Gather Serif - The Modern Classic Let your creativity flow with Gather Serif. Beautifully crafted letterforms and ligatures to give your type a modern touch of elegance. Gather Serif is packed with extra ligatures and stylistic alternative glyphs. Ligatures: CH CO DO EH EA EO IJ KA KO LA LE LH OC OO QO QU RA RC RH RI RO RS RU TH TT Th ZO fl ffl fi ffi st Language Support for: Western European, Central European, South Eastern European, South American, Esperanto.

I came across an old book called ‘Studio Handbook Letter And Design For Artists And Advertisers’ by Samuel Welo. Samuel Welo was an American advertising calligrapher, typographer and lettering artist, who was most active during the roaring twenties. Lenox Avenue is my version of a set of letters in that book. It was handmade (just like Welo had done). I only had an ABC/abc to work with, so I designed all the remaining glyphs myself. I changed some of the original (and quite quirky) letters to a more contemporary form. The font is named Lenox Avenue, once home of the famous Savoy Ballroom. Comes with all the bells & whistles.

Ecliptica is an extended family of five very condensed typefaces in a single bold weight. The creation of Australian designer Robert Bell. Ecliptica has a Sans, a Semi-Serif, a Serif and a single Cursive that can be used with any of the other three styles. As an added bonus, Robert also designed a modern Blackletter companion. The Ecliptica family is an unusual layout of styles and all work equally well with one another. The OpenType versions of the Ecliptica fonts support an extended Latin character set that includes a full array of fractions as well as additional ligatures. The Sans and Cursive fonts contain some cap and lowercase alternates.

Scorpio is a font based on lettering Michael Harvey drew for the card “The Sign of The Nudge” which was designed in collaboration with the concrete poet, Ian Hamilton Finlay. The purpose of the card was to prompt those owing monies to IHF, into paying promptly. Michael also used it on some of the many book jackets he designed. As such, it is a condensed design necessary to enable a lot of text to be fitted with a restricted space. Scorpio has both style and verve. It was designed to attract the attention of potential purchasers browsing the shelfs in bookshops. In fulfilling this rôle, it succeeded admirably. In all these respects, it is unquestionably a unique Michael Harvey design. When Michael died in 2013, this font existed as a drawing of the basic upper and lower case letterforms plus numerals. Andy Benedek’s contribution to Scorpio was to digitise the existing letterforms and then create the remaining characters necessary for a modern font.

A fresh new decorative display face bubbling with life & spontaneity, Jabberwub belongs to a rare genus of creature fonts that time forgotócasual animated. A fun & bouncy eye-catcher that crosses into the land of the zany, dancing a whacky line between discord & rhyme, Jabberwub packs tons of fun into a state-of-the-art OpenType font loaded with 270 extra glyphs, including stylistic alternates, discretionary ligatures, word ligatures and capitalized ligatures, allowing creative typographers to achieve a custom hand-lettered look without all the mess & spilt glue of a manual paste-up job. Just like using rub-down type but it never cracks or splits, and it never runs out. The moment you start using Jabberwub you'll be laffing! Jabberwub is ideal for whatever zany stuff springs to mind. It takes an outline with no problem-o, and you can squish & squoosh it as the occasion takes your fancy. Optimal results are achieved by hand setting each individual glyph. Available in OpenType only.

Sudtipos’ new sans serif font Replete is inspired by the mixture of aesthetics and philosophies found on the streets of metropolitan cities the world over. Buildings constructed throughout the twentieth century, including those made in the Art Deco style or influenced by the Bauhaus’s gospel, stand side-by-side as symbols of their time. Typography is one factor that bonds these vistas, and simultaneously further complexifies them. Art deco letters appear on storefronts and signage in Europe’s oldest cities and as remnants of the Golden Age of economic expansion for Latin America. Typography, like architecture, sometimes coexists in perfect harmony, and other times in ideological opposition. But it is these juxtapositions in places such as Shanghai, New York, London, Buenos Aires and Tokyo that shape each city’s identity. Replete is inspired by this mixture. We wanted to create a useful modern sans serif family – a set of 7 weights with playful geometric alternates – that allows you to combine characters including wide-width and filled letterforms. Replete is apt for long texts, and equally, for instances where letterforms can stand together like a cityscape. Replete means full, packed and abounding … it is a sans, it is grotesque, it is geometric and it is Deco. Replete is a new family that has a little of everything we like, equipped with everything you need to design anything you want.

The design of Gondolieri has its origins in an experiment to combine aspects of Didone and Tuscan typefaces. The result has a continental 'Italianate' feel. If you wonder what lies behind the name, just look at the lower case 'f'...definite overtones of a Venetian Gondola here, and throughout the design. Gondolieri is offered in regular and bold weights, as well as a simplified form for smaller text use. All of these are available in three widths. The Gondolieri family has a lovely Didone, 'Belle Epoch' feel for use in design, posters, book covers and so forth. An extensive range of Opentype features, including ligatures and terminal forms is included in the regular and bold faces.

Annonce is a digitization and expansion of a 1912 Johannes Wagner Foundry classic called Aurora Grotesk, which also circulated later on in metal under the name Annonce. Bold, extended and clear as a bell, Annonce stood out as the definite big sign font long before the Helveticas of the world. With angled cuts on some of the letters, it also shows humanistic traits that make it more appealing than any other face in its genre. The Annonce set comes in two fonts, a regular and an italic, and includes a very large character set that accommodates almost all Latin-based languages, including Turkish, Baltic, Celtic, Maltese, Esperanto, and the languages of Central and Eastern Europe.

Bex Script is a riff on traditional French script forms: the Bâtarde, the Ronde, and the Coulée. It has two versions: First, there’s La Belle, a straightforward, lovely interpretation of the script form, suitable for things like invitations, poetry and branding. La Belle’s evil twin is La Bête, a more whimsical (and considerably more hairy) version, great for anything that requires an elegant-but-beastly feel. Bex is surprisingly versatile! With three optional capital forms (Swash, Caps, and Small Caps) all taller than the x-height, Bex has a variety of voices. A full small cap set and a full set of Swash Caps, plus a large complement of alternates, initial forms, terminal forms, and ligatures makes it customizable and… well, FANCY! Additionally, both versions of Bex Script have a set of ten ornament glyphs. La Belle has a combination of fleurons on a culinary theme and symbols of France. La Bête has ten pseudoheraldic beasts that would feel at home at the top center of any whimsical letterhead. NOTE: A few years ago in Paris, I was lucky enough to stop at the Librairie Paul Jammes in St Germain-des-Prés, where I bought a turn-of-the-19th-century signature from a Type Specimen of the printer Joseph Gaspard Gillé. The irregularity of his script types — particularly the ones at smaller sizes, like the Cicéro — was very intriguing. They seemed to blend the Ronde with some elements of the Bâtarde and Coulée. And they, along with the work of French master penman Louis Rossignol, gave Bex Script its initial form.

Before the Great War, there were great posters. Posters of elegance and grandeur. Posters calling people to the pleasures of sunny southern France and to the perfections of northern Italy’s dolce vita. Le Havre, based on a poster by AM Cassandre, was one of my first typefaces that took inspiration from this genre. Now, the golden memories of years past are the inspiration for insigne design’s new Gineso Titling as well. Gineso revives the retro forms of past poster design with its newly crafted sense of humanity, which is amplified by a great variety of texture options. While the new forms are perfect for posters, this titling font is also ideal for bringing the charm of pre-war Southern Europe to a new bottle of wine, to fine foods and beverages, and to high-end logotypes. For the grandeur and elegance you need in your titling, look to Gineso Titling.

Hello Bakista Script is a modern calligraphy font featuring a varied baseline, smooth lines, a classic and elegant touch. Can be used for various purposes such as headings, signatures, logos, wedding invitations, t-shirts, letterheads, signage, labels, news, posters, badges etc. I created this Hello Bakista Font inspired by classic calligraphy concepts and made it into a modern style, and I also added some really interesting binders and alternatives when we applied them. I also tried to execute in a different way so that it resulted in this Bela Yasmine Script font. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. Thank you,

Fontoddler Font Family, This font was created with the personality, in mind, of my two-and-a-half-year-old granddaughter Chloe Bella. I believe strongly that fonts have personalities that’s why we refer to their members as ‘characters’ or to be more accurate, ‘glyphs’. This font is playful, bold, colorful in form and design, a bit irregular, a bit informal, a bit irreverent, a bit humorous, a bit sassy, and a bit independent just like my little one. When used in color Fontoddler sings. She’ll be writing and creating visual words in just the nick of time. At 2 she started recognizing many colors and identifying people, places, animals, and objects and now she’s recognizing letters. I can’t wait for her to understand that this font was designed and named after her. Fontoddler currently exists in 3 styles, Medium, Heavy, and Heavy Outline. Naturally Heavy and Heavy Outline are congruous, ie. They are fitting together. I hope you enjoy and use this 24th font family from Cozyfonts Foundry. It will fit well with greeting cards, signage, birthday parties, holiday occasions, invites, stationary, headlines, logos, posters, cartoons, animation titles, movie titles and even sports events and sports logos. Have fun with this one. Tom Nikosey

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

Bestlady is a romantic textured brush font suitable perfectly for invitations, brand projects, logos, greeting cards, news, product packaging, posters blogs, everything including personal charm etc. This font is alternates all lowercase,also have equipped with 69 ligatures unique and beautiful: zz yy ww vv uu tt tl th st ss sh rr qq pp oz oy ow ov ou ot os or op oo on om ol ok oj oi og of od oc ob nt nn nl ng mm lt ll lh kk is ii id hh gg ff et el ee cl ck ch cc bl bb aw at ap an am al ah af ab aa

My daily challenge is how to get my kids out of bed, feed them breakfast, get them to dress, wash and pack their school bags and drop them off at school before the bell rings. The rest of the day, the challenge is to renovate our house, get my work done, pick up the kids from school (plus all of their friends, who want to come and play) and cook dinner. Of course, the word ‘challenge’ was misused by the internet. Not too long ago, there seemed to be and endless stream of crazy challenges that ended up hurting or even killing a few people. Daily Challenge font is none of the above: it is a clean cut, 100% handmade, all caps font. The only challenge here is how to adapt your design so it fits this font perfectly… ;-)

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Quatre is a clean, friendly, monoline display script with a number of subtle but significant features. Originally based on the style of cursive you may or may not have been taught in middle school, Quatre has a clean geometric flow to it while containing a robust set of OpenType features such as ligatures, swash capitals, and stylistic alternates that give it a unique look. With over 700 glyphs, coverage for over 30 languages, arbitrary fractions, contextual alternates and more, Quatre will have you covered for whatever situation you may run into. I mean, probably. I can’t know every single weird way you might be trying to use it. The point is, it’s got all of the bells and whistles you could reasonably hope for. Make sure you open up the OpenType panel in Illustrator, Photoshop, and InDesign to make use of all of those features.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. Feature Summary*: - 9 weights, 18 styles: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy and corresponding italics - Supports at least 99 Languages incl. eastern european and vietnamese languages - Overall width: Narrow or Space-Saving - Advanced f- ligature set including fb - Discretionary s- and c- ligatures - Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more - Capital German Eszett - Extra characters with Polish Kreska - Catalan Punt Volat - Extra characters with alternate minimalistic Cedille * Some features may only be available in OpenType®-savvy applications

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Check out Mr Gabe in motion! Mr Gabe is a typeface designed to dance. Not that it’s a flamboyant display face, but that it has a liveliness, especially in its heavier weights, that dances across the page. And the letters include a selection of exuberant flourishes that can be used to kick up a ruckus or make a sweeping gesture. Mr Gabe is a high-contrast serif typeface with vertical stress, a “modern” face in traditional type terms. Even in the regular weight, the contrast between thick and thin strokes is very obvious. Designer Andrea Leksen has given many of the lowercase letters ball terminals, teardrop shapes that make Mr Gabe seem decorated even when most of its letter forms are conservative. If you need more bells and whistles, or perhaps revolving mirror balls and dancing shoes, you can explore the font’s collection of ornaments and decorative borders. Mr Gabe comes in four weights, from Regular to Black, with italics for each. Each font includes over 57 ligatures, 31 illustrations and borders, small caps and proportional oldstyle numerals.

Carta Marina is based on the titling found on the famous map drawn by Olaus Magnus in 1539. The map of northern Europe took 12 years to complete, and the total size is a huge 1.7 meters tall by 1.25 meters wide. More information about the map, as well as the high resolution reference document used to create the typeface and illustration set can be found at the James Ford Bell Library, University of Minnesota. The titling is slightly aged, very sturdy and elegant. Carta Marina includes a full set of OpenType alternates for every character in the English alphabet, oldstyle figures, historical forms, small caps and 64 discretionary ligatures. These ligatures are used to alter the appearance of the type so that the printing appears realistic and without any duplicate letters to detract from the antique appearance. The Carta Marina family also includes some of the unique illustrations that gave the map its character. It includes depictions of fanciful sea creatures, land animals and some of the inhabitants of the lands pictured.

The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony. Compared to the original Bodoni designs the new typeface was a lot bolder, which was well taken by the audience in this time. The BATTISTA typeface is an remarkable design, assembled of ultra bold and very fine shapes, but in all, the spirit of Bodonis design was well preserved. BATTISTA is a classic display design. The fine details are best shown on larger text sizes.

This typeface is primarily optimized for the setting of belles-lettres. The regular styles are balanced to suit small text sizes and enable the reading of long portions of text. The development of the typeface was guided by the goal of creating a contemporary, discreet book serif, with modern expression and numerous functions. Letters feature reduced contrast, the lighter styles may evoke wired letters, while the heavier ones bear distinct slab serif references. The extremes thus work in harmony and fulfil the demanding requirements of advertising and magazine layout. The typeface is suitable for bottle labels, invitations, exhibition catalogs and posters, for printed and online presentations alike. The name Pepone was chosen as an homage to Josef Kroutvor. Of course, the typeface isn’t solely reserved for the setting of the works of Josef K. On the contrary – we’d like to present a universal typeface suited for literature, catalogs and magazines. It wouldn’t be the first and the last example of a typeface created with a specific purpose in mind, which later became used universally.

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

Cotton Club remembers the fonts of the thirties of the last century and the Bodoni, but it does not present graces: it is a sans serif. It has 360 glyphs and is composed of two regular and italic styles. Cotton Club is characterized by a high contrast between thick and thin strokes. The emphasized signs give the font an essential, sharp and elegant look. The Italic style of the Cotton Club refers to handwriting and this is noticeable in the ligatures obtained with kerning. The name of the font, “Cotton Club,” refers to the famous Jazz Club in New York, in Harlem, active in the twenties and thirties, during and after Prohibition. At that time the Bodoni, in its many derivations, was widely used not only in lead composition, but also in neon signs, plaques, posters, as well as in many other applications. Redesigning a new font that brings back to those years wants to be, therefore, a tribute and a reinterpretation of the graphics of that period as well as, it is understood, to the glorious Bodoni. Supported Languages Bulgaro, Bosnian, Catalan, Czech, Danish, German, English, Spanish, Estonian, Finnish, French, Irish, Croatian, Hungarian, Icelandic, Italian, Lithuanian, Latvian, Maltese, Dutch, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Albanian, Serbian, Swedish, Turkish. Vincenzo Crisafulli font designer Vincenzo Crisafulli graduated from the Faculty of Architecture in Palermo and works as a graphic designer. He has been designing fonts since 1996 and has published with T26 (Type-Foundry, digital foundry in Chicago-California USA): Crisafulli, Chocolat, LST, Luminaria, and Stitching; with MyFonts: Rétrospectif, Bella Copy, Jasmin and Noahs Ark.

Plener is a type family of layered fonts available in four weights: Light, Regular, Bold, and Heavy. The properties of layered fonts are matched with the classical type family structure, which makes Plener specific. The letters have humanist origins, interpreted expressively with short brush strokes separated in layers. These humanist forms keep the text set in Plein Air surprisingly legible. Layer structure allows the user to play with colors and transparency, giving the text a more personal feel. Plener comes in two additional styles, made of layers from the Light and Heavy weight. These new, display styles, named Plener LLH and Plener LHH are separated from the main family. To make the work easier, we created basic fonts out of merged layers (for every weight and style). We recommend users to set the text using these basic fonts first, then apply an opacity value lower than 100%. When satisfied, copy the text on multiple layers, changing the font to Layer A, B, and C. Apply a unique color to the text on each layer or use the same color but different opacity value. Plener fonts have the following features: ligatures, oldstyle figures, proportional and tabular lining figures, fractions, etc. Besides, there are fifteen dingbats set as discretionary ligatures. Contains Latin and Cyrillic. For some extra tips on how to work with the Plener family, see the pdf file attached to the gallery.

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

Quiller is another catch from the hot metal days, another one that managed to slip through the fingers of both the photo-typers and digitizers of last 4 decades. JJ Sierke’s Privat design from 1966 is now resurrected and heavily extended to be used by computer users everywhere. The original design was revived, and two whole new fonts were added to it - one with very unique swash caps and alternates, and one with many many ligatures and letter-combination ornaments. Quiller is a cross between brush calligraphy and very casual fast handwriting. It even has a slight Arabic simulation to it. Given such traits, the addition of a swash font and a multitude of ligatures comes in very handy to keep the natural flow of the font and maintain the elegance of its spirit. Those who like the auto-magic of OpenType’s intelligent substitution should like the fact that the OTF version is a single font with all the bells and whistles ready to go in the swash and discretionary ligatures features. If you use the latest versions of Adobe programs, the OTF version of Quiller is highly recommended.

A Belle Époque humanist serif in two styles: crisp, high-contrast Haut-Monde and soft, low-contrast Demimonde… When you design a lot of display pieces, you’re often in need of tall, slim type. Liaisons provides that, in a distinct fin-de-siècle style inspired by the great posters of the Gilded Age from Sweden, Denmark, France, and Scotland. (The ampersand alone is a bit of a love letter to Charles Rennie Mackintosh!) Both styles use the same slim skeleton, and are named after the stratum of society where one might find… a “dancing partner.” HAUT-MONDE is a high contrast face of the sort that says “High Society.” Elegant and sleek, it speaks to the refinement of the moneyed classes of a bygone era. Great for high-end products, too! DEMIMONDE is soft and low-contrast — more reminiscent of hand-lettering on Art Nouveau/Jugendstil/Wiener Werkstätte advertisements and posters. A comfortably chic display face all around! Both typefaces feature full Western and Eastern Latin character sets, as well as full Cyrillic/Slavic ones. And, perhaps best of all, both typefaces feature capitals with high, middle, and low waists, so you can change up the look as you see fit! Part of The Ampersand Forest's Sondheim Series

Aljaraz (meaning “small bell” in english) is a curvy typeface inspired on the “Fat face" letters with an extremely bold design from the early 19th century, but with an insolent touch of brave and psychedelic distortions. Aljaraz has a regular and italic variable, and in both styles the capital letters have a swash alternative where the naughty touch reaches its maximum expression. It is ideal to recall the lysergic era of the 60s, write funny words, or simply to express small texts in a display way that powerfully attracts attention. Let Aljaraz inspire you groovy kind of love! Designed by Carlos Campos cuchi@cuchiquetipo.com Secondary typeface: 'Escuela', also by Carlos Campos _ Aljaraz (“campanita”) es una tipografía curvy inspirada en las letras con un diseño extremadamente grueso y atrevido de principios del siglo XIX (las “Fat face”), pero con un toque insolente de valientes distorsiones psicodélicas. Aljaraz tiene una variable regular y cursiva, y en ambos estilos las mayúsculas tienen una alternativa súper decorada donde el toque travieso alcanza su máxima expresión. Es ideal para rememorar la época lisérgica de los años 60, escribir palabras graciosas, o simplemente expresar textos graciosos de una forma visual que llame poderosamente la atención. ¡Deja que Aljaraz te inspire su maravilloso amor!

For these fonts I have reworked the spacing a bit, and completely redesigned the "N" as they were calligraphically very wrong. Kevin King says: "Petrock is based on letterforms found in a small city Church in Exeter - from a display case about bell ringing. A lovely simple labeling hand, I think I've done it justice... Petrock Light is a lighter form of Petrock - makes both of them more usable." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

BF Corpa Gothic™ Pro is a kind of “Neue”-Edition of the beloved typeface designed by Guido Schneider. Inspired by hand-drawn geometric fonts from 1920s posters, this sans serif typeface is slightly condensed, and it appears compact and captivates with its expressive shapes and unique details, despite its pronounced Grotesque character. With its rather constructed, technical – but also vivid – appearance, the BF Corpa Gothic™ Pro is not only suitable for headlines and display applications, but is also pleasant to read in short and middle length text. The type family is engineered for exciting, professional but unusual designs. It is equipped with OpenType Features like 4 figure sets (LF, TF, OSF, SC), nice ligatures, many currency symbols, fractions, alternates, special characters, arrows and symbols – and small caps. 9 style sets give you the option to individualize and adjust the typeface to the requirement of your design, without changing the general visual feeling. In this way you can also switch the simply slanted styled Italic into a “real Italic”. Each of the 16 fonts (Upright and Italic) contains more than 940 glyphs and supports up to 220 Latin-based languages.

The Dellgado is the font of choice for writing things beyond words. This typeface is designed with great detail to convey stylish elegance. So, it can be said, the character of the transformation is very beautiful, a kind of classic ornamental copper script. The Dellgado provides alternative variants of most fonts, binders and many calligraphy tips, ideal for elegant labels, high-end packaging, stationery and compositions for certain brands, beautiful titles, paragraphs, letters and short text, intended for read only with the eyes or meant to be whispered into someone's ear. The Dellgado includes various language support. It features OpenType with alternative styles and elegant binders. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. And also a touch of ornament makes this font look elegant. To enable the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by email Regards Mova Pista

Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.