Nona Manis is a Handwritten Display Font With 3 Style (Regular,Outline and Shadow) You Can Mix And Match for Your Awesome Project This fonts is ideal for crafting, branding and decorate your any project. This fonts are perfect for wedding invitation or your blog. Also with their help, you can create a logo or beautiful frame for your home. Or just use for your business, book covers, stationery, marketing, magazines and more. FEATURES : Uppercase & Lowercase Number & Punctuation More than 244 of glyphs Support for 60+ Multilingual languages PUA Encode 12 Ligatures Alternate 7 OpenType features ( aalt dlig frac liga ordn sups kern ) The font Nona Manis contains 18 ligatures in 3 OpenType features The alternative characters were divided into several Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Check my other Font here https://gilarstudio.com/

Icon font for web and offline.

Designed over three years after the second World War, and published in 1949 by the Nebiolo foundry, Normandia was Alessandro Butti’s take on the fat face. As it usually was with Butti’s designs, this face effectively injected a catchy yet expertly calculated calligraphic spin into its source of inspiration — which was the essentially geometric/deco, thicker model of Bodoni’s very popular aesthetic. The metal Normandia saw some widespread use for a handful of years after its publication, not least because of the multitude of sizes in which it was available. It stepped out of the limelight by the mid-1950s, due to a combination of the popularity of cold type and Nebiolo’s refusal to retool its faces for new technologies. It was copied by a few small film typesetting outfits on both sides of the Atlantic, but never really found its way back to the mainstream. By the time computer type became the norm, Normandia was pretty much relegated to a type historian’s collection of anecdotes. This digital update of the classic series revives and refines the three original metal designs (Tonda/Regular, Corsiva/Italic, and Contornata/Outline) and expands the character set to more than 600 glyphs per font, including small caps, six types of figures, fractions and nut fractions, a full set of f-ligatures, some stylistic alternates, and other fine typography niceties.

Dwight is a Serif font family, which has a strong and bold character with eight variants, Dwight gives a clear and elegant look to logos, quotes, advertisements and more. Dwight is a versatile typography filled with the character you want, Dwight has standard styles, Stylistic Alternates and ligatures. and includes upper and lower case letters, numbers and punctuation marks. Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. Dwight works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map.

The typefaces Largo Mager (Light) and Largo Halbfett (Medium) were cast for the first time in 1937 by Ludwig & Mayer based on the designs by Hans Wagner. One weight Largo Licht (Outline) was added in 1956. All fonts were only configured with capitals. The digital version of Largo has pointed serifs and not the slightly rounded ones seen in the hot metal versions which gives the typeface a more elegant note. Largo is often used for fine printing jobs as business cards or formal invitations, or in the fashion and cosmetics fields. Hans Wagner was born in Munich in 1894 and died in 1977 in Altenburg where he had worked as a painter, graphic designer and book designer. In addition to the Largo typeface, he developed, among others, the Altenburger Gotisch (1928), the Welt-Antiqua (1931-1934) and the Wolfram (1930).