30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. 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 skillful 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

The French interest in the revival of suitably edited Oldstyle romans as an alternative to a world of Modern typefaces started in 1846 when Louis Perrin cut the Lyons capitals. About 1860, as Phemister was cutting the Miller & Richard Old Style in Edinburgh, Theophile Beaudoire turned the idea of the Lyons capitals into a complete Oldstyle typeface, with similar overwhelming success; it was generally known as Elzevir in France and Roemisch, Romanisch, Romaans or Romana in Germany, Holland and Switzerland. In 1892, Gustav Schroeder, at the Central Division of ATF, expanded the series, adding a boldface under the name De Vinne. It was promptly copied, initially in Europe by Ludwig & Mayer, and spread rapidly throughout the US and Europe, becoming the best known member of the series. ATF made popular an ornamental form under the name De Vinne Ornamental.

Harald Geisler wants to make you as brilliant as Albert Einstein. Or at least let you write like him. Or at least write in his handwriting. — The Wall Street Journal Imagine you could write like Albert Einstein. The Albert Einstein font enables you to do exactly that. In an joined effort, creators Harald Geisler and Elizabeth Waterhouse, spend over 7 years on finalising the project. It was made possible with the help of the Albert Einstein Archive, the Albert Einstein Estate, and funding by a successful Kickstarter Campaign of 2, 334 backers. The outcome was worth the effort: a font unprecedented in aesthetic technique and a benchmark for handwriting fonts. To create a result that is true to the original, Harald Geisler developed a method to analyse the movement of the famous writer. Letter by letter, every glyph was digitally re-written to create a seamlessly working font. It is the only font that holds 5 variations for each lowercase and uppercase-letter, number, and punctuation sign. Each based on meticulous detail to the original samples of Albert Einstein’s handwriting. The OpenType contextual alternates feature dynamically arranges the letters automatically as you type to ensure that no repeated letter forms are placed next to each other. Stylistic variants can also be accessed through stylistic sets. The font has 10 fine-tuned weights ranging from extra-light to fine and extra bold to heavy. The result is a vivid handwritten text true to the original. A PDF documentation, showing step by step how the font was made and comparing numerous original samples, is included with the font and can be downloaded here. The work has been recognised internationally, by press, Einstein fans, and designers. Some quotes used in images: “The font is beautiful“ — Washington Post “If you could write like Einstein, would it help you to think like Einstein?” — The Times (London) “Finally, if your colleagues aren’t taking you seriously, then perhaps you could start sending e-mails in a new font that mimics the handwriting of Albert Einstein.” — Physics World “Geisler and Waterhouse are really asking deeper questions about the diminishing (or evolving) role of our flawed, variable penmanship as a conduit of thought in today’s pixel-perfect landscape.” — QUARTZ “Your writing will look imaginative — which is exactly what Einstein would've wanted." — Huffington Post Arts & Culture "Forget Myriad Pro, Helvetica or Futura. The only font you’ll ever need" — Gizmodo “Capture a piece of Einstein's genius in your own writing." — Mashable

Fifteen hundred years from now, a man will be selected to go back in time to prevent a catastrophic event which turned his world into a dystopia. Sent back in time, he was enveloped in empyrean fire, the strands of energy that make up time itself. Crash-landing near Astro City in late 1985, he learned how to master and channel the empyrean forces that had suffused his body -- finally learning to control his powers in time to prevent the destruction of the Space Shuttle Challenger, the event he had been sent to avert. He described himself to journalists as nothing more than "a Good Samaritan", and has continued to help his fellow man in Astro City ever since. John JG Roshell has also been struggling with the empyrean challenge of fitting all of Kurt Busiek's Astro City dialogue into balloons with the regular Samaritan font, so he created the Samaritan Tall font to help his fellow comic book letterers! It's kinda the same thing really. See the families related to Samaritan Tall: Samaritan &

La tipografía Castelan Hispane es una tipografía inspirada en documentos y textos antiguos históricos españoles del siglo XVI. Los trazos semi-medievales - cursivos, le dan una apariencia antigua pero también moderna para los proyectos en los que se desee utilizar la tipografía. Cuenta con seis estilos y tres pesos, ligera, regular y negrita. Cada peso contiene también su forma “itálica”. The Castelan Hispane typeface is a typeface inspired by ancient Spanish historical documents and texts from the 16th century. The semi-medieval - cursive strokes give it an ancient but also modern appearance for projects in which you want to use typography. It has six styles and three weights, light, regular and bold. Each weight also contains its “italic” form.

It is not only coarse but extremly black, and it is quite right to name it Black Letter in English. Ernst Schneidler, the designer, created the smallest possible counters. Still, this very coarse black letter is sensitive in detail and drawn with a high level of aesthetics. By the way, it was said in Schneidler's design class in Stuttgart that his number one student Walter Brudi had cut some of the characters with �silhoutte scissors� from black paper. Sharing his ideas and work with his students does not at all decrease or lower his copyright.Ganz Grobe Gotisch is not only a distinguised but also a very catchy design.(Albert Kapr in Fraktur -- �Form und Geschichte der gebrochenen Schrift�.)

Galaxo Dot is a sister to Galaxo Line. HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...) From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

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.

dT Jakob started as a revival by Gustavo Soares for Paul van der Laan’s class at the Type and Media Masters, in The Hague, NL – back in 2007. There are quite a few excellent geometric sans typefaces available, but we did want to make our contribution and have a fine geometric face to offer. dT Jakob was born out of Erbar, by Jakob Erbar, one of the very first geometric sans, released in metal around 1926. Our goal was to make a versatile typeface, that handles display and text typography beautifully. To achieve that we designed a complete range of weights, matching italics and lots of OpenType Features. Hope you enjoy it :D

A beautiful and easy-to-style font duo to elevate your design. Hug Shack expresses a feeling of joy and cute overall. Through the script font, Hug Shack brings your design to delve deep into the world of cuteness, while the display font creates modern look. You can mix and match this harmonious font duo to make gorgeous result in your design. This font become more special with awesome clipart as bonus. Features: Stylistic Sets Ligatures Multilingual Supports Numerals and Punctuation It can be used for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing our premium fonts! Happy Designing!

Noad Sans is an experimental sans serif typeface with a strong character and some very unique visual features. At the core of Noad Sans is a sturdy sans serif with closed apertures and fairly simple letterforms. The defining feature of Noad Sans, however, is its visualised nodes: all control points of Bézier curves in each of the fonts in the family are intentionally visualised. The effect of this feature is largely defined by the usage: in titles and larger bodies of text, the visualised nodes stand out and create a rhythmic pattern of their own. In smaller sizes, the sans serif base of the font becomes more prominent and the nodes create a visual fuzz. Noad Sans comes in 6 styles and as a Variable Font with two axes–Optical Size and Slant. The size of each node can be changed from the smallest (Mini and Mini Italic) to the largest (Extra and Extra Italic). Variable Font technology allows you to fine tune the size of the nodes and the slant angle, so that your version of Noad Sans can be truly unique. Noad Sans has a large character set of 570+ glyphs, covering the vast majority of Latin based languages. In addition to that there are dozens of special characters, punctuation, numbers, and symbols. Noad Sans is equipped with a number of useful OpenType features, such as Case-Sensitive Punctuation, Stylistic Alternates, Ligatures, Fractions and many more. Noad Sans began as an experimental project, and during its development the spirit of experimentation was at the heart of the project. Thanks to the unique nature of the typeface, it can feel at home in a variety of settings: from web development, graphic and product design to more novel uses like 3D and NFTs. Noad Sans type family includes 6 static fonts (Mini, Mini Italic, Regular, Regular Italic, Extra and Extra Italic) and one variable font. Each style can be purchased separately. There is a free trial version of Noad Sans that can be downloaded free of charge on MyFonts. For more information on the typeface, feel free to download Noad Sans PDF Specimen.

Ebisu is a sans serif family consisting of 10 different weights. Designed by Alex Haigh in 2010, and influenced by one of his original designs from 2008 Hiruko - Ebisu loses the soft sans serif curves, for a more robust geometric styling. But it’s much more than a geo-replica. The lowercase characters also have a more exaggerated sharpness that gives the whole family a unique look and feel. The kerning has been individually crafted for each letter, with vigorous attention - to ensure that each letter from is produced in a way that works with every member of the set, for a tightly knit sans serif family. It speaks many languages too. The open type features have an extended character set to support Eastern and Western European languages. With each weight conveying a different personality, Ebisu is set to become the modern new sans serif family to sit alongside you classics for versatility, cleanliness and a crafted edge.

The Arial® Nova family takes Arial back to its roots. Character spacing has been adjusted and a number of subtle modifications were made to the design to return the shapes and proportions to those of the original 1982 design created for IBM's then new high-speed laser printers. Although these first Arial fonts, called "Sonora Sans" by IBM, were low-resolution bitmaps, it was apparent that the design could also be an important high-resolution digital typeface, and Arial was redrawn for Monotype's imagesetters in the late 1980s. In the process Arial evolved from its original design loosing some of its earlier personality. The restored Arial Nova family is made up of three weights of roman design of standard proportions and three weights of condensed - all with complementary italic designs. The Arial Nova family is also compatible with the fonts that Microsoft® provides in the Windows® 10 operating system.

Oliviar Sans Variable is a modern sans serif with Grotesque touch. It's my experimental to study the new trends for the future fonts that is Variable Fonts. Inspired by a Geometrical fonts and also Humanist Sans serif. Created with 8 Masters that export to the traditional OTF to 28 Styles!. On the Applications that support variable fonts such as Adobe Illustrator & Photoshop, you can get more than only 28, you can customize the Weight, Width and Slant. Weight created from Thin (100) to Bold (900), Width created from Standard (100) to Expanded (900) and Slant based on degree angle from 1˚ to 10˚. There is a new slider icons for accessing this features Check on Last Display Image. Another advantage on the Variable fonts are you just need 1 files to install to your computer and it will install all the styles available. All of the Fonts are support for Multilanguage, Carefully Crafted.

Karibu™ is a 100-font original, ultra versatile geometric grotesk family with a lot of character. It is designed for modern projects, to serve as display as well as paragraph text typeface. It is perfect for lots of design situations - from magazine editorial use, logo design & branding, to web design, user interfaces and mobile applications. Main features: - 5 widths (Narrow, Condensed, Normal, Expanded, Wide), each consisting 20 fonts - 10 weights for each width (from Hairline to Black) - handdrawn, carefully crafted italics - alternate stylistic set for more technical and minimalistic projects - pronounced ink traps and large x-height improving legibility in small sizes and adding strong personality to display sizes - flatten letter shapes adding vertical rhythm and elegance to narrow widths - extended latin language support - OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Guerrer is modern sans serif family of 20 fonts, 10 weights from thin to black, consists of uprights and matching italics (obliques). It has 300+ glyphs which covers major western languages and has some features, such as fractions, ligatures, alternates, mixed case (unicase) stylistic set, tabular & proportional lining, etc. The mixed case (unicase) feature would be very useful for logo branding project which will give a unique touch to the logotype. Ink traps for bolder styles were adjusted to maintain the legibility at smaller size for both print and digital needs. The typeface was inspired by the strength and the boldness of warriors (guerrer in Catalan). Designed with high x-height and short ascender & descender. The ascender has the same level width the caps height. The uppercase G was specially designed to resemble the warrior head with his armor/helmet. Guerrer would be great choice for branding project, display poster, website, packaging, and broad range of graphic design projects.

Sashay, you stay! Voguing is inspired by the movement and glamour of the ’80s/90s and New York ballrooms scene. Based on multiline strokes like our first font release Afrobeat but this time playing with the movement and direction of strokes we got a 3D effect to embrace the feeling of Voguing Art Expression. We highly recommend to combine Voguing with Nautica Sottile Modern letterforms reminding the skeleton of geometric type and serving optical contemporary elegance to this typeface presented in 3 different styles: regular, slanted and backslanted. The font includes also a set of ligatures accessible through OpenType perfect to customize your text. Bring a “10 across the board” to your layout with this new font family. Voguing is perfect for fashion, publishing, cosmetics, sports and art industries. Its eye catching effect works great for headlines, branding, magazine, social media posts, website headers, posters, ads, stationery designs and products. Check out also Dreamteam & Afrobeat

Hoyle is a dynamic high-quality serif typeface. Drawn and created by Måns Grebäck between 2019 and 2020, this classic design makes use of the fact that timelessness is the best manner to achieve modernity; the letters are of such composition that they will always be simultaneously contemporary and traditional. Hoyle is a family containing five weights: Thin, Light, Medium, Bold and Black. Each weight is also provided as Italic, resulting in 10 unique styles. The weights are harmonic and created to balance perfectly agaist each other. Try the included Variable Font! A format where you can set any weight manually, and any slant, resulting in more than 5000 variations. More info: https://www.mansgreback.com/variable-fonts This slab serif typeface is also filled with OpenType features such as ligatures, alternates, oldstyle, superscript, subscript, fractional and alternate numbers. It has a very extensive lingual support, covering European Latin, Vietnamese, Zulu and many more scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

fj Alabaster Antique™ is a hybrid typefamily with a 10 styles inspired of the develop and exploration of “serif” since the first half in XIX century, envolves a special influence of the slab humanist typefaces, —with a calligraphy flavor in his Italic— with the goal to generate a contrast in to texts sheets. Has a three display versions based in the universe of “woodtypes” to deliver a “unity” in all typeset, like his versions fj Alabaster Antique™ Display, Engraved & Shaded. Include Small Caps, Swashes, Modern and OldStyles figures to decimal notation that envolve to fj Alabaster Antique™ in a ideal typeface for first and second lecture in the most of the visual communication pieces. • To exclusive licenses and to follow the develop of this project please visit frncojonas.com Learn about upcoming releases, work in progress and get to know us better! WB: frncojonas.com BE: beh.net/frncojonas TW: @frncojonas ING: @frnco.jonas

I am a coffee person, but two years ago, just before the whole Covid-thing happened, I came down with what I assumed to be the flu. It was a really nasty flu as well: I was down for 10 days or so and when I sort of recovered, nothing tasted the same. Coffee tasted like cardboard and I couldn't stand the taste of it, so I decided to drink tea instead. The 'supermarket tea' we have in Holland is quite bad and tasteless, so I ordered some proper strong English tea online and I have been drinking it ever since. Of course I was thinking of this when I created Imperial Tea font. Imperial Tea font was made with... yes, you've guessed it: Chinese ink and a brush. Imperial Tea is a nice, 'oriental-ish' looking font that comes with a set of alternate glyphs and an impressive language support, including Vietnamese and Greek.

Mountella is a modern editorial serif font family that includes 18 fonts, uprights, italic, and 2 variable font from Extra Light to Black which has more than 500 characters, and still has all the nostalgic vibes!. Mountella is a beautiful serif family that includes many visual details, adding uniqueness that looks incredible in both large and small settings as a display and body text. Mountella can be used in high-end branding, logo designs, magazines, product packaging & invitations. One thing to note about Mountella is the letter spacing. It was intentionally for clean reading if you wanted to use it for the body type, so I recommended setting the spacing a little tighter for display use (around -10 to -50 should do!). Design Tips: combine the regular and italic, whether all in one word or body text for logo or quote. Adjust your letterspacing to add more groove! Tighter letterspacing for large headers.

Hand printing typography revolutionized the way books were published. The earliest printing presses made it possible for newspapers to reach the doorstep every morning, for information to freely be shared among the masses for the first time on a large scale…and the fonts that were used in those classic times are forever embedded within the collective memories of societies across the planet. It is to this collective memory that we give a visual form with our new Hand Printing Press Pack. Up for grabs are a set of 10 Hand Printing fonts plus one "Stamps" elements font. The fonts are: the Normal, the Stencil, the Eroded, the Meshed and the Scraped in REGULAR and BOLD versions; each of them displaying a simplistic yet classic printing style and as often happens lately, we are also offering you an "elements" pack, the "Stamps" font, to go with these to create your customized stamp giving to your creations a touch of "official documentation".

Hela is a high contrast rounded font with interpolation twist. I have a personal saying that fits this font: So long you drive around nice lettering, until you digitize it. Hela comes from lettering of an old Czech textile company called Helana, which does not exist anymore, but the signage is still on the building. The weird thing on this font is that it does not add weight on every stem from Light to Black as usual, but rather adds more and more black stems to the light skeleton. Another nice thing about this font is that it does not include unnecessary glyphs. So there are just 10 figures - you don't have to think which one is the correct figure kind for you. There is just one kind. No alternates, no italics, no opentype features - even no lowercase. Well, who would use it anyway, it is a display font! Try it yourself with Basic character set for free.

Full Neue is the younger brother of original Full Sans, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, way-finding and signage as well as web and screen design. Full Neue provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Neue LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Neue LC comes 5 weights and italics also Full Neue SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Neue is the perfect font for web use. You can enjoy using it.

Lucida Sans Typewriter adapts the humanized look of Lucida Sans to the fixed pitch of typewriter fonts, in which all letters have the same set width. The vertical proportions, strong stem weights, and crisp details of Lucida Sans are continued in the Lucida Sans Typewriter font family. The result is a strong, clear, fixed-pitch design that can be used wherever a functional, legible monospaced font is needed, in typewritten correspondence, memos, and telefaxes, in commercial forms, invoices, and packing lists, in programming and data processing applications, and in line printer emulations and terminal emulations. Lucida Sans Typewriter is economical in setting: at a 10 point size, it is equivalent to a 12 pitch typewriter font. For improved legibility in long lines of 80 characters or more, users can add extra line spacing, equivalent to 20% or more of the font size. When proportional fonts are needed for text to accompany Lucida Sans Typewriter, then Lucida Bright can be used.

I am shocked to my very core that the name "Tropical Punch" hasn't been used for a font yet. What a delight, that my very first name choice is available, and I can grow my collection of fonts named after delicious food and drink! Tropical Punch is a retro-tropical font with a ton of variety: I've included nearly 200 multi-letter ligatures with nesting letters, to add quirky and fun variety to all of your projects. There are also a few alternate vowels, plus a few dingbats to add jazzy pizzazz; and 10 smaller catchwords like THE, AND, WITH, and more! I've also made an outline version--Tropical Punch Outline--which surrounds the solid letters beautifully, so you have even more options! Of course, both versions have my usual 300+ extended Latin characters for language support. And I've included a set of uppercase Greek letters as well! And everything, as always, is fully PUA-encoded so all characters are easy to access.

Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its 10 different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

Segment A is a powerful display type family with 18 styles inspired by condensed European grotesques of 19th-century, but with clear geometric proportions. In Black weights, the letterforms are inspired by the aggressive industrial graphic design of the 1960s and 70s. Both have 3 axes and are adjustable in weight, width and 10˚ italic. It is a typeface with narrow proportions, distinctive character, high-quality outline and lots of details. Characters have oblique cuts, sharp tails and highly visible ink traps. All this makes the font more aggressive and edgy. The huge x-height with short ascenders and descenders allows this typeface to be used in blocks with minimal line spacing. Features: – Total glyph set: 631 glyphs; – 18 styles (3 weights x 3 widths + italic); – Support 210+ languages; – Latin Extended; – Cyrillic Basic + Bulgarian letters; OpenType features: – Proportional numerals, tabular numerals, superiors, fractions; – Punctuations and symbols; – Arrows; – Stylistic alternates (ss01-ss05); – Ligatures; – Case-sensitive forms.

I built the Orchid Key font family from the ground up with the idea that there would be several different styles; the Inline Spurs style was the first to be built, which let me then subtract the spurs, inline slices, or both to make the other styles. I've never made a font quite like this before, which shows in the time it took - it's been over 5 months since I started construction! Each style contains the same character set, with 700 total glyphs. Each has the usual basics: letters, numbers, and punctuation; plus over 300 extended Latin characters for language support, and almost 200 alternates for tons of variety! There's a swash alternate for every uppercase letter, at least 6 alternates for every single lowercase letter, and a set of 10 extra swashes and flourishes so you can customize! Whether you're looking for a western or country look, a retro look, or a modern hipster look for your project, check out Orchid Key!

MN Grissee - a Sans Serif Super Family Font. This typeface has many alternatives with swashes that can make your lettering/logotype more attractive. This font is suitable for logos and various other formal forms, such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or advertising. This font is PUA encoded, which means you can access all of the glyphs and swashes with ease! 436 Glyphs 9 Opentype features 10 Ligatures, Stylistic Set and Swash 3 Widths (Condensed, Normal, Expanded) 8 Weights (Thin, Extra Light, Light, Regular, Medium, Semibold, Bold, Extrabold) 2 Styles (Regular & Italic) Support Multilingual for 89 languages We highly recommend using a program that supports the OpenType feature and the Glyphs pane like many Adobe and Corel Draw applications, so that you can view and access all variations of Glyphs. Thanks for your support of our product and using it in your project.

This script font was inspired by a lot of autographs, notes and drafts, written by President Abraham Lincoln, mainly the Gettysburg address, first draft and copies, but also the emancipation proclamation. It is an attempt to offer a typical manual script from this American period, not to propose the exact writing from A. Lincoln himself. This font is a little fat and monotone, maybe Abraham Lincoln used a smooth or rounded pen, but some letters I have consulted were written obviously with a sharp one, so, in the future, I will certainly produce a slim version of this font. It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font supports enlargement as well as small size, though the original size was about 18 to 24 pts. When printed, it remain perfectly legible from 10 to 12 pts.

Movie Script is the script that was used in German movie-brochures. Those were small four page leaflets with a lot of sepia-colored pictures about the movie one was about to see. Today those things are collectors items. The script was also used on those hand-painted posters above the cinema entrance. I cleaned up the old script and made it just a little bit more readable, but overall I left it as it was. Of course I added the necessary glyphs for today's world, like Euro and so on. When I was a kid, my grandfather gave me 1 German Mark and I could go to the movies matinee, that was around 10:30 in the morning, the entrance cost something like 60 Pfennig and the rest was for peanuts and a drink. Still today I love my grandfather for that, movies introduced the world to me (no TV then). Your grandfather-loving designer Gert Wiescher

Josef Týfa first published the Academia typeface in 1967-68. It was the winning design from competition aimed at new typeface for scientific texts, announced by Grafotechna. It was cut and cast in metal in 1968 in 8 and 10 point sizes of plain, italic and semi-bold designs. In 2003 Josef Týfa with František Štorm began to work on its digital version. During 2004 Týfa approved certain differences from the original drawings in order to bring more original and timeless feeling to this successful typeface. Vertical stem outlines are no more straight, but softly slendered in the middle, italics were quietened, uppercase proportions brought closer to antique principle. Light and Black designs served (as usual) as starting points for interpolation of remainig weights. The new name Academica distinguishes the present digital transcription from the original idea. It comprises Týfa’s rational concept for scientific application with versatility to other genres of literature.

Delwyn is a Serif font family, which has a condensed and explicit character with 10 variants, namely; Thin, Light, Extra Light, Regular, Medium, Semi Bold, Bold, Extra Bold, Black and Extra Black. Delwyn gives a clear and elegant look to logos, quotes, headings, wedding invitation, t-shirt, letterhead, lable, news, posters, badges, magazines, films. etc. Delwyn is a versatile typography filled with the character you want. with Marston you work.Marston has standard styles, Stylistic Alternates and ligatures. and includes upper and lower case letters, numbers and punctuation marks. Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project.OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map

Introducing Wanderly Sans - Wanderly Sans is a sleek, modern font. Its contemporary aesthetic makes it a perfect fit for effortlessly designing logos & branding, elegant paper products like wedding invitation suites, or for displaying content on your website. Wanderly Sans can also be used for other print design like magazines and flyers or printed marketing materials. This font can also be used for digital marketing materials and social media items! Wanderly Sans includes: - full upper + lowercase characters - numbers + punctuation - 10 alternate characters - A, E, K, M, N, P, R, f, j, t - PUA-encoding Extensive Language Support: Western European, Central European, South Eastern European, South American, Oceanian, Vietnamese, Esperanto Wanderly Sans can be used with graphic design programs such as Illustrator or Photoshop, word processing programs like Pages or Word, Design Space, Silhouette, Procreate, Canva Pro, Glowforge, GoodNotes, & more. This font is an installable for desktop & laptop machines, as well as iPads or iPhones. See below for links to help with installation.

Capitolina is a family of 10 typefaces with a contemporary design style, based on different historical models. The original shape of serifs was a reference to 19th century’s Clarendon types though this inspiration remains as a subtle feature of the final design. Even subtler are the calligraphic influences, better noticed in the italics. The result is a set of typefaces that look more ‘constructed’ than ‘written’, referring to a rationalist style. However, it has a distinct approach to the aesthetic treatment of typographic forms that resembles the humanist tradition. Available in five weights of roman and italic types, Capitolina has a wide glyph palette that contains 800 glyphs in each font. Besides supporting basic Latin, western, central, and southeastern European sets, it has several OpenType features, such as case-sensitive forms, small capitals, ligatures, localized forms, number forms, fractions and more. Capitolina is, therefore, a great choice for projects in editorial design and other related applications.

Zoya is a humanist sans serif typeface, a versatile font family that stands out with it's warm and natural feel. Humanist sans serifs have roots in calligraphy, their round, dynamic, open forms have higher stroke contrast than the other sans serif classifications. Can be used by any organization that wants to appear simultaneously modern, approachable, active and professional. FEATURES Four weights + Bold Outline / Italics / Numbers & Punctuation / Extensive Language Support / Long term support, free features and bug fixes The font family includes 10 fonts Zoya Light - delicate and edgy Zoya Bold - strong but approachable Zoya Regular and Semi Bold are the balance between the two Zoya Bold Outline - engaging + Italics USE Strong capitals and a smooth, open lowercase are effective in a variety of applications. This font is perfectly suited for headlines, posters, branding, packaging, presentations, logo, quotes, titles, magazines headings, web layouts, advertising, invitations, packaging design, books, and nearly any creative design.

Introducing Ervha Modern Sans Serif Typeface Ervha is a modern sans serif font with a minimalist and trendy style. This font has 10 styles from thin to extra black Perfect font for print and digital projects. Quality fonts can help your projects become more modern and classy. This font also supports other languages The clean and sharp lines of sans serif fonts are the main reason many graphic designers prefer this font style for both screen and print use. Clean lines and sharp edges can be displayed more clearly on the screen which improves legibility for users. What do you get when you buy this font? Ervha is one font you need Affordable and versatile Multilingual support and complete character set Designed by a Typeface Designer Get one font for any occasion Multilingual support in this modern sans serif font Well known for its exceptional readability Enhance your Project by using Ervha Sans Serif Modern as your font of choice.