The name “Bicyclette” was chosen because this typeface is all about balance and elegance. The idea was to create a highly contrasted sans-serif family carefully balanced between gentle curves and sharp angles, with large capitals opposing uncommonly short lower case, through six distinctive weights. The letters are wide, and the capitals pop up in headlines while the lower case leaves a lot of white space between the text lines because of its small x-height. The edges are rounded (but not so much for the family to be called rounded), just enough to make the text feel slightly softer, gentler, while retaining some of that technical sans sharpness. The Bicyclette character set supports Western and Central European languages, and includes an extended set of monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

What is it? Chordette for Education is a ukulele chord font created specifically for schools and individual instructors. It can be used for creating song sheets, presentations, or adding chords to videos. This education version has a basic chord set for beginners which include finger positions and an option for 3D chords. It’s a favorite tool for teachers, music therapists, and musicians. What instruments are supported? Chordette for Education supports ukulele tuned GCEA. The fonts are available in black and white for Windows and Macintosh. The 2D chords include fingering numbers and the chords can be used for song sheets, presentation software, and video tutorials. Alternate chords and 3D chords for presentations are included. Is it free? Chordette for Education is priced at $8, which includes chord font sets for both Mac and Windows. How do I use it? For help and support, please visit https://ukefarm.com/chordetteEd/help.html

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.

New Orleans, June 25, 1895 My dear Edmond, I found upon my return home to dinner yesterday, your letter informing me of your affection for Annie and asking that we confide her future happiness to your keeping... This excerpt was taken from a letter written by designer Kathryn Podorsky’s great-great-grandfather, Lucien Doize, in response to Edmond’s request to marry his daughter, Annie. The letter was not only beautiful contextually, but exquisitely penned and epitomized the delightful charm of the New Orleans people of the time. Vena Amoris, or “Vein of Love” refers to a phrase coined by Henry Swinburne in his A Treatise of Espousal published in 1686. Vena Amoris also refers to the fourth finger on the left hand which was traditionally believed to contain a vein running directly to the heart, hence “the ring finger.” As a digital font, Vena Amoris boasts an extensive Latin-based character set that supports 51 languages. Also included are stylistic and contextual alternates, ligatures, swash variants, oldstyle figures, and roman numerals and calligraphic words that will undoubtedly bring a dynamic quality to any setting. All of those extras are driven by cleverly applied OpenType features allowing you to add harmony and calligraphic beauty to your layout.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

It is a cute font that imaged a circle that was popular among young Japanese girls in the 1970s and 1980s, plus elements of the current round character as well. The momentum of the circle fads of the 70s and 80s back then seemed to have been great, and it seems that there were schools that prohibited the use of the round letters as students were all writing, too. In addition, a circular letter contest was held, and it seems that the work selected from many entries was released as a phototype. I tried to round up to the limit while incorporating the elements of that circle and the elements of the round letters that the current Japanese girls would write. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think that it is an eye-catching design although it lacks a little on readability, so it is also recommended to use it point-wise. The name "Hachimaru" is a thing that touched "80" in the 1980s. The 80s is one of my favorite times. I think that the power to young girls 'Kawaii' such as circle letters, fancy goods and idols was a very strong era. I hope I can express even a little "Kawaii" culture of that unique and unique 80's Japan. ＜「はちまるポップ」紹介文＞ 1970年〜80年代に、日本の若い女の子の間で流行した丸文字をイメージし、現在の丸文字の要素もプラスしたかわいいフォントです。 70〜80年代当時の丸文字の流行の勢いは凄かったらしく、学生さんもみな書いていたそうで、丸文字の使用を禁止する学校もあったそうです。 また、丸文字のコンテストが行われ、多数の応募から選ばれた作品が写植書体としてリリースされたこともあるそうです。 その丸文字の要素と、現在の日本の女の子が書くような丸文字の要素も取り込みながら、極限まで丸っこくしてみました。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応しており、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）しているので、使い勝手も良いかと思います。 可読性には少々欠けますが目を引くデザインだと思うので、ポイント的に使うのもオススメです。 名称の「はちまる」は80年代の「80」をもじったものです。 80年代は私の好きな時代の1つです。丸文字をはじめ、ファンシーグッズやアイドルなど、若い女の子の「かわいい」へのパワーがとても強い時代だったんだなぁと思います。 その個性的で独特な80年代日本の「かわいい」カルチャーを少しでも表現できてればいいなぁと思います。 ＜スタイルカテゴリー＞ 手書き風、丸ゴシック

"Step into a world where the 1920s meet the future with Soprani—a typeface that seamlessly blends vintage charm and modern sophistication. Drawing inspiration from a distinctive plaque unearthed in New Zealand, Soprani showcases serifs that flare and shimmer, capturing the essence of art nouveau and arts & crafts in a contemporary light. Dive into its rich OpenType features, granting designers unparalleled flexibility to bring their visions to life. Its condensed yet elegant letterforms are the perfect fit for everything from artful table books and stylish menus to dynamic media showcases in TV and film. Spanning from the graceful subtlety of its thin variant to the undeniable boldness of the black, Soprani is diverse and dynamic. Soprani isn't just a typeface—it's a revolution in design. Production assistance by Lucas Azevedo and ikern.

Steal the spotlight with Senlot. A high contrast sans serif, Senlot’s figure is perfect for enrapturing your audience. The font shows off a unique calligraphic stress, which--with the contrast--makes the face quite usable in luxury and high quality design work. The gorgeous appearance of Senlot is accompanied by a complete set of small capitals and a true italic. Dress your text in any of nine separate styles from Thin to Bold. Senlot also holds a full set of OpenType features, including titling capitals, superscripts and subscripts, and oldstyle figures and has an extended Latin cover with span for over 72 languages. A special thanks to Lucas Azevedo and ikern for production assistance on Senlot. Let Senlot’s beauty and simplicity carry the stage on your new text or webpage.

Unchain My Heart is Font that renders hearts on a string with a capital letter in the middle. All hearts are designed to align to a perfect string by remaining the handmade look. Lowercase letters produce a heart with outline. Uppercase letters produce a filled heart. Type in a parenthesis and a loose string end will be rendered either on the right or left side. Look in the full character set to find out more about the special decoration. Ideal for individualized mailings and greeting cards. Unchain My Heart is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

ITC Japanese Garden Ornaments is a symbol font designed by Akira Kobayashi (before Kobayashi became Linotype's Type Director in 2001, he worked as an independent typeface designer in Tokyo). The images in Japanese Garden are, as the name suggests, mostly floral or herbaceous, derived from designs used in Japanese indigo stencil dyeing. In Japanese Garden," Kobayashi says, "I tried to create a set of type fleurons that are very familiar to a Japanese eye, but not too exotic to people in other countries." Several of the designs fit together seamlessly in repeating patterns; others work either together or as isolated ornaments, a flexibility that also characterizes traditional Western type fleurons. "The original illustrations," notes Kobayashi, "were mostly cut from white paper squares, about two by two inches in size, and were simply scanned and traced. That is why there are few smooth curves and perfectly straight lines in the illustrations. I simply liked the ragged textures of them.""

Varese Gradient is a color font for display, headlines, or large body text. Use it for bold graphic statements or a vintage mood. Its geometric style is inspired by Art Deco and early 1900s European travel posters. This typeface will set a friendly and light tone while giving messages a unique and memorable feeling. The gradients transition vertically and come in these sets; color with white, color with black, two colors, chromatic grays, grayscales, and concepts like summer or cappuccino. The font name will indicate its color. The full family includes one regular font. Here is a list of all the fonts in color. The lowercase letterforms are similar to the uppercase, but the lowercase have counterforms. It comes with OpenType features such as alternate glyphs, half-height letters, standard ligatures, and stylistic sets. The fonts are OpenType SVG format and fully scalable. Contact Tarallo Design if you need custom colors. Varese Gradient has siblings, Varese Soft (rounded) and Varese Outlined (color/shadow/outline).

RoyalBavarian was comissioned by King Ludwig the First of Bavaria about 1834. He was probably the greatest king Bavaria ever had, but he fell in disgrace for a short affair with the infamous Lola Montez and subsequently had to resign. He died in 1868, peaceful and happy in Nice on the French Riviera. I happened on an original etching of his type-guidelines for official writers of those days about 20 years ago. I always thought it was a very nice Fraktur (Blackletter), not a sturdy militaristic one as most of them are. Being me, I started with first tests immediately and then just forgot the font on my computer. When I was sorting out old stuff a couple of months ago I happened on the etchings once again and kept on working intermittently on the letters. The Plain cut is pretty much like the king wanted it. The Fancy cut is more to my liking and very decorative. Yours in a royal mood, Gert Wiescher.

When I first approached this design back in 2003 I wrote myself a design brief that called for a simple sans serif "avec serifs" (with serifs). Its emphasis needed to be on text usage but to be at home in display sizes. A range of weights with a controlled step from one weight to the next, uniform character sets, spacing and kerning throughout the range. Attention to openness of counter spaces would be paramount to work in text sizes. Matching italics should be true italics not merely slanted - with a cursive feel. During extensive testing I decided to include a suite of ligatures to eliminate the hairline gaps that occur between slab serifs at display sizes. The user may activate "Discretionary Ligatures" or "Stylistic Set 1" for ligatures that are not included in the Standard Ligatures (ff, fi, fl, ffi and ffl). A concise User Guide can be downloaded at this link.

Tipo Pèpel strikes again with a lush splurge on pure basic geometrical shapes and sizes, those that inspired Paul Renner’s typographic milestone “Futura”. A new look to classic shapes, bringing them back plenty of delightfullly details as the lowercase cursive forms’ long tiles that break the supposed linearity expected from a purely geometrical font. Rhythm given by hidden details in each character of each weight, push “Naste” out of German geometric sobriety, will help us to easily create typographic hierarchies upon the many weights available and the many and accurate details. Excellent results with minimal effort. Wide ‘x’ height, restrained ascending and descending stems; thick but elegant, easy to read and in need of generous white space around, where it feels comfortable. More is better than less. As usual in Type Pépel, full sets of Opentype alternatives and Unicode support for 104 languages ​​plus Cyrillic. 16 weights of typographic beauty in all its glory.

Many decades back, churches, schools and other buildings with a need to display an outdoor message often chose a sign making system utilizing characters silk screened onto metal pieces in a block chamfer style. Each piece had a crimp in the top of the metal which formed a hook to fit over the existing rails of a message panel. This allowed for a finished sign to be displayed within minutes, and a quick change of information was not very time-consuming. A popular version of these signs provided white letters and numbers on black backgrounds. This was the model for Announcement Board JNL, which is available in both regular and oblique versions. There are two different width blank panels on the broken and solid bars for those who wish to kern the letters tight to form a ribbon, however they were designed to have slight spacing in order to emulate the hand assembly of those vintage sign panels.

Framealot is a frame or border or page divider construction kit. By choosing and mixing various elements, a wide variety of different geometric borders or frames or dividers are possible. The largest set is on the upper-case keys. There are two other sets on the lower case keys (plus the comma and period.) The characters above the number keys (the whole top row with shift, plus {}| keys are another set. And there are a couple of other small sets. Not all the sets allow vertical dividers. Outlined versions are available on the outline style, and the filled style either inverts the pattern or removes white interior sections for the outline version (and has some other differences compared to the other two versions). Use a character map to find all the parts of a set, type them out on your document, and then copy and paste to construct your border or frame. Have fun with it!

Introducing Kampione - Vintage Bold Type, created by ikiiko Kampione is a typeface that was inspired by classic movies and frequently makes people nostalgic for the height of cinema. This typeface is distinguished by its strong, dramatic letterforms, which frequently evoke the early 20th-century Art Deco and Art Nouveau movements. Images that enhance boldness and drama, including black-and-white photos, antique movie posters, or pictures of film reels, are frequently used in conjunction with this font. Bold, geometric letterforms that are frequently rounded or squared off at the corners define this style. The font's overall appearance frequently has a significant visual impact and is reminiscent of an old advertisement or poster. This typeface is perfect for an vintage poster, movie title, elegant logo, packaging, magazine design, fashion brand, classic stuff, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

ITC Kendo is the work of British designer Phill Grimshaw, suggesting the dash and verve of quick, sketchy calligraphy, complete with splatters of ink. Grimshaw says he worked deliberately against his own habits to create the forms, drawing the letters with slow deliberation" and a pointed pen. He overloaded the pen with ink and drew on rough paper, "applying a lot of pressure at the beginning of a stroke and easing off towards the terminals. Accidental splashes occurred frequently owing to the nib catching the 'tooth' of the paper." Those splashes were refined into features which enhance but do not overwhelm the characters and carefully worked so as not to leave an obvious white strip of unsplattered space between lines and letters. The initial capitals can be used alone or combined with the lowercase alphabet, and the font includes a full set of f-ligatures and some extra ligatures as well as decorative elements."

Beware: Here be Dragons! It Be Dangeroues to Venture Yonder! This warning, inscribed on a rock at the entrance of a cave in an inaccessible mountain in the far north of Scotland, provided the inspiration for the font DragonFyre. While I have not seen the actual rock myself, I have based the font on an accurate drawing of the original inscription. DragonFyre speaks of lands beyond our ken, of wistful faerie kingdoms, of dark happenings and white magic. Use it at your peril, for its very use will conjure up worlds long forgotten, places of faeries, elves and hobgoblins, of ogres and giants. Those who read texts written in this font may well have their lives strangely changed. I have included a complete character set of 242 characters; upper and lower case; as well as all accented and special characters. All characters have been carefully letterspaced and kerned. For maximum dramatic impact I suggest you use combinations of both upper- and lower-case characters.

The Carrigallen family of fonts has roots in Megalithic and Celtic Ireland. It has six weights—Light, Regular and Bold and their corresponding italics. The distinctiveness of the Carrigallen family, is in it's sculpted, spiral nature, inspired by the graphics at the entrance stones and kerbstones at the Newgrange passage graves in Ireland. This is where it derives it’s decorative nature and suitability, as a very distinct Display font. Exceptionally suited for Logos and Headlines, it can increase the corporate presentation of a company as its main identifying feature—and with high memorability! The three separately designed letterforms—differing in line weight—are held in place by the white space within and without the character giving a distinctive twenty first century flavour! It is this dynamic that makes the font unique! Carrigallen Display is a modern font. It draws from its nomadic influences allowing it to be culturally representative of all languages.

This series, with 104 illustrations in three files, collects original ink drawings with absurdities, bizarre people, whimsical personalities and risky behaviors! There is a very peculiar sense of narrative in the sucession of characters, even if they came out rather spontaneously and their order is random.With a vintage look and feel, these people seem to come out of a time capsule from Victorian times. Almost everything in the Bizarries (and also in their close relatives, our Illustries, Whimsies, Ombres, Absurdies and Genteta dingbats) is invented and drawn with no references —just a handful of images were sketched from historical photography. These illustrations can be very useful for a variety of projects, either in black and white, or colored in a paint or drawing application. You can use them at any size, from a small spot illustration to a huge poster, depending on your needs. The outlines remain crisp and clear no matter how much you enlarge, reduce, distort or tweak their shapes.

Amarone is a spiky calligraphic display typeface with some old fashioned flavour. It was designed by Carl Crossgrove, and includes an extensive set of swash caps which allow for extra drama where needed. Crossgrove wrote each of Amarone's letters by hand using pen and rough paper, and has retained some of this visual texture in the final digital design. The typeface works well at small sizes, but when used at larger sizes this texture comes to the fore. Amarone's elegant, formal character can be modified with its swash caps, which allow the typeface to move from prim and ordered to wildly expressive. Amarone lends itself well to packaging, posters and editorial usage – or in any environment where designers need to evoke times gone by. The Amarone font features an extensive character set with support for over 130 languages, and a range of OpenType typographic features including ligatures, initial and terminal forms, figures, fractions and swashes.

Nemocon is a display font family designed by Carlos Fabian Camargo G. Nemocon It is ideal for making attractive messages. Nemocon has over 2200 glyphs distributed in 6 files OT designed from handmade lettering and usability testing. • Nemocon Script (1382 glyphs): based on the rotation of a flat tip brush. Its letters correspond to the uninterrupted calligraphic logic, as well as similar ingredients as the ones used in font Brush Script by Robert E. Smith, created for the American Type Founders in 1942. • Nemocon Tuscan (375 glyphs): Inspired by representative types of wood from the 19th century, specifically speedball brawny Tuscan capitals with serifs fishtail shaped. • Nemocon Catchwords (115 glyphs) + Nemocon Catchwords Shadow (115 glyphs): categorically inflated words with and without shadows, to accompany, highlight and prioritize. • Nemocon Dingbats (114 glyphs) + Nemocon Containers(150 glyphs): unconventional pictograms consisting warm and comforting thoughts designed to highlight words or phrases which needed multicolored illustrations or drawings in black and white.

‘Bridle Path’ is a captivating font that embodies the graceful beauty of natural ink strokes. With its unique blend of thick and light strokes, it exudes a tranquil and soulful writing style that is both relaxed and inviting. The font's distinctive character makes it an excellent choice for various applications, including brands, logos, photography logo watermarks, headers, titles, weddings, cards, and website banners. The fluidity of Bridle Path’s design creates an enchanting visual experience, as if each letter was crafted by an artist's brush. The thick strokes provide a sense of boldness and strength, while the light strokes add delicacy and elegance to the overall appearance. This combination results in a font that captures attention and leaves a lasting impression. Bridle Path’s versatility extends beyond its aesthetic appeal. It has been meticulously crafted to support multilanguage usage, ensuring that it can seamlessly adapt to various linguistic needs. Whether your content is in English, Spanish, French, German, or any other language, Bridle Path will faithfully represent your words with clarity and beauty. Whether you're seeking a font that embodies a serene atmosphere or one that adds a touch of sophistication, Bridle Path is the perfect choice. Its soothing and expressive nature elevates any design, making it a valuable asset for both professional and personal projects. Embrace the allure of ‘Bridle Path’ and bring a sense of natural elegance to your creations.

Introducing Breadley Sans, a modern, elegant tagline sans serif type look. This font equipped with 5 levels of thickness, from thin to black suits your needs. Pairs well with modern san serifs and scripts as pictured, or stands strongly on its own as a heading and brand representative for an elegant look. This Breadley Sans overcome with the professional modern characteristic font which could bring elegant and appealing identity to your company for business utilities use like business card, name tag, uniform as brand elevation Advertising usage? sure! This modern Breadley Sans Serif typeface obviously fit to embossed as a letter signboard or even splash it along your office with an elegant look cutting sticker. The type shape of this elegant Breadley Sans, also stunning for books cover or magazine writing You can view all of the available characters in the screenshots above, and you can try out the modern & elegant of Breadley Sans now for any design matter Breadley Sans is also equipped with many languages, so it is easy to use for any country and language usage, and also equipped with Ligatures and alternative stylistic to make your design more attractive. A guide to accessing all alternatives Adobe Photoshop go to Window – glyphs Adobe Illustrator go to Type – glyphs Thank you and have a nice day

Romeria Notes is a handwritten font that captures the genuine essence of a signature. This natural script font, with its fluid and seamless strokes, seems as if it's been directly lifted from a personal notebook. Each character is crafted to mirror the effortless elegance found in an artist's autograph, making it a perfect choice for projects that require a touch of personalization. The cute and charming style of Romeria Notes brings a delightful and engaging feel to the text, while maintaining a beautiful and coherent appearance. The font exudes an organic flow, reminiscent of writing done in a state of inspiration and spontaneity. The font is built with advanced OpenType functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Designed by Mans Greback, Romeria Notes stands as a testament to his creative expertise in capturing the essence of handwritten elegance. This font not only communicates messages but also conveys emotions, making it an ideal choice for projects that seek to connect on a more personal level.

Second Reign is a decorative medieval typeface. With borders and diamonds, this magic typeface of extreme variability brings us to glorious worlds in the golden times of epic sagas. Second Reign is the typeface of a viking king or a knight order. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Royal⚔Thrones] The Second Reign family consists of four variations: The weight styles Thin, Medium and Bold, plus the decorated Border style. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering Greek and Cyrillic, as well as all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

Novin Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Novin supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Novin Font is available in Light, Regular and Bold. Novin design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Novin is based on Aldo Novareses Eurostile Extended. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Novin’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Novin was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.