Valenteena is in the spirit of the 19th century, but there are no other typefaces quite like it. It is geometric, using distorted hearts to form the letters. The lower-case letters are smaller versions of the upper-case letters. The overlay variant is derived by breaking ValentinaContour into its parts: the inner letter, the white inner border, and the black outer border. To use them one must have a program that allows layers of letters. Type in and format the inside variant to get the message you want. Also select the color you want this layer to have. Copy this layer twice, formatting one to the medium and and the other to outside. Color each of them in the colors you want and them combine the three layers, placing them so the letters exactly align. You will get letters with three colors.

The Contribute font is one that takes you back to the days of the fountain pen. To those who are old enough to remember, fountain pens were tiresome to fill and use – but also a pleasure to own, something to cherish that became so much a part of your daily life, a symbol of etiquette and sometimes even a style statement! Our Contribute fonts will definitely remind you of that, and everything else to do with a touch of vintage class. This 30s-like font is sure to become one of your favorite cursive fonts, be it for use on a poster or a web page. This font is ideal for those situations where you need your viewer to connect on a more personal level than formal. Think ‘writing a letter rather than typing it out’, and you will know what we mean!

Introducing the 'Merchande' Font Trio Inspired by a variety of midcentury typefaces, the Merchande trio was designed to add pizzazz to your branding, packaging, advertising, and print projects. What's Inside? The serif is fantastic for headlines, logos, and anything that needs to grab attention. Its tall, condensed, and confident appearance is a great head-turner, made even better when combined with the two below. The script is perfect when a premium touch is needed for your work. Its use immediately adds a charming, personal quality. The best part, it's wonderfully legible in any size. While the sans works fantastic as a large display font, it truly shines when used for its intended purpose. Small text. Evidence of this is scattered throughout the presentation images. Tip: Increase the space between the letters (tracking), it looks awesome. Thanks for looking! Tom

Pronema a new fresh & modern serif with a strong style, a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more! Pronema Display Typeface is the part of a strong and modern Bold display. This typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serif and the distinctive letter shapes show their strength in logo design and impressive editorial use. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word Fully accessible without additional design software. I really hope you'll get pleasure using Pagers font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

Since 1985, Cartoonists Across America & The World have been promoting literacy, creativity, the arts, and other positive issues using cartoons and humor. Founder Phil Yeh and his band of artists -- including Comicraft President and First (Flying) Tiger, Richard Starkings -- create books, paint murals, take part in school assemblies, conventions, conferences and other public events for all ages throughout the world! Cartoonists Across America & The World have worked in partnership with the Center for The Book in The Library of Congress and other organizations all over the world. They have painted more than 1000 murals in 49 of the United States as well as in Canada, Mexico, Italy, England, France, Germany, Hungary, The Netherlands, China, Taiwan, Singapore, and the Cayman Islands. So we made Phil a font 'cause he's a noble soul. Avoid Extinction -- Read, Reuse, Reduce and Recycle!

Geogrotesque Slab is the ideal companion of the popular Geogrotesque. The challenge was to achieve a fully recognizable font that works as part of the existing family, for that reason the Slab version conveys the same message in a different way. The new font remains clean and tech with a human touch yet provides a new security, confidence and firmness thanks to the serifs. This new addition, combined with Geogrotesque, Geogrotesque Stencil and Geogrotesque Condensed Series provides even more design options and now there’s a Geogrotesque for every need. The type family consist of 14 styles 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. It is available for desktop and WebFont and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors with support for Central and Eastern European languages. For more details see the PDF.

Kaneda Gothic is a whole new basic gothic. Philosophically, Kaneda Gothic is the one of the niche answers in the interspace between these antinomies. Image of near-future and giant metropolis in 80s, 90s vs our real life in the 2010s,20s. What we acquired by Industrial, scientific developments vs our emotional demands, imagination in our brain. Design transition in short period of time vs the consistency of real function which laid along the human history. Technically, Kaneda Gothic has a geometric letterform which called “gaspipe” or “Gothic” in woodtype era. But Kaneda has very sharp curves and lines for contemporary demands, that is to say, impact and clearness. Geometric and clear letterform is perfect for eye-catching part such like company logo, movie title and picture’s captions. Consists of seven weights and their matching italics. Supporting almost all latin languages.

Copenhagen has been in need of a typeface that unites the city’s many visual expressions. The three designers Morten Rostgaard Olsen, Henrik Birkvig and Ole Søndergaard have designed and developed the typeface FP København. Now available from MyFonts in 20 styles: Uprights & Italics, small caps, pictos-characters, stencils, sprayed style, OT-features, ligatures, contextual alternates etc. The shapes of the letters are inspired by the city’s culture and the visual environment and design in Denmark in the 20th century. It is relatively low and wide as the city itself and with rounded corners that give it a warm visual mood. “You can find examples of the use of a typeface with the same purpose in other parts of the world, for example, to identify local areas or urban tourism materials. FP København is our take on that kind of typeface” the designers add.

Fragment Pro is a part of a larger OpenType font family (see also Fragment Pro Inline). It is an elegant, soft and decorative typeface built on classical proportions. Its outlines have been carefuly crafted with a high attention to detail, so it could be used even at very large sizes. Fragment Pro is derived from the separately sold layered Fragment Pro Inline, however it has been significantly optimized for standalone use. Fragment has been conceived to be used as a display typeface in publications, titles, logotypes etc., but it is surprisingly legible even in smaller print sizes. Thanks to its strictly onefold oulines, Fragment can be also used as a stencil typeface. Fragment supports many OpenType features and offers great multilingual support for most of the Latin-based languages. Feel free to download the detailed PDF Specimen.

Calling all of you to be the part of this perfection. Exactly, Magnific strike the perfect balance between function and design. Magnific is a bold display serif font that expresses powerful yet welcoming vibe. It's modern, simple, easy to read, and works equally as well in header and body text-what’s not to love! Beside that, this font has more fascinating features that helps you maximize your design. Features: Ligatures Stylistic Sets Multilingual Supports PUA Encoded Numerals and Punctuation It works perfectly for for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Bourgeois Slab is built upon the framework of Bourgeois, our popular geometric type family. As with the sans-serif Bourgeois, Slab’s letter forms are thoroughly contemporary in look and feel. Echoing mid-century modernism in style, Slab’s overall look is friendly and businesslike, more expansive and expressive than Bourgeois’s pared-down asceticism. The slab-serif’s development and vigorous uptake during the early-Victorian-era Industrial Revolution, means that we endow slab-serif faces with characteristics of sturdiness, durability and trustworthiness. At the same time, we appreciate the slab-serif’s raison d’etre: They’re made to grab your attention. Bourgeois Slab and Slab Condensed when combined, offer 24 styles suited for text of all kinds and sizes. Both are particularly good for for text-heavy projects and for designers seeking a robust, authoritative-but-genial voice for branding and logo work.

Klaud is our new slab serif family with 14 styles. It is compact, stable typeface that's carefully designed to suit in every possible situation where an working horse typeface could be used. Klaud is good balanced, visually equalized family that looks and feels smooth in longer texts and paragraphs, but works well in headlines also cause it's gentle decorative letter parts. Strong look is achieved by more squared then rounded characters design. As mentioned, Klaud is perfect to fit into any designer's project – from editorial use as the main typeface to situations where you are looking for a couple of words only like posters or packages. It is fully legible and versatile as web font also. Klaud is offered with OpenType features like Numerator, Denominator, Fractions, Small Caps, Oldstyle Figures, Lining Figures, Standard Ligatures, Case Sensitive Forms, Arrows, Alternate Annotation Forms.

This classified version of Monkton, with its expanded proportions and extended serifs can be used at small sizes for classified advertising, newspaper text or larger displays. Its semi-medium weight (heavier than Book weight) makes it robust to be legible when smaller and cope with various printing methods. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Northstream is a Neo-Grotesque in motion. The typeface was inspired by an attempted photograph of an interesting shop sign that was interrupted by a passing truck. The resulting effect was a blur of movement and designer, Hendrik Weber, wanted to capture that feeling within the typeface. The result is a whirlwind of a design and the shadow behind the letterforms creates a very interesting effect. This typeface is meant for graphic designers to enjoy and play around with, and it is best suited for display text and large sizes such in posters and billboards. Northstream was designed as part of the Font Marathon that was run at the Monotype London office in November 2016. This version is available for free and because of the short time frame is supporting a Basic Latin character set and a few alternates.

Monto is a superfamily — this is the Grotesk + Grotesk Display part of it. Monto Grotesk is a modern sans serif typeface that combines the strengths of the neo-grotesque and geometric genres. While maintaining an established and trusted look, the design is influenced by a contemporary geometric aesthetic, making it a modern yet timeless companion. The Grotesk is split into two sub-families (Monto Grotesk and Monto Grotesk Display). While Grotesk is intended to be used in long paragraphs and copy text, Grotesk Display is perfect for striking headlines. To achieve maximum legibility, Grotesk emphasizes its characters vertical strokes, focusing on a coherent rhythm and having more open counters in contrast to Display which features a reduced tracking and more geometric and round forms. Furthermore, individual characters change their entire shape to best suit their areas of operation.

SL Che is a homage to Ernesto Guevara de la Serna, “El Che”, who lived between 1928 and 1967. El Che turned into an universal icon through a memorable photograph which was reproduced and multiplied to the infinite. It was that way he became a synonymous of resistance, revolution and change for lots of generations. That "Che" comes back today by the hand of the genial Jorge Alderete, who designed heroic, laughing and cool variations of that popular first icon. SL Che unfolds like a fan of thousands of "Che", in a development plenty of metaphors. SL Che abridges a sum of original iconographic illustrations in True Type format, which masterly synthesizes the most important themes of the grand genius of the literature. SL Che takes part of the "Icons of Icons" Gallery, developed by SinergiaLab for Sudtipos

As part of the day job I had to trace an old hand drawn logo of a Masonic Lodge from a very poor scan. When I finally got to the end of it I had almost a whole alphabet and I really liked the hand drawn uneven quality, so I made up the rest of the letters and set about making it into a font. I roughened up all the edges for an even older look, added a host of OpenType features and hey presto, Masonic Lodge was born. There are two versions of each letter and number which automatically alternate when contextual alternates are set, more alternates for O and o characters, a good amount of interlock style L and T ligatures (uppercase) and a square & compass ornament. Use it for pub signs, secret society meetings, monster movie titles and pub menus.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Rafskript is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Dearest is a distinct flowing script based on handwritten characters found in a 19th Century German book chronicling a history of the Middle Ages. Originally released in 2001 as a set containing two styles, Script and Swash, Dearest is now expanded in 2014 as a pro font with several hundred new characters including support for Central European, Cyrillic and Greek languages. Other Opentype features include ligatures, fractions and figures, Roman numerals, alternate letterforms and more swashes to expand the possibilities of this designer-friendly font. In addition to the Dearest Pro font, a new companion font has been added- P22 Dearest Alternates. The characters contained in this font are part of the pro font, but are also designed to be used with Dearest Script and Dearest Swash and is intended for those who have applications that do not support Opentype features.

Swomun a new fresh & modern serif with a strong style, a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more! Swomun Display Typeface is the part of a strong and modern Bold display. This typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serif and the distinctive letter shapes show their strength in logo design and impressive editorial use. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word Fully accessible without additional design software. I really hope you'll get pleasure using Pagers font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

30s inspired geometric inline display typeface Several titling typefaces made their appearance at the start of the 20th century, notably Acier and Bifur, both created by French poster artist Cassandre. Later, in the Netherlands, S.H. de Roos designed a version of Inline for its Nobel family called, naturally, Nobel Inline. AW Conqueror Inline pays homage to this beautiful version. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Neon Love was designed originally for a circle coaster design with a quote by the Beatles’ “All you need is Love, Love is all you need”. The inspiration of the lettering was a neon sign style where a cursive script is kind of bended from those glass wires. The idea was to get the overall look and feel of neon signs into a font, as well as creating a good raw material to use for some further photoshop effects to enhance the visual presentation. Neon Love has many OpenType features that allow for choices that can make the lettering unique. Neon Love has two versions of the font a Smooth one which is connected and the Cutout version which can be used to create neons and for this it is in parts. Design by Roland Hüse and Schriftlabor team.

Mowera a new fresh & modern serif with a strong style, a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more! Mowera Display Typeface is the part of a strong and modern Bold display. This typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serif and the distinctive letter shapes show their strength in logo design and impressive editorial use. WHAT'S YOU GET ? Unique Letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word Fully accessible without additional design software. I really hope you'll get pleasure using Pagers font and it will be perfect addition to your font collection! Contact me with an inbox message If you have any question. Thank you! Happy Creating.

Strait passages second part… I tried in this fifth (that's why she took the name "Pentathlon Pro”) consecutive font family to give her a character style with again a strait way of writing. Walking on the same considerations as the previous series (Khamai, Aeolus, Corset & Artios) I tried to give some sense of diversity for the strait passages of character: those fourteen style are the result. And in this family, the “Bold” with "Inlier" and “Bold Italic” with "Inlier Italic” engage in the same way as did the “Layered font families” in the previous series. Also I added a design statement for the twelve zodiac signs, only presented in the Bold, Inlier, Bold Italic and Inlier Italic style. This series is composed of fourteen styles with 628 glyphs each, with true italics and supports Latin, Greek and Cyrillic.

Dear Dolores has had its name from the latin word dolorem, meaning sorrow or grief. When I started working on this display font I found myself trying it out using the latin requiem texts. The capitals somehow sat well with the monumental and solemn words of mourning. The broken hairlines suggested stone cuttings where the fine details had been worn down and obliterated over time and it felt at home in a churchyard or in a monument park. Adding lowercase gave the font a more personal and friendly appearance and opened up new possibilities for use. The name itself is a fictional message to someone long missed or perhaps lost too soon. Dear Dolores comes in a cut and an uncut version where the fine details are left intact. Both are excellent for headlines or memorable quotes.

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

Bredagh (pronounced Braid-ah) is a happy font! It can bring a smile to your face, yet is at one with science and mathematics and the Arts. The first presentation is in a Poetry book. Overall, it is a strong and capable font. The organic nature of the font Breadgh is in Nature itself, with the roundels as found in the cross-section of a tree, for example, both circular and rounded oblong shapes, influencing. Accordingly, some of the characters are of a condensed nature and some are not. The lower case does not have the condensed aspects but the numerals do. In the creation of Bredagh, it was the dynamic between all of these that was part of the challenge. And to make them all work together subtly to be in overall harmony—was the ultimate challenge.

Have you got a dream? I dream of visiting Peterhof. The palace and park ensemble with beautiful architecture, sculptures, and fountains. It is no less beautiful on the inside than on the outside. Huge halls, windows, columns, paintings. Everything is very refined, elegant, and beautiful. Looking at the photos, I enjoy and admire the views. They inspired me to create the "Peterhof" typeface. Elongated letters echo with tall columns and fountains. Serifs and playful glyph corners add grace to the font. It turned out to be refined, aristocratic, and at the same time mysterious and effective. I have created a whole family of "Peterhof" fonts from regular to bold italics for every taste and for every task. The "Peterhof" font will look great in headlines, advertising signs, posters, magazine pages, and prints. It can serve as the main focus of your compositions.

My name is Teruyoshi Matsui. I am a Brush Art Designer. My foundry ‘Brush Art Design Office’ is situated at the foot of an active volcano ‘ Mt. Aso ’ in the Kumamoto Prefecture, the southern part of Japan. I design the letters of the alphabet with a Japanese brush. I have created the brush font named ‘ Lethal Fake ’ in my unique brush style. At the beginning of making the font I was going to name it ‘BrushType Lethal’ and tell you, “ Be careful using it. That’s because it ’s Lethal ”. But actually I was very disappointed when it was finished. I tried to make it lethal, but it was not. So I changed the font name into ‘ Lethal Fake ’. This time I have to say to you, “ Be careful using it. That’s because it’s not Lethal ”. Thank you.

Madelyn is a handwritten script font based on the expression of real handwriting. Amiable and organic, it is perfect if you want to convey individuality and style. It’s written with a calligraphy pen with casual dry strokes and a signature style. This script contains upper and lowercase characters with pleasant low x-height and high ascenders and descenders—and also numerals and a large range of punctuation and symbols. More than 100 ligatures are also available for upper and lowercase characters—double-letters which flow more naturally. Contextual alternates are part of the Open Type feature set. Madelyn Doodles includes a set of handmade ornaments, icons and swashes that can help you for your key visual. Madelyn is perfect for branding projects, logos, product packaging, posters, invitations, greeting cards, titles, blogs, everything that includes personal charm.

Sitting inside our offline vault and print catalogs for several years but still available for purchase, PF Mediterra is part of a valuable triad of typographic gems which are finally re-released, fully updated and upgraded. Designed by Vladimir Radibratović, a foremost calligrapher, type designer and illustrator, this trilogy of script typefaces was recently revamped by our design team with full support for Latin, Greek and Cyrillic. Initially released between 2000 and 2003 these typefaces manifest a human, hand-crafted feel. Designed to excel particularly within casual and natural contexts, their names reveal their exact identity. The nostalgic charm of PF Signskript, the unique vintage and rough appeal of PF Rafskript or the organic Mediterranean essence of PF Mediterra have all attracted attention to these popular typefaces for brands on the supermarket shelves, wine labels, packaging, quotes, stationery and vintage lettering.

Kappa is a modern sans serif with humanistic and geometric features. Its structure is slightly narrow to fit in a greater range of platforms (moreover if you print it, you may save a lot of paper), and its height is higher allowing a great legibility in small sizes. This family is composed with the display version and the text version providing a broad spectrum of solutions, making this family easier and friendlier to use. Designed with powerful OpenType features in mind. Each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support, small caps and many more… Perfectly suited for graphic design and any display / text use. The 36 fonts are part of the larger Kappa super family. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Opinion varies regarding the role of Claude Garamond (ca. 1480–1561) in the development of the Old Face font Garamond. What is accepted is the influence this font had on other typeface developments from the time of its creation to the present. Garamond, or Garamont, is related to the alphabet of Claude Garamond (1480–1561) as well as to the work of Jean Jannon (1580–1635 or 1658), much of which was attributed to Garamond. In comparison to the earlier Italian font forms, Garamond has finer serifs and a generally more elegant image. The Garamond of Jean Jannon was introduced at the Paris World’s Fair in 1900 as Original Garamond, whereafter many font foundries began to cast similar types. Garamond Classico is based on the forms of Jean Jannon, which already displayed characteristics of the Transitional style.

The old Norse legend of Thorben Odinson is a cautionary tale. And this typeface, like the nebulous kingdom he ruled, is something of a cloudy concoction. Thorben the typeface is something of an inspiration-hybrid, pulling aspects from multiple sources and combining them into a typeface that strangely seems to work (or not – depending on your point of view). What started as a redrawing of some old carvings (on a castle wall in deepest, darkest Suffolk), is now something entirely different. Part Nouveau curves and Celtic script, topped with a few sprinkles of modernism, darkness and some quirky ideas – Thorben absorbs it all, creating a display face that feels antiquated and current at the same time. Each style also comes pre-loaded with a handful of pictograms and icons perfect for adorning your designs with extra Thorben-ness.

Zest is an informal brush script drawn with quick, thick brush strokes. While it is based on everyday handwriting, the expansive and easy flow of the script hides the care that has been given to the crafting of each character. In style it harks back to the hey-day of American lettering and calligraphy, yet it has a looseness that is thoroughly modern. Zest comes in three styles: -- Zest-Medium, which is medium-weighted and appropriate to a wide range of applications; -- Zest-Drama, in which the contrast between the the thicker and thinner parts of a brushstroke has been dramatically enhanced; and -- Zest Bezel, in which the brush strokes have been given a contemporary, square-cut appearance. Zest is ideal for invitations to stylish but relaxed events, for advertisements that are intended to create a special ambiance, for posters and for announcements.

The 1930s era French textbook on lettering "100 Alphabets Publicitaires déssinés par M. Moullet" featured a hand lettered chamfered alphabet with slab serifs reminiscent of sports lettering. Although intended for advertising and signage inspiration, only a partial lower case was illustrated along with the capitals and no numbers or other characters existed. These had to be created from scratch. The finished result is not only a bit of classic lettering from the past, but the font also doubles as a typeface with a sports look and feel. A traditional (rather than stylized) M and N are located on the solid bar key and the broken bar key respectively. Old Sport JNL is available in both regular and oblique versions.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

Beriot is a sans serif whose basics are condensed in Regular (Normal) weight, getting a lot of form inspiration from the topic also known as Steile Futura which is a letterform that Paul Renner himself explored in the mid-1950s, where shapes are constructed with little stress on modular squares but there are changes in certain parts so they become less modular. The Beriot family is available in 42 weights with matching slanted cuts, divided into 3 subfamilies: Condensed, Normal and Expanded. Each has been designed for a range of text sizes each, and already variable, allowing you to choose and make your own type of weight you like. OpenType Features are available in each of these font styles, including alternative characters, different numbers set and case-sensitive and there are additional symbols that make it the perfect choice for professional types of branding, digital design and editorial.

The Buum typeface evolved from the explosive lettering originally designed as part of a house style for an interactive science centre for kids. Beside its usual application as a strong display font in print and on screen, the bold angular shapes of glyphs are adapted for negative machine- or laser-cutting into structural materials such as iron sheets, plywood, or stone ... and for creating tactile expressive surfaces and 3D objects. This pictogrammic and dazzling font remotely echoes the morphology of the lettering of futurism and constructivism, when avant-garde typography was once an exciting adventure. It is a lettering building kit with a number of stylistic alternatives of glyphs that enable a user to shape the same word differently each time. Buum is recommended by nine out of ten old school futurists, favored by steampunk CNC operators and respected by the majority of infantile anarchists.