Wolvercote is one of two new ‘Masthead’ typefaces from Greater Albion. This Victorian inspired face makes the construction of ribbon or cartouche banners and mastheads the simple work of a few moments. Wolvercote is also particularly designed to complement our Wolverhampton and Mexborough families.

Bettendorff is one of two new ‘Masthead’ typefaces from Greater Albion. This 1900’s inspired face makes the construction of ribbon or cartouche banners and mastheads the simple work of a few moments. Bettendorff is also particularly designed to compliment our Spargo and Mexborough families.

Apparently original with the Lindsay brothers type foundry in New York shortly before they were merged into the American Type Founders Company. A few characters of the original font have been modified slightly to make them more harmonious with the rest of the alphabet.

Leroy is a font family of 5 members designed from geometrizing Roman and Gothic skeletons. Its purpose is to provide optimal reading of titles and paragraphs with strong mechanical flavor. Because of this, its variables are designed to sort information in media such as labels, signs and industrial atmosphere packaging related with the Soviet Union’s fonts in 1920. This idea matured white horizontal lines superimposed on alphabets drawn with an ancient architectural team known as “Leroy K & E Controlled Lettering System”. Then that evolved into a family concept unifying its proportion to the same X height for its members, resulting in a versatile type system. Therefore, Regular and Bold variables have low contrast between thick and thin strokes. Its upstream and downstream are extremely short, generating a suitable interline that clogs the vertical area. Its overall width equal to its X height, supports its tight spacing that compacts the horizontal area. Therefore, the variant with black caliber has plenty of contrast between thick and thin strokes. The light variable has a “blind” effect radiating light halos, ideal to propose hierarchies and combinations with orthogonal projection. In that sense, Leroy’s modular character reminds constructivist ideology merged with typographical variants suitable for graphic design with geometric look. To achieve this, I studied the softening of forms and counter blocks into a typographical system specially designed for composing useful information to attract attention. In that sense, the dingbats were obtained through a careful process of research and testings done with drawings that provided full and empty visual strategies that with the passage of time helped to forge the major decisions of a metamorphosis from industrial tools, birds and humans from pictogram mixing various genres.

Harlan is from another place and time. But not just one specific place or time– with its barely-there, knife's-edge serifs, and its smooth curves and flourishes, Harlan feels both vintage and modern; both feminine and masculine. Inspired by the Baltimore bar "WC Harlan", which in turn was inspired by the old candle-lit bars of France, the tucked-away osterias of Italy, and the antique books and journals one might find in a patron's hand. It's a font you'll reach for when you're looking for something refined and elegant, but not too stylized or stuffy.

Apocalypso is a pictogram font for the end of the world. The name Apocalypso is a portmanteau of the words apocalypse (end of the world) and calypso (joyful improvised music), with a meaning analogous to the idiom ‘fiddling while Rome burns’. The Apocalypso family is more of an art project than a practical font and contains a series of crosses and pictograms. The crosses add decorative detailing to typographic layouts, whilst the pictograms can be deployed to express the forthcoming apocalypse. Apocalypso was originally published in 1997, a few years before the turn of the millennium. It is both a document of the ideas of the time and a scarily prophetic vision of a possible world that has now largely come to pass.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

Basic Pixel is the right font to have fun with. With 15 different styles you can combine styles and color like building blocks to create endless new combinations and intriguing visual outputs.

The design of Beau Sans was inspired by Bernhard Gothic which is considered one of the first contemporary American sans serifs and was designed by Lucian Bernhard in the late 1920s. Panos Vassiliou came across this font while attempting to reduce the design elements of a text typeface, by introducing Bauhaus-like minimal forms to the characters. The first version was completed back in 2002 and introduced one year later in Parachute’s 3rd catalog, under the name PF Traffic. Some time later it was decided to make a few improvements but the project was so carried away that the new typeface which emerged needed urgently a new name. Beau Sans Pro is a modern sans-serif family of 16 fonts which includes true-italics. Just like all other Parachute fonts, it covers a broad range of languages by incorporating 3 major scripts i.e. Latin, Greek and Cyrillic in one font. Furthermore, every font in this family has been completed with 270 copyright-free symbols, some of which have been proposed by several international organizations for packaging, public areas, environment, transportation, computers, fabric care and urban life. This typeface is totally recommended for titles and/or body text when you want to give a distinct and contemporary identity to a product or service.

Voguish – Sophisticated Calligraphy Are you looking for an outstanding and unique font? Do you want to add some fun and playfulness to your creations? Then this is the font that you need! Say hello to Voguish – the new, exclusive, and elegant font! Voguish is a sophisticated font ideally crafted to easily create amazing results with a minimum of fuss. Voguish is a perfectly balanced font with unique, stylish letter shapes that have been combined with a sophisticated contemporary touch. Being a perfectly multifunctional font, it is the ideal fit for new season designs. It’s perfect for all those luxurious projects or designs that you want to stand out from the crowd! Download it now and make all your dreams come true! It’s so unique and elegant in look, that it will be the talk of your town! Voguish features: A full set of upper & lowercase characters Numbers & punctuation Gorgeous ligatures A full set of alternate upper & lowercase characters Uppercase beginning swashes Lowercase ending swashes Lowercase alternates characters Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Quendel has been expanded to become Quendel Happy Family. Apart from the new Bold weight for easy distinction and emphasis, there are now four other very exciting variants, rendering different writing tools and writing materials. The basic form of Quendel was written with a Japanese bamboo tip and therefore embodies a form letter of natural flow. The new versions show other features that provide the feel of written scripts. While the styles Wood and Crayon include some alternate characters, Q Marking Pen and Q Fingertip, due to their apparently more complex enacted forms, do not need additional alternates without looking stiff or boring. The wood relief of Quendel Wood was created by a freehand wood relief drawn with oiled chalk. Quendel Marking Pen seems to be written with a felt-tip pen soon depleted. At the same time it is also reminiscent of the blooming effect, which we know from photography. The name of Quendel Fingertip suggests what can be seen - someone seems to have written with the finger in a grainy material. One would like to try it himself. The effect of broken lines which can be gained by writing with chalk as reflected in Quendel Crayon. Almost like parched sandy soil, the writing material seems to crumble.

Introducing Jenthill - a lovely font family which includes 4 font styles: - a wonderful script typeface Jenthill - Jenthill Light - a delicate version of Jenthill - 2 uppercase fonts Jetnthill Caps and Jenthill Light Caps which are perfect for headings. Each font consists of about 380 glyphs and includes basic punctuation, numbers, roman typeface and international characters, so the font can be used with most of the European languages. Each font in this family is amazing in itself and perfectly combined with each other. So, if you are looking for a font that simulates the soft-edged handwriting, the Jenthill is just for you! Every letter of this font has been carefully crafted to look wonderful and helps you to add a little fancy to your work.

Havelock Titling builds upon the essential geometry of Havelock , adding new weights for spacious, authoritative text. Made to combine with Havelock’s display capabilities for more traditional reading scenarios. Built on the same weight range as Rocinante Titling , which broadens your design options. Light matches Light, Bold matches Bold, and so on. Both Havelock and Havelock Titling collections are included in Havelock Complete for a lower price.

It started with an italic, or to be more precise, half an italic. The slanted styles of Urge Text exhibit a certain bipolarity, the tops of glyphs having a standard italic form, the bottoms of glyphs being more Roman in their construction. This sturdy footing really locks the italics to the baseline, making them very legible while still being distinct from the uprights. The same bipolar approach didn't work very well in upright styles, so the Romans are more toned down. Ranging from the almost monoline, Egyptian style light weights to higher contrast ‘Modern’ bolds, there is much potential for use in typographically demanding scenarios. The family consists of six weights, normal and condensed widths, all with italics, making a total of 24 fonts; it’s a highly usable text typeface with an array of OpenType features. All styles include small caps, multiple figure styles (proportional- and tabular-, oldstyle and lining, small cap proportional figures, numerators, denominators, superscript and subscript), standard ligatures, alternate forms (stylistic sets), automatic fractions, case sensitive forms, and a handy (perhaps!) ‘percent off’ ligature in the discretionary ligatures feature.

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

Danielle Smith describes her friendly, hand-drawn typeface family, available in roman and italic, as ‘non-élitist and accessible’. Originally created for a theatre project at Massey University, Dandy is reminiscent of Pablo Ferro’s hand-lettering.

Absinette takes us straight back to 19th century France. Its a decorative family of Roman faces in three widths as well as a more elaborate inline style, ideal for posters with an Edwardian or Victorian theme.

Wind Factor is a display typeface with rough features and roman italic essences. This type features elements of crafting and design along with a bold elegance. Ideal for brochure design, menus, invitations, package design, and advertising.

Pantomime is an original and unusual casual Roman Script. Designed for using at larger sizes and headlines I have spaced the fortnight, as I believe this is the most effective way for producing interesting word patterns.

A revival of one of the popular serif wooden type fonts of the 19th century, tall x height, quite short descenders, thin, rounded serifs, thick stems, based on Roman styles, deliberate, accurate rendering of the original.

Artica Rough Pro is an elegant display typeface. It was inspired by classic Roman letterforms. Artica Rough Pro supports Latin, Cyrillic, modern Greek and Armenian scripts, and includes swash initial, final forms, stylistic alternates and ligatures.

The Vtg Stencil series of fonts by astype are based on real world stencils. The UK No. 2 design was derived from authentic one inch A2 Roman stencil plates from Great Britain, manufactured around the 1950s.

Cartier was Canada’s first roman text typeface, created in 1967 to celebrate Canada’s centennial. Its designer, Carl Dair, was one of the country’s most celebrated graphic design pioneers, and a fine designer indeed — but he was not a trained type designer. He had spent a year at the Enschedé type foundry and printing works in the Netherlands, but that probably wasn’t enough to fully grasp all that was required to make an effective text face. It is also possible that Dair simply compromised his own design by not allowing any of the much needed alterations to be made to his working drawings when they were handed over to Linotype for production. Cartier, though a strikingly original oldstyle, never became the influential allround text face it might have been. A display typeface derived from it, Raleigh, was more successful. Realizing that Dair’s design was sound in concept, if not in execution, Rod McDonald began working on a new digital version in 1997. The final family is convincing proof that Cartier could have been the functional text face that Dair originally wanted.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterised by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings. This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

Modulus Pro, the extensive update to Modulus. This update was built around the original Modulus Font. This rounded sans-serif has a larger glyph set which covers many languages. Modulus Pro now comes in 8 weights from Extra-Light to Black. This updated version was designed with the designer in mind, you have many stylistic alternates to get creative with and make some really cool customised typography. A large range of examples have been designed to show just how versatile and creative you can get with this font family. It's fun but has a cool, edginess to it at the same time. Modulus Pro is not just another rounded sans-serif, you are going to want this in your font list.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

The legendary retro-futuristic typeface returns, now in digital format! While there may be copycats of varying quality, none of them have taken the time and care to revive, reproduce, and expand the original Roc Mitchell “Corporate” typeface like Corporatus has. Made directly from scans of the original type specimens and expanded to include the full WGL4, Corporatus is YOUR solution for your retro, futuristic, and corporate design needs. Descended from Microgramma and originally designed to be the American competition to distant cousin Eurostile, Corporate and subsequently Corporatus is best known for being the typeface used by video game developer and publisher Nintendo for many NES-related media in the West, including its controllers, and by Colecovision for its logo. With the original Latin character set as well as Greek and Cyrillic lettering available, now you're playing with TYPOPOWER!

TWT Prospero is the kind of typeface you seldom find in blocks of continuous text these days. Similar fonts based on late-18th-century work by Bodoni, the Didots, and others tend to be reserved for display type: their exaggerated contrast and vanishing hairlines can make you squint and strain at small sizes. But TWT Prospero, with its moderate contrast and fairly robust hairlines, is impressively legible in book text while remaining ideal for use in display situations. The full family has seven styles: roman, italic, bold, bold italic, condensed roman, condensed italic, and condensed bold.

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Mixtra is a versatile and complete type family designed by Bo Berndal. The three Mixtra family branches are Roman, Sansserif and Slabserif, each with a full set of weights. The Roman also has a Small Caps font. Combining the three family members is a good starting point for creating a coherent typographical design. Mixtra works well in magazines and all sorts of print in need of a strong visual identity. "Mixtra is a multiface", says Bo Berndal. "With or without serifs, or with powerful slabserifs, you can pick the version that best suits the design and printing technique you have chosen."

Anavio is named in honor of the ancient Roman name of an English Derbyshire town. Anavio is a classically inspired family of Roman faces, emphasizing simplicity of form and elegance. Regular and Bold weights are offered, along with condensed forms. Anavio is offered in both upper and lower case and small capitals faces. Its simple lines are immediately legible, lending it to both text and display uses. A range of ligatures, both standard and discretionary, are included as are stylistic alternates and two styles of numerals. Use Anavio to lend that indefinable air of elegance to your next project.

LeBrush is a contemporary Roman typeface based on real brush lettering, in 10 styles from Thin to ExtraDark, inspired on the classic Roman proportion of the “Capitalis Monumentalis” present into the Trajan Column and another Greek architectural structures. The “LeBrush classic” weight was specially developed to easily design ‘Movie titling’ graphics, cover books & magazines and posters. More skilled designers and pro-Users can even set the type, in a very smart way, in logotypes and labels as well, using its multiple advanced opentype options and extra ornamental sets. Lowercases allowed users to work in lecture size requirements.

Prospera was designed without reference to existing roman faces. In its initial form, development was partially supported by a grant from the National Endowment for the Arts (Design Project Grant), as a design for use on 'low-res' digital output devices. Early releases had simplified detail in cross-bars and serifs, and hand-tuned bitmaps. As an original design, Prospera draws on principles of letterform developed during my studies of lettercarving (in Wales with Ieuan Rees) and Roman proportion. The design is idiosyncratic, perhaps more akin to Gill's Perpetua than to the monotonous corporate flavors so prevalent today.

Annalena Script is a romantic typefaces. bold, elegant & fun vintage script font. Can be used for various purposes.such as logos, wedding invitation, t-shirt, letterhead, signage, news, posters, badges etc. Features 423+ glyphs and 160 alternate characters, ligatures, swash and multiple language support. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac).

Introducing Neue Waver - Contemporary Serif Font With A Ligatures & Alternates by Rijesain x Look minus today Trendy, elegant, retro, sharp & modern style serif font for your new fancy projects. Stylish, luxury, creative, romantic and classic style on Neue Waver font will be great for any modern branding project. Lot of alternates and ligatures will help you to create unique and original logo design or website header! Enjoy :) Features: - Uppercase & Lowercase - Ligatures & Alternates - Numerals & Punctuation - Multilingual - Simple Installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word - PUA Encoded Characters - Fully accessible without additional design software. Thanks & Happy Designing!