Introducing the stylized Miluero family. Graceful cut, rounded corners combined with austere shapes. Accent fonts with color padding and a classic basic monochrome version in the set. Perfect for logos, headlines and captions. Looks elegant in a minimalist modern design. An assortment of colors will help you get started quickly. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Miluero Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different forms. - Color in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Basel Neue is the complete redesign of BaselSans ITD font, the first typeface of Isaco Type foundry, launched in 2009. As with the predecessor version, Basel Neue is a legible and discrete typeface, a sans serif with thickness variation and humanistic touch. The family consists of 8 styles, 4 weights plus their respective italic versions. Download the “OT Features” pdf to know and take advantage of all font features as best as possible (in OpenType-savvy applications)! You can also view all symbols in the glyph panel of your program, or in Character Map tool (Win) or Character Viewer/Palette (Mac). 1) Basel Neue has ligatures strategically chosen. Herbert S. Zim, in the book “Codes and secret writing”, elected the most common letter pairs of English, that in the Basel Neue became discretionary ligatures. And, of course, it also has standard ligatures. 2) It’s a fun typeface. Basel Neue has a set of emoticons and fun symbols that can be activated by discretionary ligatures. Type “:-)” and a smileface appears. Type “8-)” and a smiley with glasses appears. Type “ ”, “ ” and “ ” and a telephone, star and heart appears. Or “ ”... and a graceful corresponding symbol will appear. 3) Basel Neue contains lots of useful glyphs and features. All versions have 12 recycling symbols, 7 to different types of plastic, and over 30 currency symbols. It also has fractions, old style-, lining-, tabular numbers and other OpenType features. 4) It has an organized and large character set. The fonts have extended character set to support CE, Baltic, Turkish as well as Western European languages. If you work with languages ​​like Catalan, German, Croatian, Romanian, Dutch, Turkish, for example, the font will use the correct ligatures or characters used in these languages. 5) It’s rigorously tested. Basel Neue is available in OpenType PS e TT flavors and each version undergoes a battery of tests, with a systematic review of nodes, curves, spacing and internal data. This eliminates the possibility of errors in the font.

If you’re looking for a typeface that will add a little extra pizzazz to your message, look no further than Shookup! This curly, springy font is the perfect way to inject some fun and casual humor into your designs. With its lively, bouncing letters, Shookup is guaranteed to catch the eye and put a smile on your readers’ faces. But don’t be fooled by its playful appearance—this typeface is also highly functional and versatile, making it a great choice for a wide range of design projects. One of the most unique features of Shookup is its automatic jumbling of letters and numerals in OpenType-aware programs. This gives the typeface an even bouncier, more dynamic look that’s sure to make your message stand out from the crowd. Whether you’re designing a magazine spread, a social media post, or an eye-catching poster, Shookup is the perfect typeface to help you convey a sense of joy and fun. So why not give it a try and see how it can take your designs to the next level? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

Futura is the fully developed prototype of the twentieth century Geometric Sanserif. The form is ancient, Greek capitals being inscribed by the Cretans twenty-five hundred years ago at the time of Pythagoras in the Gortyn Code, by the Imperial Romans, notably in the tomb of the Scipios, by classical revival architects in eighteenth century London, which formed the basis for Caslon’s first sanserif typeface in 1817. Some aspects of the Geometric sanserif survived in the flood of Gothics that followed, particularly in the work of Vincent Figgins. In 1927, stimulated by the Bauhaus experiments in geometric form and the Ludwig & Mayer typeface Erbar, Paul Renner sketched a set of Bauhaus forms; working from these, the professional letter design office at Bauer reinvented the sanserif based on strokes of even weight, perfect circles and isosceles triangles and brought the Universal Alphabet and Erbar to their definitive typographic form. Futura became the most popular sanserif of the middle years of the twentieth century. Ironically, given its generic past, Futura is the only typeface to have been granted registration under copyright as an original work of art, and, further irony, given the key part played by the Bauer letter design office, the full copyright belongs to Renner and his heirs. This decision in a Frankfurt court implies that a further small group of older typefaces may also be covered by copyright in Germany, particularly those designed for Stempel by Hermann Zapf. This situation appears to be limited to this small group of faces in this one country, although protection of designers’ rights in newer typefaces is now possible in France and Germany through legislation deriving from the 1973 Vienna Treaty for the protection of typefaces. Mergenthaler’s Spartan is a close copy of Futura; Ludlow’s Tempo is less close. Functional yet friendly, logical yet not overintellectual, German yet anti-Nazi... with hindsight the choice of Futura as Volkswagen’s ad font since the 1960s looks inevitable.

Made in Germany, Referenz Grotesk is a typeface full of references referring to the type design history of Stuttgart State Academy of Art and Design. Its typographic history holds a broad spectrum of shapes and characters, including F.H. Ernst Schneidler (1882–1956), Imre Reiner (1900–1987), Walter Brudi (1907–1987), Kurt Weidemann (1922–2011) and Frank Heine (1964–2003). During extensive research phases for Referenz Grotesk included collection and analysis. This led to further research in the Academy’s collection and archive where the majority of Weidemann’s estate is housed next to works of other designers and professors like F.H. Ernst Schneidler and Walter Brudi. Another place of research was the typesetting workshop where Schneidler had previously taught and worked. Some of his freshly cast fonts were tested and used there for the first time and are still stored in several of the type cases. Regarding the more recent history, for instance about the Emigre designer Frank Heine, former colleagues and professors have been consulted. These studies resulted in the new font Referenz Grotesk that includes traces of Kurt Weidemann’s Corporate as well as calligraphic hints that link to Schneidler’s Stuttgarter Schule (Stuttgart School) where writing played an important role during the form finding process. For the regular text fonts these features are integrated in a subtle manner whereas several alternative glyphs pick up more expressive forms. The final sans serif type family has a clarity and contemporary straightness that becomes more characteristic in its heavier weights. Additionally more than 60 alternative glyphs per weight allow for individual combinations that can be tailored specifically for each application and context. They open up a broad range of visual expressions, from subtle to playful and eccentric characteristics. Referenz Grotesk is available in six weights: Light, Regular, Medium, Bold, Extra Bold and Black, plus italics. In addition, the family includes multiple OpenType functions such as Stylistic Sets, Tabular Figures and Case Sensitive forms. Variable version of the font is included when you license the full pack.

Western Americana is a unique collection of signatures of 72 famous American frontiersmen, gunslingers, Wild West personalities, outlaws, and Indians in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of history, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Western celebrities. This font includes signatures from the following American West personalities: William Frederick Cody ("Buffalo Bill"), George Armstrong Custer, Meriwether Lewis, William Clark, Kit Carson, Joseph Brant, David Crockett, Wyatt Earp, Geronimo, James Bowie, Daniel Boone, Sam Houston, Calamity Jane, Sitting Bull, William H. Bonney ("Billy the Kid"), Cole Younger, Bob Younger, Jim Younger, Pat Floyd Garrett, James Butler "Wild Bill" Hickok, Squire Boone, Samuel Colt, Gordon William Lillie ("Pawnee Bill"), Annie Oakley, William Barret Travis, Allan Pinkerton, Jose de Galvez, George Rogers Clark, George Crook, John Charles Fremont, George Croghan, Simon Kenton, Maj. Frederick Benteen, James Wilkinson, Nelson Appleton Miles, Philip Kearny, Chief G.H.M. Johnson, William George Fargo, William Barclay "Bat" Masterson, King Philip, Frank James, Eleazer Williams, Henry Wells, Junipero Serra, John Sevier, John Ross, Joseph Virgo, Chief Joseph, Red Jacket, Manuel Lisa, Julian Dubuque, John Augustus Sutter, Manuel Lisa, Jesse James, Jesse James alias Thomas Howard, Manasseh Cutler, Robert Newton Ford, Emmett Dalton, Henry McCarty alias Greenville Mellen Dodge, Edward Zane Carroll Judson ("Ned Buntline"), Rain-in-the-Face, James Robertson, Zebulon Pike, Chief Two Guns White Calf, Pierre Chouteau Jr., Frank Butler, Isaac Shelby, Moses Austin, Moses Cleveland, Rufus Putnam, Pierre Chouteau Sr., Father Pierre Jean De Smet, and Auguste Chouteau. 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.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

It can be tricky to find typefaces that can convey the feeling of personal warmth that comes from a handwritten note, custom brandings, special series of products, especially as we type more and more and write with a pen or pencil less and less. To add some more of that warmth to a font, I’ve made Ronet. A duo font based on the my handwriting. Double eponymous styles of the font —Ronet and Ronet Alternative— each have a unique flavor with its own rhythm and character. It can be used on branding designs, product labels, invitation cards, social purposes which is bloggers, influencers but they were capable of so much more, and I’m happy to share them for general use. Ronet has extraordinary alternative characters, that makes these fonts so impressive. These two styles have dynamic substitution, alternates, and beautiful kerning! Nevertheless, they each support an impressive range of languages using the Extended Latin alphabets and because they were designed to work well in a simple tool, a rare feature of these fonts is that they look just as good no matter where you use them. LOTS of writing, and then even more care once I developed and refined digital outlines from the samples. Ronet and Ronet Alternative each wrote pages and pages of letters to produce lots of examples for comparison and selection, in order to get the most authentic overall texture that captured the spirit of my left hand.. Ronet feels friendly and personal, like a neighbor or local shopkeeper who always seems happy to see you. This will perk up your social feeds in a snap. Start with Ronet and just add in your design to make it perfect. What started with a simple pen and paper has become a diverse and ever-expanding creative outlet that blends hand-drawn creativity with cutting-edge technology — and the end results are popping out everywhere, from advertising to design and decor to art and DIY.

Fruitygreen is Indonesian designer Andi AW. Masry's second typeface following Coomeec™. Idiosyncratic but appealing forms are the signature feature of Fruitygreen™ and provide this new typeface with its truly distinctive character that you can utilize for your projects - and not just in headlines. The unique forms of fruits are not only individually fascinating, but are just as captivating when they are brought together, for example as decoration on a dining table. For Masry, these can be compared with an alphabet whose letters spell out in combination different words and with this as his inspiration, he based his designs for Fruitygreen on the versatile forms of fruits. However, it was not the whole fruits as such but rather small sections of their curves and ends that he decided to use. It is not only because of the characteristic line terminals that the rounded characters of Fruitygreen seem at first glance reminiscent of a brush-written calligraphic typeface; these are traces of the creation process, in which Masry used a digital brush. At the same time, Fruitygreen is by no means simply a brush font. Its dynamic characters reference biological forms and there is definitely something amoeba-like about them, particularly in the bolder variants, and they exude the same serenity and harmony that is inherent to organic structures. The many unconventionally shaped characters also provide for optical contrast. There is, for example, the very scaled down g", the open "q" and the lowercase "r", which has the form of the capital letter. Other letters, such as the sinuous "k" and the rounded uppercase "F" impart an exotic touch to Fruitygreen. Similarly remarkable is the "@", that has only a semi-circle. Available to the designer are other characters that can be used to accentuate a design, such as swash capitals and numerous ligatures. And, last but not least, there are also various numeral sets with oldstyle and lining figures for setting proportional text and table columns together with a selection of symbols, such as arrows and, appropriately, fruits. "

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Wedding calligraphic script font Miss Katherine Cyrillic is the best option for your wedding stationery, invitation designs, social media, branding, logo designs, product packaging and other projects. Miss Katherine Cyrillic is an elegant, graceful handwritten script font, as well as a Miss Katherine Symbols font with 36 lovely hand-drawn flourishes and illustrations. Miss Katherine script font contains the Cyrillic glyphs too. Miss Katherine script Latin part contains a full set of uppercase letters and 4 full sets of lowercase letters, (standard, alternative, initial and final forms). To make a needed form just type a letter with a number such as a1, b1, c1...after that selecting the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) And 36 ligatures - which can be used to create a handwritten look. The Cyrillic part of the font contains the uppercase letters and 3 full sets of lowercase letters, (standard, initial and final form. To make a needed form just type a letter with a number such as a1, б1 в1... After that select the word and apply the Open Type Features in programmes such as Adobe Illustrator, Photoshop, and others) Miss Katherine Symbols is a font with over 36 hand-drawn elements, flourishes catchwords, and swashes and can help to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z or a-z and 0-9 keys in the included Miss Katherine Symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Language Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Kazakh and Ukrainian languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back to the maturity of the Industrial Age and early Hollywood film titling, runs through the prosperous times of interwar print publications, sees mass flourishing during the various media propagations of the film type era, and solidifies itself as arguably the most common design element in the latter years of the century. Fun, bouncy, playful, and highly exciting, the casual sans serif is now all over game packaging, film and animation titles, book covers, food boxes, concert posters, and pretty much everywhere design aims to induce excitement about a product or an event. The casual sans is the natural high pill of typesetting. We figured it was high time for the casual sans to adapt to 21st century technology, gain more versatility, and become as much fun to use as the emotions it triggers. So we’re quite excited to issue Bananas, a fun sans serif family in 6 weights and 3 widths that can be used anywhere your designer’s imagination can take you. Rather than being based on a single design, Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners’ Catalina and its very similar cousin, Letter Graphics’ Carmel, served as initial study points. Then a few Dave West designs informed the design development and weighting process, before narrow and wide takes were sketched out and included in the family. The entire development process happened in a highly precise interpolative environment. All Bananas fonts come with a full glyph complement supporting the majority of Latin languages, as well as five sets of figures, automatic fractions, quite a few ligatures, biform/unicase shapes and other stylistic alternates.

Anglecia Pro is an exquisite and versatile system of three transitional serif typefaces designed to work together in editorial design. Sharing the same skeleton, vertical axis, and trapezoidal uncurved serifs, each of these faces bears different key dimensions and different contrast typical for three different type epochs. Anglecia Pro Text is a typeface designed for general typesetting in average reading sizes. Although it features a vertical axis, its soft skeleton, relatively small x-height and prominent ascenders and descenders give the typesetting a traditional warm texture with a slight contemporary touch. Anglecia Pro Title incorporates proportions of familiar transitional serif typefaces but exposes higher-than-average vertical contrast which makes it useful for setting captions, pull quotes or general purpose text in sizes of 12 pt and above. Anglecia Pro Display, still having non-rectangular serifs and the same soft skeleton as the rest of Anglecia Pro system, features extreme contrast, much thinner serifs and exaggerated ball terminals typical for Didone modern serif families. Its large x-height and tighter letter spacing suggests larger text sizes e.g. in decorative headlines, extra large pull quotes or logos. Altogether these three typefaces form 36 styles – each supporting numerous Latin-based languages as well as major Cyrillic languages. In roman styles the Cyrillic script comes in two flavours accessible via OpenType alternates – to choose either more traditional and curvy (default) or more formal and rigid type texture. In italics this feature affects uppercase and small caps. Also, each style is packed with OpenType features: ligatures, small caps, six sets of digits, superiors and inferiors, fractions, ordinals, and respective punctuation varieties including all-cap punctuation. There are also language-specific alternates for Polish kreska, Romanian Ș/ș, Catalan punt volat, and correct small-cap versions for Turkish/Azerbaijani i/ı. Some of the styles of Anglecia Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Introducing Draghord, a bold and dynamic typeface that embodies the essence of superheroic power and adventure. This font is a visual journey into the realm of fire, swords, skulls, and wings, capturing the spirit of mighty heroes and formidable villains alike. Characteristics: Flaming Elements: Each letter of Draghord is adorned with fiery accents, reminiscent of a blazing inferno. The flames dance around the characters, conveying a sense of untamed power and intensity. Sword-Inspired Strokes: The letterforms draw inspiration from the sleek and sharp edges of legendary swords. The angular and precise strokes give the font a cutting-edge aesthetic, symbolizing strength and precision. Skull Motifs: Intricately integrated skull motifs within the font add an element of danger and mystery. The skulls serve as a visual reminder of the challenges faced by our superheroic characters, embodying both mortality and defiance. Dynamic Winged Elements: The font incorporates dynamic winged elements that soar across certain letters, emphasizing the theme of flight and freedom. These wings symbolize the superhero's ability to rise above adversity and transcend limitations. Usage Scenarios: Comic Books: Draghord is perfect for comic book titles, captions, and speech bubbles, adding a dramatic and visually striking element to the narrative. Movie Posters: Use Draghord to create attention-grabbing titles and taglines for superhero movies. Its bold and adventurous design will set the tone for epic storytelling. Gaming Graphics: Ideal for in-game text, Draghord adds a heroic touch to video game interfaces, especially in fantasy or superhero-themed games. Event Promotion: For superhero-themed events, Draghord can be utilized in promotional materials, posters, and banners to convey a sense of excitement and power. In Conclusion: Draghord is not just a font; it's a visual experience that transports you into the heart of superheroic tales. With its fiery, sword-inspired design, skull motifs, and dynamic wings, Draghord is the perfect typographic companion for any project seeking to channel the thrilling energy of the superhero genre. Unleash the power of Draghord and let your words ignite the imagination!

The Dellena Handwritten Font is a captivating and versatile typeface that combines the charm of natural handwriting with a contemporary aesthetic. With its flowing letterforms and clean, legible design, this font offers a wide range of creative possibilities for your projects, from branding and invitations to social media graphics and more. Features: Handwritten Elegance: Dellena Handwritten Font exudes the elegance and authenticity of a handwritten script. Its graceful letterforms offer a personal and human touch to your designs, making it ideal for projects that require a blend of elegance and approachability. Clean and Legible Design: Despite its handwritten style, this font maintains excellent legibility. Each character is carefully crafted to ensure readability at various sizes. Whether it's in print or on a digital screen, your text will remain clear and accessible. Versatile Application: This font is incredibly versatile and well-suited for a variety of design projects. Use it for branding, invitations, social media posts, blog headlines, and more. Its adaptability makes it suitable for both personal and professional use. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing creative flexibility for your designs. You can mix and match cases to create visually appealing typography that suits your project's needs. Punctuation and Symbols: In addition to the alphabet, Dellena Handwritten Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. Easy to Install and Use: Installing and utilizing the Dellena Handwritten Font is straightforward. It is compatible with both Windows and Mac operating systems and can be easily integrated into popular design software, including Adobe Photoshop, Illustrator, and InDesign. Elevate your designs with the elegance and versatility of the Dellena Handwritten Font. Let its flowing letterforms and clean design add a touch of personal and human connection to your projects. Whether you're crafting branding materials, invitations, or digital content, this font offers a stylish and readable solution for your typographic needs.

Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer’s Bernard Roman Extra Bold and ATF’s Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the ‘H’ particularly. Petrark was released about 1900 by the German foundry of Schelter & Giesecke of Leipzig and is one of the designs of the period that attempts to reconcile roman and blackletter traditions. Making a cameo appearance in this Multi-Lingual font is the Anglo-Saxon letter yogh (#729), which, along with the thorn and the eth, is always useful for preparing flyers in Old English. There are still pockets of resistance to the Norman French influence that washed up on England’s shores in 1066. This font stands with King Canute, seeking to hold back the tide (ignoring the fact that Canute was a Dane). Support the fight to preserve Anglo-Saxon culture. Buy Petrarka ML today. Petrarka Initials brings together the Petrarka upper case letters with a very sympatico Art Nouveau rendering of a female face.

The ITC Nova Lineta™ design is the first commercial typeface from Slobodan Jelesijevic. As with many typeface designs, it began as simple sketches. “I was working on a packaging design project,” recalls Jelesijevic, “and wanted an informal, slightly cursive design for the type. I could not find anything that matched my need, so I began sketching.” The preliminary design had an elegant yet fresh quality that, once developed, turned out to be perfect for Jelesijevic’s project. After its first use, however, Nova Lineta lay dormant for over a year. Other projects came and went, and new typeface ideas filled Jelesijevic’s notebook. Although Nova Lineta continued to tickle the creative crevices of his mind, no more work was done on the face. Then, in a period between projects, Jelesijevic began to polish the design – and, in the process, created extended and condensed versions to complement the normally-proportioned original. Born in Gornji Milanovac, Serbia in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in Belgrade. These days, Jelesijevic is sought out not only as a typeface designer, but also as a graphic designer and illustrator. When not working on design projects, he teaches graphic communication at the Faculty of Art in Niš, Serbia. Although it is a casual and inviting design, Nova Lineta has been carefully constructed and refined. As a result, it performs exceptionally well within a wide range of sizes and in a wealth of applications. An ample x-height, open counters and distinctive character shapes also ensure a high level of legibility. And, although at first glance Nova Lineta may appear to be a sans serif design, subtle serifs make their presence known at large sizes. Nova Lineta emanates warmth when used for extensive text, and it has a fresh quality at display sizes. The small family’s range of proportions also provides added flexibility. The result is a friendly yet powerful communication tool in a remarkably modestly-sized package.

Introducing "Arrow Hero" - A Typeface of Elegance and Adventure Unleash the power of elegance and adventure with our latest font creation, "Arrow Hero." This unique serif font seamlessly blends the mystique of archers, the allure of elves, and the boldness of superheroes. Crafted with precision, this font is more than just letters; it's a journey into a world where every curve and angle tells a story of heroic feats and enchanted realms. Key Features: Elegant Serif Design: The Arrow Hero font boasts a sophisticated serif style that adds a touch of refinement to your projects. Each letter is meticulously crafted to exude an aura of strength and grace, perfectly suited for a variety of design applications. Illustrated Elements: Dive into the fantastical with Arrow Hero's unique illustrations. Arrows gracefully adorn each character, symbolizing precision and direction. Delicate elf ears and majestic wings enhance the overall aesthetic, creating a harmonious balance between the worlds of archers, elves, and superheroes. Versatile Usage: Whether you're working on branding, book covers, invitations, or digital designs, Arrow Hero is a versatile font that adapts to various contexts. Elevate your projects with a touch of magic and heroism that this font effortlessly provides. Tailored for Storytelling: Arrow Hero is not just a font; it's a storyteller. Use it to bring narratives to life, creating visual experiences that resonate with the mythical and the extraordinary. Let the characters on your screen or page become heroes in their own right, guided by the elegance of Arrow Hero. Multiple Styles: The font comes in various styles and weights, allowing you to express different moods and atmospheres within your designs. Whether you're aiming for a bold statement or a subtle enchantment, Arrow Hero has the right style for you. Elevate your design projects to new heights with Arrow Hero, where the elegance of serif meets the magic of arrows, wings, and elf ears. Download this font today and embark on a design journey that transcends the ordinary, celebrating the hero within every letter.

Sancoale Softened is the new rounded companion to Sancoale. While the original Sancoale is crisp and defined, its delicate forms also lend themselves well to a lighter, more rounded version. The stems of Sancoale Softened are blunted, and its corners have been carefully rounded, avoiding the “sausage” look seen with some rounded fonts. This blend of definition and delicacy makes the Sancoale Superfamily versatile and appropriate for a variety of applications. The design minimizes the characters to their essence, leaving a default set of simple characters without notches or spurs. However, the typeface family’s slightly technological feel still appears friendly and approachable to the reader. It’s slightly condensed proportions and tall x-height also make the design readable at a wide range of sizes, which works especially well for web pages. These softer letterforms give Softened its unique, futuristic look--great for distinguishing your text or display. There are six weights with true italics. All insigne fonts are fully loaded with OpenType features. Sancoale Softened is also equipped for complex professional typography, including alternates with stems, small caps and plenty of alts, including “normalized” capitals and lowercase letters. The face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. The Sancoale family also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Sancoale Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Sancoale Softened continues with Sancoale’s successfully simple, geometric and legible structure. With its suitability for a wide range of uses, the Sancoale superfamily is a very economical and versatile addition to any designer’s font collection.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

Introducing This Notes - Handwritten Marker Note Font is a delightful testament to the artistry of handwriting, meticulously crafted to infuse your designs with an authentic, hand-drawn aesthetic. With a distinctive yet versatile style, This Note is poised to enhance a diverse array of design projects, serving as a conduit for creativity and expression. At its core, This Note embodies the charm of handwritten notes, capturing the nuances and imperfections that make each stroke unique. It's a natural flow and effortless elegance make it an ideal choice for a multitude of graphic endeavors, ensuring its relevance across various platforms and applications. Highlighted Features: - Complete set of uppercase and lowercase letters, numerals, and punctuation marks - Unique alternates and ligatures for added character variation - Compatible with both PC and Mac platforms - Hassle-free installation process - Seamless integration with Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and Microsoft Word - No additional design software is required for full accessibility - Multilingual support encompassing characters such as ä, ö, ü, Ä, Ö, Ü, ß, ¿, and ¡ This Note transcends mere functionality; it becomes a catalyst for innovation and inspiration. Its versatility knows no bounds, seamlessly integrating into digital notes, quote designs, book covers, logos, posters, menu layouts, apparel designs, scrapbooks, comic illustrations, magazine headers, and numerous other creative avenues. The font’s adaptability is matched only by its ability to breathe life into every project it graces. Whether adorning a playful children's illustration or adding a touch of personality to a sophisticated magazine title, This Note lends an air of authenticity that captivates audiences. In conclusion, This Note Handwritten Marker Note Font isn’t merely a font; it's a conduit for creativity, a bridge between imagination and realization, poised to elevate your projects to new heights. Embrace its charm, leverage its versatility, and allow it to become the catalyst for your creative journey. Unlock the boundless potential of This Note, where each stroke tells a story and every design bears the mark of authenticity.

Bright Bride - Beautiful Script Font Introducing Bright Bride, a stunning and elegant script font that exudes sophistication and beauty. This font was carefully crafted with the intention of adding a touch of glamour to any design project. Its clean lines and flowing curves create a sense of grace and charm, making it perfect for wedding invitations, branding projects, social media posts, and much more. For those seeking a romantic and feminine touch, Bright Bride is the perfect font choice. Its delicate strokes and intricate details add a level of elegance that is sure to catch the eye of any viewer. Pair it with soft pastels or classic black and white to create a stunning contrast that will make your designs stand out. One of the standout features of Bright Bride is its OpenType alternates and ligatures. These unique letter combinations add an extra level of creativity and customization to your designs. Plus, with full multilingual support, this font can be used for projects in a variety of languages. The Bright Bride font package includes three different file formats: OTF, TTF, and WOFF. This makes it easy to use the font across a variety of design software and platforms. Whether you're a professional graphic designer or a casual hobbyist, this font is sure to be a valuable addition to your design arsenal. If you're looking for a font that is both stunning and versatile, look no further than Bright Bride. Its unique combination of elegance and creativity make it a perfect fit for a wide range of projects. So why wait? Add Bright Bride to your font collection today and start creating designs that are truly unforgettable. In summary, Bright Bride is a beautiful and sophisticated script font with delicate strokes and intricate details. It comes with OpenType alternates and ligatures, multilingual support, and three different file formats: OTF, TTF, and WOFF. This font is perfect for wedding invitations, branding projects, social media posts, and more.

The mighty Kengwin, an awe-inspiring font that commands attention and exudes a powerful presence! Its striking rounded slab serif design is a true marvel of typographic engineering, setting it apart from any other font you’ve seen before. With its pleasantly plump curves and bold, strong lines, Kengwin is a true force to be reckoned with. Its unique shape is sure to captivate the eye and leave a lasting impression on all who behold it. But this font isn’t just a pretty face—oh no! Kengwin has a personality all its own, one that radiates confidence, warmth, and a zest for life. It’s the perfect choice for those who want to communicate their message with power and conviction, without sacrificing that human touch. So go ahead, let Kengwin be the star of your next project. Whether you’re designing a logo, crafting a headline, or creating a stunning poster, this font is sure to deliver the impact you’re looking for. With Kengwin, your message will be impossible to ignore, and your designs will be truly unforgettable! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Tiresias was designed for subtitling by Dr. John Gill from the Royal National Institute for the Blind (RNIB), in the United Kingdom. The Tiresias font is designed to have characters that are easy to distinguish from each other, especially important for the visually impaired. The following key factors were considered during the design process: character shapes, relative weight of character stokes, intercharacter spacing, and aspect ratios that affect the maximum size at which the type could be used. The benefits of the Tiresias font are greatest on lower resolution displays, such as televisions, train and airline information terminals, and low resolution displays on wireless communication and handheld devices. InfoFont is for printed instructions on public terminals where legibility is the primary consideration; these instructions are often read at a distance of 30 to 70 cm. Infofont is not designed for large quantities of text. The Tiresias LPfont is a large print typeface specifically designed for people with low vision. Large print publications should be designed to specifically help with reading problems, and should not just be an enlarged version of the ordinary print. The Tiresias LPfont family, made up of roman, italic, and bold weights, was designed to address and solve these issues. The RNIB developed PCfont for people with low vision to use on computer screens. It is designed for use at larger sizes only. PCfont includes delta hinting technology in the font to ensure pixel-perfect display at key sizes. Signfont is for fixed (not internally illuminated) signage. The recommended usage is white or yellow characters on a matt dark background. Note that the “Z” versions have slashed zeroes, and are identical in all other respects. These faces were developed together with Dr. John Gill of the National Institute of the Blind, Dr. Janet Silver; optometrist of Moorfields Eye Hospital, Chris Sharville of Laker Sharville Design Associates, and Peter O'Donnell; type consultant. Tiresias himself is a figure from Greek mythology, a blind prophet from Thebes.

Sublime45-Regular Sublime Revised for 2021. One font in Opentype format as Sublime45. Families and all TT Truetype versions eliminated in this wonderful stand alone. The Spring 1997 original release of Sublime —borne an organic creature of black water soluble ink & digitized by Coniglio Type. Sublime is a fun font to use in commercial layouts. It is soft and fluid as ink. Like the wrinkles of time, it is imperfect. That in itself makes it incredibly attractive, warm and “human factor”. Sublime offers legibility so sorely missed in the current recreational font market. Sublime was inspired by World War II US fighter pilot Donald Alling. He flew missions over Nazi Germany. His squadron also dropped food, medicine and relief supplies over the Netherlands. Known as “the Colonel” to his friends. Don as a civic engineer ruled literally miles of ink letter callout’s with a template device called a LeRoy in peacetime on vellum and mylar across his career as a technical illustrator. You didn't want to screw up inking into a template with wet black permanent ink. You really had to have a steady hand and it was all done by hand. You can say Don worked “unplugged”. And that is cool! He was part of the broad stroke of postwar industrial expansion that helped keep America strong, rendering exploded views on top secret projects. Many of us were not even born yet when all this was going on. Today at over 80 years young Don is like a national treasure, savvy and bright—and the ladies love him! The Colonel remains a dedicated master airbrush man, stand–up man, caricature artist and letterman all without use of a computer! He was lucky enough to retire before a desktop cathode tube was put in his face. Today the Colonel enjoys restoring VW’s, flying and freelance consulting when not being called to supper by his lovely wife Rea.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

Type designers have been integrating the design of sans serifs with serifed forms since the 1920s. Early examples are Edward Johnston's design for the London Underground, and Eric Gill's Gill Sans. These were followed by Jan van Krimpen's Romulus Sans, Frederic Goudy's ITC Goudy Sans, Hermann Zapf's Optima, Hans Meier's Syntax and Adrian Frutiger's Frutiger. Now, ITC Stone Humanist joins this tradition. It is a careful blend of traditional sans serif shapes and classical serifed letterforms. ITC Stone Humanist grew out an experiment with the medium weight of ITC Stone Sans, a design that already showed a relationship to these sans serif-serif hybrids. ITC Stone Sans has proportions based on those of ITC Stone Serif, and its thick-and-thin stroke contrast suggests the bloodline of humanistic sans serif typefaces. But other aspects of ITC Stone Sans are more closely aligned to the gothics and grotesques, a tradition that accounts for the largest portion of sans serif designs. Enter ITC Stone Humanist. During his experiments with the earlier design, Sumner Stone recalls, I was actually quite surprised at how seemingly subtle changes transformed the face," moving the design firmly into the humanist tradition. "The form of the 'g,' 'l,' 'M,' 'W,' and more subtly the 'a' and 'e' are part of the restructuring of the family," he explains. The top endings of vertical lower case strokes have been cropped on an angle, as have the ascender and descender stroke endings. ITC Stone Humanist is a full-fledged member of the ITC Stone family. It has been produced with the same complement of weights, and the x-heights, proportions, and underlying character shapes are completely compatible with the three original designs. The original ITC Stone Sans is a popular typeface, in part because of its notable versatility. ITC Stone Humanist shares this virtue, and can be used successfully at very small sizes, in long passages of text copy, and even as billboard-sized display type."

Introducing "Bremoleaf" - The Nature-Inspired Font 🌿 Embrace the beauty of nature with "Bremoleaf," a unique and versatile font that seamlessly blends the organic elegance of leaves with a harmonious mix of sans serif and script elements. This exquisite typeface is more than just a font; it's a work of art that brings the enchantment of nature to your creative projects. 🌱 The "Bremoleaf" font is a perfect choice for those who seek a harmonious fusion of two distinct typographic styles. It effortlessly combines the sleek and modern characteristics of sans serif letters with the flowing, graceful curves of an elegant script. This harmonious pairing creates a visually captivating and versatile typeface that suits a wide range of design needs. 🌿 With dynamic ligatures and an extensive selection of alternates, "Bremoleaf" offers endless possibilities to express your creativity. These ligatures and alternatives seamlessly flow, enhancing the readability and aesthetic appeal of your text. Whether you're designing a logo, a wedding invitation, a branding project, or any other creative endeavor, "Bremoleaf" has you covered. ✨ "Bremoleaf" boasts a wide range of characters and symbols, providing support for a staggering 708 characters. This inclusive font enables you to create content in various languages and styles with ease. Plus, it includes PUA (Private Use Area) Unicode, ensuring that you can access all its special characters and unique features effortlessly. 🌍 "Bremoleaf" is not bound by language or borders. It offers comprehensive multilingual support, making it the perfect choice for projects that target global audiences. From English to Spanish, French to Vietnamse, this font will help you convey your message beautifully and effectively. Experience the enchantment of "Bremoleaf" and elevate your design projects to new heights. This nature-inspired font brings the organic beauty of leaves to your creations, offering an irresistible combination of style and functionality. With "Bremoleaf," your designs will flourish like never before.

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Introducing Addlethorpe, the sleek and sophisticated three-layer metal typeface that will elevate your designs to the next level. With its unique combination of foreground, fill, and background layers, Addlethorpe offers endless possibilities for customization and creativity. Whether you’re designing for print or digital, Addlethorpe has you covered. The foreground layer, Addlethorpe 1, is perfect for use on light backgrounds, offering intricate detail that will catch the eye and draw the viewer in. But why stop there? Addlethorpe 2 is the perfect fill layer, allowing you to add color and depth to your elevated letters. And don’t forget about Addlethorpe 3, the rectangular background layer that fills in the blanks and ties your design together. With its clean lines and bold presence, Addlethorpe 3 is the perfect finishing touch. But Addlethorpe is more than just a pretty face. OpenType-aware programs allow for the use of lining or old-style numerals, while letter pair ligatures break up the monotony of repeated letters. And with Addlethorpe Web, you can enjoy all of this beauty and versatility with faster load times and simpler forms. So what are you waiting for? Give your designs the edge they deserve with Addlethorpe. Just be patient with your application – with all this detail and customization, it’s worth taking the time to get it right. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Pirouette is based on a logo that Japanese designer Ryuichi Tateno created for a packaging design project in 1999 (a shampoo container!). Tateno's logo experimented with complex, overlapped swash letterforms. He continued to develop these outside of the initial packaging project, until they took on a life of their own. Eventually, Tateno designed a full typeface out of the logo, Pirouette, which was the first place display face in Linotype's 2003 International Type Design Contest. The Pirouette typeface contains six different fonts. The basic font is Pirouette Regular. This is an engraver's italic lowercase paired with elaborate swash capitals. The swash capitals have two visual elements in their forms: thick strokes and thin strokes. Pirouette Text includes the same lowercase as Pirouette Regular, but the uppercase letters are much shorter and simpler. This "text" font can be used to set longer amounts of copy. Pirouette Alternate contains different lowercase glyphs and additional ligatures, which can be used as substitutes for the lowercase forms in the Pirouette Regular and Pirouette Text fonts. Pirouette Ornaments contains swashes and other knick-knacks that can either be added onto the end of a letter, or used as separate decorative elements or swooshes (accolades) on a page. Pirouette Separate 1 and Pirouette Separate 2 are two fonts that can be layered over top of one another in software applications that support layering (e.g., most Adobe and Macromedia applications, as well as QuarkXPress). Pirouette Separate 1 contains the thick stroke elements from Pirouette Regular's uppercase letters, as well as the same lowercase glyphs that can be found in Pirouette Regular and Pirouette Text. Pirouette Separate 2 contains only the thin stroke elements from Pirouette Regular's uppercase letters. By layering Pirouette Separate 1 and Pirouette Separate 2 over one another, you can give the uppercase letter's thick and thin stroke elements different colors and create unique, more calligraphic designs. The Pirouette family, Tanteno's first commercial typeface, was greatly influenced by the calligraphic and typographic work of the master German designer, Prof. Hermann Zapf, especially his Zapfino typeface.

Allow me to share with you the exquisite and elegant font, Carouselambra. This magnificent typeface pays homage to the typography on Led Zeppelin’s Houses of the Holy album jacket, and is sure to transport you back in time to the late nineteenth century. Carouselambra is a beautiful and intricate representation of the Arts and Crafts lettering style that was all the rage in that era. The font’s interlocking Art Nouveau effect is truly a sight to behold, and can be easily customized with OpenType-savvy software such as Photoshop, Illustrator, or InDesign. With Carouselambra, you have the option to use standard ligatures, which your application can automatically substitute to create a stunning and seamless design. However, if you prefer to have more control over the ligature replacement, you can simply turn off this option. Whether you’re looking to add a touch of elegance to your design or simply appreciate the beauty of Art Nouveau, Carouselambra is the perfect choice. Elevate your design today with this exquisite and timeless font. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Note: the 'Phone Pro Hebrew' typeface, includes just the Hebrew characters of the comprehensive "Phone Pro" family font, sold separately [on this MyFonts site], so they are economical for those interested just in the Hebrew Characters. And regarding the “Phone Pro” project in general, this is what I wrote: 'PRISTINE'; this font is—neither beautiful nor ugly, neither vigorous nor weak, neither traditional nor modern, neither serif nor sans serif, neither script nor printable, neither a text font nor a display font—it is rather all of the above, which makes it a more versatile typographic tool—[handwritten] characters that are well-suited for a wide variety of applications—from editorial design, [friendly] greeting cards... to branding, advertising, publicity and digital. Each glyph design combines its unique shapes and stylish ink-traps with parabolic curves. Each glyph design has been treated as an 'individual character'—the way I would treat a breathing, living, vulnerable and courteous human being; looking after each and every character as if it was my only child — bringing to light the authenticity and uniqueness of each individual, as well as my objective to bring about peace and harmony between them all as a whole. Designed with the intention of harmonizing between four scripts — Latin, Cyrillic, Greek and Hebrew; the whole family has a comprehensive set of characters—in addition to the Latin letters, the Phone typeface also has a full set of characters for Vietnamese, partially extended Cyrillic, Greek and Hebrew (sold separately). The t_t ligature is something unique to Phone, as well as the t_z ligature, among others and extras. A distinctive trait of the Phone typeface, is a high x-height combined with relatively short ascenders. The Phone typeface is in a way evoking the feeling of some Gaelic font and of the [Egyptian] Papyrus font (by Chris Costello, though, not being based on neither of those), having an exotic and an exquisite look, under the category of "Soft Fonts & Friendly Faces".

Looking for a typeface that oozes class and style? Look no further than Raincoat. This stunning display font combines the best of both worlds, with a geometric sans serif that’s been given a timeless, antique feel. But Raincoat is more than just a pretty face. With its OpenType features, it’s a font that can truly personalize your designs. Letter combinations are transformed into custom ligatures, making your work truly unique. From the altered ends of the “T” to the interlocking rings of the “O”, Raincoat is a typeface that adds a touch of personality to any design. So if you’re looking to make a statement, whether it’s for a logo, poster, or website, Raincoat is the perfect choice. With its candid style and classy design, it’s a font that’s sure to impress. So why not try Raincoat today and see for yourself the creative design options it can bring to your work? Most Latin-based European, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more. Frutiger Symbols is a symbol font of plants, animals and stars as well as religious and mythological symbols. Together with Frutiger Stones this typeface builds a complete design system, which offers endless possibilities. It can be used for illustrations or a symbol type with its distinctive pictograms. Frutiger Symbols is available in the weights regular, positive and negative.

Get ready to burn rubber with Heavy Heap—the ultimate typeface for fans of hot-rod culture and high-speed thrills! This groovy psychedelic typeface is on fire, with a scorching look that’s sure to turn heads. With three sizzling weights to choose from, you can customize your typography to match your project’s intensity level. And with blistering mathematical symbols, torrid OpenType fractions, and a range of searing hot currency symbols, Heavy Heap is ready to take on any design challenge. But this headliner is more than just a pretty face—it’s a powerhouse of design options. It looks outstanding when used with warp and envelope effects, allowing you to create dynamic, eye-catching layouts that really pop. And with its bold, energetic style, Heavy Heap is perfect for any project that needs a little extra heat. From posters to flyers, from logos to website headers, this font is the ultimate choice for anyone who wants to make a brave statement. So rev up your engines and get ready to hit the road—with Heavy Heap, you’ll be riding in style! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.