Restraining Order Pro brings the unique style of a vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Restraining Order Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Anna Clara can be dressed up or down, as fancy as you wanna be. On its own, it’s an organic script, with the fine hairlines, thick swells, and slightly undulating baseline found in modern casual calligraphy. Add swashes, and Anna Clara becomes a bit more playful and festive. Each capital letter has a flourished alternate—great for displays or headings, or to add emphasis to a particular section of text. For OpenType-aware software users, Anna Clara also features ten pairs of swashes that can be added to the beginning or end of any lowercase letter, for a custom flourished look. Illustrator and InDesign users can access extra swashes and banners by using the glyph panel. Photoshop users: These characters can be accessed via the “Ornaments” feature in your OpenType panel - try non-numeric punctuation marks and accents for swashes. For banners, type catchwords followed by an asterisk. “Asterisk asterisk” will produce a blank banner that you can use to create your own. Included catchwords are “and”, “at”, “by”, “for”, “from”, “of”, “the”, “to”, “with”, "l'", “le”, “la”, “el”, “et”, and “y”. Roman numerals can be used in the “Ornaments” feature by typing their respective keyboard characters “I”, “II”, “III”, etc. - followed by an asterisk. An ampersand (&) followed by one or two asterisks produces two special “and” characters.

The Pagnol typeface has been designed with a principle developed by A. M. Cassandre in 1937, when the great French designer created the Peignot typeface following paleographic studies on the evolution of letterforms. Researches in the history of writing have proved that the lowercase "a" is at its origin nothing but the "A" shape transformed through centuries by scribes until the invention of printing. A large number of lowercases meanwhile kept their original shapes. If the scribes’ hand didn’t find the necessity to simplify them, it is only because these letters could be easily written. Integrating the classical shapes of capitals to the lowercases has already been used, keeping the lowercases which are only a deformation of capitals. Nevertheless, the respect of readability imposes to keep ascendants and descendants from traditional lowercases which serve as optical focus points in a text and make reading easier. The particularity of Pagnol is to use rounded shapes on top and bottom of pointed capital letters to make them fit with corresponding lowercases (Aa, Mm, Nn, Vv, Ww, Zz). Lowercases proportions are wide, to be in tune with classic lowercase shapes in order to optimize readability. Five weights in roman and italic have been designed to offer a wide palette of typographic possibilities in all sizes and all paper and screen supports.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles. Pacioli was not the first or the last man in his era to describe the building of letters mathematically. Felice Feliciano did this before Pacioli, and Albrecht Dürer further developed these forms years after. According to Pacioli, the thick strokes should be 1/9th of the height, and the thin strokes should have 1/2 the weight of the thick strokes. I felt that this beautiful alphabet needed to be restored to its full geometric glory and set out to construct an accurate replica using Pacioli's instructions. Included in the font you'll find the letters that have the grid overlay and also the letters without the grid. The letters J, W, U, and Z were not included in the book, so I have created my own versions of these characters that fit into Pacioli's grid. Pacioli shows two different Os in the book, so I have included the second O as well as a second J, Q, and Z as OpenType stylistic alternates. Also included in the font are border patterns and a fleuron taken from the cover of the book.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

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.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

On a distant planet, there was a typeface that stood out from the rest. Hachimitsu, the kaiju-inspired top-heavy display font, was born from the depths of the Showa era. Its towering presence and unique design draw inspiration from the iconic signs of old Japan. Hachimitsu’s futuristic style brings a retro 1960s science fiction vibe to any message, transporting it to another dimension. Its bold, thick strokes make a statement, demanding attention from all who encounter it. Its angular and sleek curves are reminiscent of alien spacecraft, flying through the vast expanse of the universe. With Hachimitsu, your message will be infused with a distinct and fascinating voice. Whether you’re creating a poster for a sci-fi convention or designing a book cover for a thrilling space adventure, Hachimitsu’s Japanese-inspired design is sure to captivate your audience. Unleash the power of Hachimitsu and take your design to new frontiers. Let its otherworldly charm bring your vision to life and transport your audience on a journey through the stars. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Handy Andy Andy Lethbridge had only just completed his graphic design BA at the University of Portsmouth when he was spotted by Jason, who’d seen Andy’s exquisite hand lettering at his degree show and on Instagram. Keen to push the handwritten theme further, having recently launched a digitally-created, chalky script font (FS Sammy), Jason offered Andy a job and the chance to develop a suite of more stylised, truly hand-drawn fonts. Andy duly got out his pads, pencils and pens, and started experimenting with styles and textures. Magic followed. Imperfection perfected Most ‘handwritten’ typefaces are created entirely digitally. Not FS Shepton. From the start, the intention was to create a collection of alphabets of similar character but different texture and style – 100% hand-drawn and purposely imperfect, with the kind of inconsistent, organic shapes and textures of market stall signs, dashed off in chalk or paint. FS Shepton Regular, drawn with a wet brush pen, is solid with a rough outer edge and a casual but controlled feel. The dry brush used to create FS Shepton Light gives it more inner texture and a more formal, slanted, calligraphic style. FS Shepton Bold, drawn using a wider, looser dry brush pen, has a woody grain in the middle of its broad strokes and greater solidity where the brush moves more slowly. Fresh as a daisy Think of FS Shepton not as a family of three weights of the same font so much as a collection of three fonts penned by the same author. All of them – the light, regular and bold – were created independently as display fonts that offer something different to labelling, packaging, point-of-sale and advertising. Lovingly crafted by hand, they’re a good match for products and settings that share the same artisinal qualities: organic foods, drinks and healthcare products, as well as premium chocolate, coffee and condiments.

The classic modernist FS Alvar grew out of a library of pure modular shapes gathered by Fontsmith’s master of the abstract starting point, Mr Phil Garnham. “It was a collection that just had to be explored and brought to life in a typographic voice. “We debated long and hard about this. It was big decision to make a shift away from the typefaces that people knew us for. And we didn’t want to compromise our reputation of well crafted typographic quality”. Modular forms A headline font that’s both graphic and functional, in the modernist tradition, FS Alvar focused Fontsmith’s eyes on the bigger issue of what makes a font show its age. “Looking at those fonts from the 1980s that were supposed to represent the ‘future’,” says Phil, “they looked so dated now. With Alvar, we weren’t concerned with creating future-thinking typography but with exploring form for form’s sake, and how that can evolve to create letterforms. Modular forms with a typographic eye.” Stencilled The concept for Alvar first materialised back in 2001 with some sketches Phil made while still at Middlesex University. Eight years later, something made him dig them out again. “There was something really nice about the proportions of that first design. Working on it again, I thought about it properly, but it still needed something to give it that edge. “Jason stood up in the studio and supplied the missing link: ‘Why don’t we make it stencilled?’ He didn’t mean in an obvious way, but by building a kind of architectural stencil into the form. It worked and the idea of using an architect’s name (Alvar Aalto) to describe the font felt perfect.” Featured in... The three weights of FS Alvar are made for standout headlines in advertising campaigns and magazines. Alvar has had a starring role in campaigns for brands from Nike to Amnesty International, as well as on CD covers, record labels and packaging.

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Introducing Franqueline Slab, the captivating new typeface family passionately designed by Estudio Vástago and expertly distributed by Sudtipos! This versatile font offers a diverse array of styles, ranging from delicately refined to boldly eye-catching on the weight axis, all elegantly inspired by the timeless Egyptian fonts of the late 19th century. With expressive character and exquisitely unique shapes, Franqueline Slab harmoniously blends the finesse of its delicate strokes with sophisticated endings, resulting in a truly remarkable typography. Every letter in Franqueline Slab has been meticulously crafted to strike the perfect balance between a contemporary edge and a touch of traditional charm, appealing to both the younger generation and typography enthusiasts who appreciate the artistry of the past. Its adaptability makes it ideal for captivating headlines that convey a message of youthful energy and playfulness, while still exuding the timeless elegance that only classic fonts can deliver. Embrace distinction and originality in your designs with Franqueline Slab. Whether it graces an editorial project, logo, or advertising material, this exceptional typeface family will undoubtedly stand out, leaving a lasting impression with its captivating personality. Watch your messages come to life and shine with the unparalleled charm of Franqueline Slab!

Discover Bivoac, a versatile layered display sans font that offers easy usability and is perfect for creating stunning 3D and vintage designs. We present this unique font, designed to add depth and character to your projects. With its layered system, Bivoac allows you to effortlessly create multi-dimensional typographic compositions. Whether you're working on a vintage poster project or aiming for eye-catching 3D effects, this font provides the tools you need to bring your vision to life. Bivoac features both uppercase and lowercase letterforms, ensuring versatility and allowing for creative combinations. It also includes numbers, punctuation marks, and comprehensive multilingual support, enabling you to cater to a wide range of audiences in various languages. When you purchase Bivoac, you receive the complete set of font variations: Bivoac Regular: Perfect for the base layer Bivoac Outline: Adds an outline effect Bivoac Shadow: Creates a shadow effect Bivoac Dark: Provides a bold and dark variation Bivoac Drop Shadow: Adds depth with a drop shadow effect Unlock your creativity and enjoy the layered features of Bivoac. Enhance your designs with its diverse options and explore the possibilities of captivating 3D and vintage visuals.

Peridot is not just another typeface – it's a multifaceted sans serif type system crafted with passion and precision by Foundry5. Painstakingly developed through long hours and a keen focus on every minute detail, this typeface boasts a high-quality 10 weight family with matching italics in 6 widths, and the highly versatile variable format. Brimming with character, Peridot invites you to experiment with its various stylistic variants, allowing you to tailor the typographic tone to fit your creative vision perfectly. The diverse range of widths and styles in Peridot offers a dynamic typographic toolbox, ready to inspire and captivate even the most innovative designers. Peridot PE supports Cyrillic, Greek, and Latin and covers over 370 languages. It includes all required localised variants, tabular numerals and currencies, fractions, clever discretionary ligatures and many more features. Peridot performs in varied environments – from branding, display, corporate use, editorial, advertising, poster, web, screen usage etc. Think of any other use case as well, and Peridot will perform. Peridot comprises 120 static fonts, family packages, and variable support. It is the gem you ought to have in your collection.

Introducing Lomesty, a captivating signature monoline font that exudes elegance and style. Designed with precision and attention to detail, Lomesty is the perfect choice for adding a touch of sophistication to your projects. Whether you're creating wedding invitations, branding materials, or personal stationery, this font will leave a lasting impression. With its seamless integration of uppercase and lowercase letters, Lomesty offers versatility and flexibility in your designs. Its extensive range of numbers and punctuations ensures consistency and harmony throughout your typography. Lomesty goes beyond language barriers with its multilingual support, allowing you to express yourself in various languages and cater to a diverse audience. From English to Spanish, French to German, Lomesty has got you covered. Unlock the full potential of Lomesty with its PUA encoding, which provides easy access to alternate glyphs and ligatures. This feature enhances the flow and uniqueness of your designs, making them truly stand out. Experience the beauty and finesse of Lomesty, where every stroke embodies elegance. Let this signature monoline font elevate your projects and bring them to life. Whether it's a logo, a website, or an art print, Lomesty will leave a lasting impression.

Introducing Namile – Playful Sans Serif A Playful Twist on Sans Serif Namile, our Playful Sans Serif font, is a delightful departure from the ordinary. Its quirkiness and fun factor set it apart from the crowd. Eccentric Display Font Crafted especially for eccentric displays, Namile injects a delightful dash of whimsy and vibrancy into your creative projects. Versatile for a Range of Designs Namile’s versatility truly shines in various design contexts. This makes it an ideal choice for a broad spectrum of creative endeavors, from branding to posters. A Playful and Memorable Experience Namile ensures that your content is not only playful but also memorable. It captivates your audience, leaving a lasting and cheerful impression. In Conclusion In summary, Namile – Playful Sans Serif is the font that brings a playful and quirky twist to the world of sans serif fonts. Its versatility allows it to shine in various creative projects, ensuring they stand out with a sense of fun and vibrancy. Whether it’s for branding, posters, or any other design endeavor, Namile captivates your audience, leaving a memorable and cheerful mark, making it accessible to a diverse readership.

Introducing Billowy, a captivating handwriting script font that brings an elegant and artistic touch to your creative endeavors. With its natural flow and versatility, this font is the perfect choice for various craft projects. Billowy's unique handwriting script style adds a sense of authenticity and charm to your designs. Whether you're working on shirt designs, websites, SVG creations, home decor, branding materials, blogs, logos, or invitations, this font will elevate your projects with its graceful appeal. With both uppercase and lowercase letters, Billowy offers flexibility in crafting captivating compositions. The font also includes numbers and punctuations, ensuring seamless integration within your text. Its multilingual support enables effective communication in different languages, broadening your reach to diverse audiences. Billowy features ligatures that enhance the smoothness and aesthetics of your typography, allowing for seamless and visually appealing designs. The font's PUA Encoding provides easy access to special characters and glyphs, enabling you to unleash your creativity without limitations. Embrace the elegance of Billowy in your craft projects and witness the beauty it brings to your creations. From handmade crafts to digital designs, this font adds a touch of sophistication and style.

Download PDF Specimen See Blacker and Blacker Sans , the perfect matching companions of Blackest. Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called “italian” or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.

We proudly present Authentic Photograph just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 't' that has a flow sketch with letter 't', you can find it in 'tt' ligature glyph (just type in the text form below for trying). So if you really want a so natural and flowing touch in your project, Authentic Photograph gives you Natural Ligatures (combining of two or more letters in a glyph), Alternates, Extras (19 Swashes) and included Multi-lingual Support. Authentic Photograph is a signature font and obviously it's so authentic :) Authentic Photograph offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image.

Introducing Midelyne – Lovely Script Adorable Elegance Step into the enchanting world of Midelyne – Lovely Script, where adorable elegance reigns supreme. This font is the epitome of cute and girly, perfect for adding a touch of charm to your designs. Playful Charm Midelyne’s playful charm sets the stage for a delightful and whimsical journey. It’s an excellent choice for a myriad of creative endeavors, infusing each project with a joyful spirit. Versatile Usage Beyond its cute facade, this font is incredibly versatile. It effortlessly adapts to various design contexts, from invitations to branding, enhancing the visual appeal of every project. Expressive Typography Midelyne doesn’t just stop at being cute; it’s also wonderfully expressive. Its lovely script style adds character and warmth to your content, leaving an unforgettable impression. In Conclusion In a nutshell, Midelyne – Lovely Script is the font that seamlessly marries girly charm with understated elegance. Its playful yet versatile nature ensures your content is not only cute but also highly engaging. Whether it’s invitations, branding, or a diverse array of creative projects, Midelyne infuses them with a unique, expressive touch that appeals to a wide audience, leaving behind a lasting and lovely impression.

Basic Commercial is a font based on historical designs from the hot metal typeface era. It first appeared around 1900, and was created by type designers whose names have not been recorded but whose skills cannot be overlooked. This typeface's design has been popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. It influenced for a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system's signage. The Basic Commercial's font family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial's design has been popular with graphic designers for decades. To read more about the history of typefaces like Basic Commercial, visit our font feature, The Sans Serif Typefaces. In addition several weights of this typefamily are available as soft rounded versions."

Gotika, designed by Mans Greback, is a collection of blackletter fonts that masterfully blend Gothic influences with modern sensibilities. Comprising Gotika Black, Gotika Strict, and Gotika Ornament, this font family showcases the craftsmanship of calligraphy and the elegance of the medieval era. Gotika Black is a bold, street-inspired typeface, while Gotika Strict combines the historic charm of blackletter calligraphy with geometric precision. Gotika Ornament is a decorative font with Middle Ages-inspired floral designs, perfect for creating intricate and eye-catching visuals. Each font within the Gotika family is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. The family has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Mans Greback is a Swedish typeface designer, dedicated to crafting diverse and versatile fonts. With a passion for design and typography, he has developed a broad range of fonts that are utilized by designers around the world.

Chester Chesire - Elegant Font Duo is a digital product featuring a script and serif font duo designed with an elegant and luxurious style. Inspired by classic design with a modern touch, this font aims to provide a captivating and professional impression in various design contexts. It is particularly suitable for magazines, the fashion industry, headlines, printing materials, wedding invitations, and businesses seeking an aesthetic and beautiful font. One of the key highlights of Chester Chesire is its diverse range of alternative characters, allowing for interesting design variations and personalized text looks. It offers excellent compatibility with different businesses and industries, making it a great choice for fashion companies, design studios, creative agencies, advertising firms, and more. With Chester Chesire - Elegant Font Duo, you gain access to an elegant and luxurious font that enhances your design projects. Its rich alternative characters provide flexibility and creativity, while its compatibility with different software and operating systems ensures ease of use. Elevate your visual message and design impression with this captivating font, perfect for magazines, fashion, weddings, and businesses that prioritize a refined aesthetic. Add Chester Chesire to your font collection and enjoy the benefits of its professional appearance and high-quality design.