

Inspired by pointed pen calligraphy and modulated sans serif typefaces used for advertising in the 1920´s, Bologna is a high contrasted sans serif with a modern and fashionable look. Bologna comes in three weights: Regular, Bold and Black. The Regular and Bold weights are, despite of their high contrast, also build for body texts. Whereas Bologna Black, with a more expressive look and sharp angles, is specially designed for large and striking headlines, packaging or identities. Overview: 3 weights - Regular, Bold, Black Regular/Bold: 657 Glyphs Black: 871 Glyphs Lining, tabular and old style figures Ligatures: fl, fi, ff, ffi ffl, Unicase Letters: a, e, m, n, r Alternative Guillemets Case Sensitive Arrows Bologna Black: hairline accents and interpunctations Fractions Extended Language Support Stylistic Sets: ss01 = Alternative Guillemets / Alternative y ss02 = Unicase glyphs ss03 = Numerals in circle ss04 = Numerals in black circle ss05 = Hairline Accents and Interpunctations (Bologna Black)

PB Capitalis Rustica IVc is a font face designed for imitate latin writing style found in manuscripts from 1st to 9th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) and historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes"). OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints. Use of OpenType features to get historical characters: ïTo get "I-longa" use Stylistic Alternates for: "I"(U+0049), "i"(U+0069), "dotless i"(U+0131). ïTo get "nomina sacra" use Historical Ligatures and write uppercase letters: DS for: "Deus", DMS or DNS for: "Dominus" EPS for: "Episcopus", IHS for: "Iesus", PBR for: "Presbiter", SCS for: "Sanctus", SPS for: "Spiritus", XPS for: "Christus". ïTo get "notae communes" use Historical Ligatures and write: B(U+0042) + "middle dot"(U+00B7) for: "-BUS", Q(U+0051) + "middle dot"(U+00B7) for: "-QUE". ïTo get "scriptio continua" (writing without words separation) use Historical Forms (regular spaces are replaced by zero width spaces between words). ïTo get "middle dot" for separate words use Stylistic Set 1 (regular spaces are replaced by middle dot between words).

The lifetime of Lorenzo de Medici (1449-1492) coincides with the rise of metal type as it displaced broad pen calligraphy for the production of books. This revolution marked the end of formal Western calligraphy, as the industry employed metalworkers who designed type according to geometric measurement while calligraphers were forced to become secretaries who practiced handwriting systems. Renaissance Florence should have witnessed the marriage of calligraphy and typography, just as all the other arts and sciences flourished as classical learning was applied to technical advances; but the metalworkers and geometricians measured, dissected and recast the calligraphic letters by crude indirect methods, and in the end took all the life out of them. Here they languished until digital type has made it possible to render the precise motion of the broad pen stroke into type. Lorenzo is a confluence of many strains from the Middle Ages, brought together within the classical harmony of the capitals. It attempts to bypass metal type, using calligraphic means to achieve the precision of type while retaining the life of the stroke: a classical font that would be familiar to Lorenzo himself as well as to the modern eye. The Lorenzo family comes in four weights, ranging from light to bold. Two sets of italics, one with swashed caps and ascenders, complement each weight. The family boasts extensive language support and an offering of over fifty calligraphic ornaments/flourishes included within the character set.

As the first multi-font family designed for the CounterPoint font library, Plectrum offers designers and font lovers an alternative to the usual display style fonts of CounterPoint with a low key yet elegant sans serif family that can serve a variety of functions. Designed as a humanist style sans serif, the letters have variation in stroke weight. The italic faces have some variation in the letter design making them more of a true italic rather than simple oblique faces. The complete family consist of four weights: Regular, Italic, Bold and Bold Italic which can be purchased separately or as a complete package. The typeface has some unique features which add warmth to the design such as a slanted cross bar on the lowercase e and a large x-height. This is a solid, versatile family. Available in OpenType and contains support for Latin based and Eastern European languages.

The typeface Hand Writing of Janina is designed from 2021 for the font foundry Typo Graphic Design by Janina Fels & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Book, Bold, Dark & Icons) with 786 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Writing of Janina ■ Font Styles: 4 font-styles (Book, Bold, Dark, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 786 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Janina Fels, Manuel Viergutz

The Okojo Pro Complete family is a reworking of Wordshape’s immensely popular Okojo family of typefaces. It includes Okojo Pro, a semi-geometric sans serif, Okojo Slab Pro, a semi-geometric slab serif, Okojo Pro Display, a round-cornered sans serif variation, and Okojo Slab Pro Display, a round-cornered slab serif. The entire Okojo Pro family looks great at small or large sizes. The Okojo Pro family is designed for readability in long texts while simultaneously functioning as effective display type. Features of Okojo Pro Display: - all lowercase characters have an enlarged x-height, creating less optical dazzle than typefaces like Futura, Neutra or Avant Garde - more humanist numerals and punctuation for enhanced readability - complete Western, Central and Eastern European characters sets - radically improved spacing guaranteeing beautiful results in print and on screen for the Czech, English, Hungarian, Croatian, Esperanto, Maltese, Romanian, Turkish, Albanian, French, Portuguese, Spanish, Basque, Bulgarian, Finnish, Swedish, Norwegian languages The Okojo Pro Display family is influenced by the type designs of Paul Renner and Herb Lubalin, but smoothed over with more than a bit of Americana. Both work well on-screen as webfonts and in print as book type. Each is hinted with accuracy and kerned with precision.The lighter weights are slightly slimmer than the regular and bold weights to give the typeface more of a vertical feel, inviting readers' to rapidly read typeset text with a maximum of contrast and a minimum of optical distortion. Okojo: it’s a little bit country and a little bit rock’n’roll.

AZ Script font was inspired from a need to have a "worn look" on bold headline script of letters This font utilizes an "old look" to the line work which is designed to have a "worn feel" to it. Ideal for use as headline or sub-head text in you design.

The Core Sans G Family is a part of the Core Sans Series, such as Core Sans N SC, Core Sans N, Core Sans NR, and Core Sans M. Core Sans G is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans G Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black), 3 for rounded (Medium, Bold, Extra Bold) with matching Italics. It also includes 4 effects fonts (Outline, Neon, Shadow, Dimensional), Alternate Characters (a,g,t) and a bunch of ligatures. The Core Sans G provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

Shibumi is a brush-titling face that has an "Eastern" feel. It was designed with a Speedball B (round nib [heavily manipulated]). Its sheer weight exudes authority while the Eastern influence and gentle curves lend a sense of grace.

PT Octava™ was designed at ParaType in 2001 by Vladimir Yefimov. The first (Cyrillic only) version named Scriptura Russica (1996) consisting of three styles (book, italic, bold) was commissioned by the Russian Bible Society. Lately the Latin letters and bold italic were added. Inspired by Lectura, 1969, by Dick Dooijes and Stone Print, 1991, by Sumner Stone. In spite of large x-height the typeface is both space saving and quite legible at small sizes. Expert fonts including small caps (book) and old style figures are available.

Claremont is a serif font family designed by Les Usherwood (Typsettra). Usherwood originally created four weights – a light, extra bold, light italic, and extra bold italic. Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) digitized the family and created eight new weights, and it was released exclusively for the Red Rooster Collection in 1993. Claremont shares similarities to Bookman Old Style, but also shares properties with slab serif Egyptian-style typefaces. Like all Usherwood typefaces, the family was engineered with great care for maximum legibility and aesthetics. ©1993. International TypeFounders, Inc.

Evocative of paint on weathered wood, Nelson’s engraved capital letters are as rustic and confident as the Old West. Combine the engraved face with bold and rough versions to create handsome wordmarks, or use Nelson to captivate customers of food packaging, restaurant menus, and roadside attractions. See what’s included! Engraved • Ornaments • Rugged • Bold *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Mostaza is a new lettering font designed by Carine de Wandeleer. The Open Type features include 164 alternates, also in capital letters, and 100 ligatures. All this makes the text lively and bouncy, without the monotony of obviously repeated letterforms. In addition, we have included some ornaments designed to support the font, some were specially designed to be combined with the letters for a "more calligraphic" effect (access to them through the glyphs palette). Mostaza is doing very well to create titles, logos and posters for brand and packaging, invitations, greeting cards, magazines and book covers, children's material, fashion and wherever you want. Enjoy it!

This is a new barely modulated, slightly narrow, sans serif font family. It has eight styles: thin, thin italic, regular, italic, bold, bold italic, black, & black italic grouped into two 4-font families: Amico Thin with the Bold; and Amico with the Black. Amico has the standard feature set developed at the end of 2007. It has many OpenType features and 654 character/glyphs: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters, ordinal numbers (1st-infinity): lining and oldstyle), and so on. It is designed for text use in body copy. However, Amico really shines as the choice for heads & subheads when using Amitale or Brinar for the text family.

Cervo Neue Condensed is the new perfected and Condensed version of Cervo Neue, containing 18 variants. It differs from the previous version of Cervo with the higher accents over glyphs, enlarged punctuation, old-style numerals and the newly added varieties Semi Bold, Bold, Extra Bold and Black. Additionally, there is the variety of grotesque. Font Cervo is inspired by a “You And Me Monthly” published by National Magazines Publisher RSW „Prasa” that appeared from Mai 1960 till December 1973 in Poland. Recently, Cervo Neue Condensed has started being used as a display text in „Przekrój Magazine” which was published in years 1945–2013 in Krakow (2002–2009 in Warsaw) as a weekly and again from 2016 as a quarterly journal in Warsaw.

The Swedish designer/typographer Anders Bodebeck designed the Bodebeck type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional style typeface as well - Eric Gill's Perpetua (originally released by the British Monotype Corporation in 1928). Like these two previous English stonecutters turned masters of typography, Anders Bodebeck has given us a modern re-interpretation of classic letterforms. Bodebeck, which is fitted with old style figures, is available in the following styles: Regular, Italic, Bold, Bold Italic, and Extra Bold."

Qi is a display sans-serif inspired, in part, by the art deco typefaces sometimes seen on old signs along rural American backroads. Unlike these signs, Qi is new, fresh, a little bit quirky, and not at all in need of repair or a fresh coat of paint. The family is comprised of six distinct fonts with more on the way. With an entire set of Central and Western European (and, of course, American) glyphs, plus a bunch of alternates and ligatures, Qi could be the perfect display face for your next sign, poster, newsletter, headline or, well, most anything else. Hey, the lowercase alone makes these fonts well worth the price.