Introducing Anggelica Merona is a heavenly and light handwritten font with amazing characters. It will put a romantic spin on any design idea. This is a font which has a unique hand lettering brush style and it looks naturally handmade. This font is best used for your design project that has the concept of fun, girly, romantic and elegant. Can also be applied to the design of a logotype, header website, wedding logo, romantic design, make some lettering a quote, t-shirt design etc.

Introducing Butter Mellow is a heavenly and light handwritten font with amazing characters. It will put a romantic spin on any design idea. This is a font that has a unique hand lettering brush style and it looks naturally handmade. This font is best used for your design project that has the concept of fun, girly, romantic, and elegant. Can also be applied to the design of a logotype, header website, wedding logo, romantic design, make some lettering a quote, t-shirt design, etc

Margaux is an elegant, smooth, disciplined italic font, based on French fonts of the early 20th century. It evokes Paris in her heyday - culture, romance, and sophistication. Margaux is beautifully crafted, with simple, neat lower case characters, and upper case characters that are elegant but decoratively curled. This font lends itself to the creation of romantic adverts, wedding stationery, greeting cards, theatre posters, romantic book covers, certificates. Margaux has all the features usually included in a fully professional font. Language support includes all European character sets.

Designed by Francesco Simoncini and W. Bilz, this design follows Times New Roman in structure, but differs in some details. Unlike Times New Roman, the boldface is a weighted version of the roman.

Logotypia Pro is is made for one purpose: the design of modern logotypes, brands and headlines. Logotypia Pro offers: - unique and modern shapes - alternate swash glyphs - easy to build ligatures - connect glyphs with Logotypia's "connector-glyphs" - metrics optimized for display use - complete class based kerning - includes western (ANSI/Mac Roman) and russian alphabet (codepage 8859-5)

Designed by the renowned Robert Hunter Middleton of Chicago’s Ludlow Typograph Company, this “serifless roman” was first introduced in 1929. Middleton has created a transitional face linking the traditional thick and thin serifs of the times with the new Futura and Kabel design imports. With its slightly flared main strokes, Stellar predates in many respects Hermann Zapf's Optima by thirty years. Highly effective where an elegant and warm feeling is desired. This typeface is faithful to the original letterforms of the Stellar design. Stellar Classic is also available in the OpenType Std format. Some new characters have been added as stylistic alternates in this new version. Stylistic alternates and other advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Bordonaro Spur - Bordonaro Script’s partner - is a typography strongly influenced by old beer labels and includes some serifs based on Frederic W. Goudy’s Copperplate, but with some softened spurs adding an elegant and soft texture to the text. It is ideal to be used on large bodies and has a set of special ligatures ideal to be used in branding. Psss...Check out the NEW Bordonaro Spur with Rounded corners , same version but soft! FEATURES Co = company1 Co = company2 Estd = established Inc = incorporated Ltd = limited Mc = mac Rd = Road St = street And also from Adobe CC you can activate Style Sets (SS) and get ideal ligatures for ordinal numbers: 1st = st 2nd = nd 3rd = rd 4th = th Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

Bo Berndal's handwriting was terrible in his younger days, and he could not even read his own notes. When he started out as an apprentice in a printing shop, he started to copy Garamond italic and formed his own style of writing. Later he was inspired by both Alfred Fairbanks and his reform-writing and by Paul Standard in the U.S.A and created the Boscribe font.

Little Brownie is playful font family which puts a smile on your projects and will inspire you to create something fun and memorable. It is perfect for headings, flyer, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, etc. Features: – Multilingual Support – PUA Encoded – Numerals and Punctuation Thank you for downloading from Ocean Stud.

This font was inspired by one of Antoine Augereau's three roman typefaces: the Gros Romain (±16 Pts) size, used in 1533 to print Le miroir de l'âme..., a religious poetic compilation by Marguerite de Navarre, sister of the French king François the first. It seems possible that Augereau may have also engraved italic styles. This alphabet, with its complete small caps collection, is covering all West, East and Central European languages (including Baltic and Celtic) and Turkish.

Introducing a new clean signatures script called Bresley. Bresley came with open type features such contextual alternates, stylistic alternates, ligature, good for signature logo, wedding invitation, romantic quote, logotype, poster, social media kit, book cover, tshirt design, packaging and any more.

KIGELIA is a stylish display serif font inspired by fashion magazines and romance. It is great for short headlines and titles, but it looks great in advertising, vintage mood board, branding, logotypes, packaging, titles, editorial design and modern and vintage design.

Linotype Mateo is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Jürgen Ellenberger included three styles in his font, roman, bold and outline. The characters of Mateo consist exclusively of lines, giving the font an extremely angular look. However, Mateo retains a certain handwritten style somewhat reminiscent of the graffiti left on wooden grade school desks by previous classes. The bold and outline styles have emphasized stroke contrasts but keep the angular, consciously irregular look. The roman style is best for smaller texts and the bold and outlines styles for headlines.

Aldine 401 is a Bitstream version of Bembo type family. It was designed on the base of artwork of Francesco Griffo for Aldus Manutius. Originally the font appeared in “De Aetna” in 1495 — the book by Pietro Bembo about his journey to Mount Etna. Griffo’s design was one of the first old style typefaces followed by Garamond. It was the forerunner for the standard text types in Europe for the next two centuries. A modern version of Bembo was designed at Monotype under the supervision of Stanley Morison in 1929. Aldine 401 is still very popular in book design due to its well-proportioned classic letterforms and lack of peculiarities. Italic was based on the handwriting of Giovanni Tagliente. Books and other texts set in Aldine 401 can encompass a large variety of subjects and formats because of its classical beauty and high readability. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.

Sincerity is an elegant and strong typeface identified by its high contrast, its sharp shapes and triangular serifs. Inspired by the Didone style, Sincerity adds modernity and some unique features to it. It offers a large choice of uses, from titles of magazines to newspapers, logotypes and so on. Sincerity is available in 16 styles, from thin to black in roman and italic.

Avantgarde fonts Batory and Batoswash are monoline sansserifs designed by Bo Berndal. The futuristic Batory (think Bladerunner and Total Recall) and the spicier relative Batoswash come in three versions: Narrow, Middle and Wide. The font family is available in Truetype and Postscript for Mac and PC. Bo Berndal, born 1924, has been designing typefaces over 56 years, for Monotype, Linotype and other foundries. "Batory is a monoline reaction to my many calligraphic fonts", says Bo Berndal. "That is also the reason I did several widths instead of weights. Batory has short stems and high x-height. Batoswash is a Batory gone wild!" The successful Batory has already been used for logotypes, vignettes in magazines and as headline type.

Avantgarde fonts Batory and Batoswash are monoline sansserifs designed by Bo Berndal. The futuristic Batory (think Bladerunner and Total Recall) and the spicier relative Batoswash come in three versions: Narrow, Middle and Wide. The font family is available in Truetype and Postscript for Mac and PC. Bo Berndal, born 1924, has been designing typefaces over 56 years, for Monotype, Linotype and other foundries. “Batory is a monoline reaction to my many calligraphic fonts”, says Bo Berndal. "That is also the reason I did several widths instead of weights. Batory has short stems and high x-height. Batoswash is a Batory gone wild!" The successful Batory has already been used for logotypes, vignettes in magazines and as headline type.

Old Claude was drawn by Paul Shaw to simulate an old cut of the classic (Claude) Garamond type designs of the 16th & 17th centuries. The pronounced rough edges and coarse letter shapes create the effect of letterpress printing with old foundry type onto handmade paper. The companion Old Claude Expert includes small caps and old-style figures. This "antiqued" design works equally well for both text and display.

Sans-serif typefaces compensate for their basic handicap – an absence of serifs – with a softening modulation typical of roman typefaces. Grotesques often inherit a hypertrophy of the x-height, which is very efficient, but not very beautiful. They are like dogs with fat bodies and short legs. Why do we love old Garamonds? Beside beautifully modeled details, they possess aspect-ratios of parts within characters that timelessly and beauteously parallel the anatomy of the human body. Proportions of thighs, arms or legs have their universal rules, but cannot be measured by pixels and millimeters. These sometimes produce almost unnoticeable inner tensions, perceptible only very slowly, after a period of living with the type. Serifed typefaces are open to many possibilities in this regard; when a character is mounted on its edges with serifs, what is happening in between is more freely up to the designer. In the case of grotesques, everything is visible; the shape of the letter must exist in absolute nakedness and total simplicity, and must somehow also be spirited and original.

The Ehrhardt name indicates that this typeface is derived from the roman and italic typefaces of stout Dutch character that the Ehrhardt foundry in Leipzig showed in a late-seventeenth-century specimen book. The designer is unknown, although some historians believe it was the Hungarian Nicholas Kis. Monotype recut the typeface for modern publishers in 1937 to 1938. Ehrhardt has a clean regularity and smooth finish that promote readability, as well as a slight degree of condensation, especially in the italic, that conserves space. Ehrhardt is a fine text face, especially for books.

Taiko is a strong headline typeface based on a design by Otto Arpke from 1928. Taiko Std is the basic version with 235 glyphs. The full version with over 650 glyphs includes the following OpenType features: - central European glyphs - small caps - tabular & mediaeval numerals - dynamic fractions

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

Fidel Black Essential is a heavily weighted, condensed, sans-serif typeface with a large x-height. Ideal for short, high-impact headlines, its design is inspired by Russian Constructivism and old Cuban communist posters. Variants include Fidel Black, Fidel Black Italic and Fidel Black Stencil. Fidel Black Essential is an excellent choice for headlines, subheadings, posters and logotypes. Languages: Basic Latin, Euro, Mac OS Roman.

Mars Brands is a beautiful and smooth serif font created for a romantic and lovely look. It is equipped with many ligatures and alternative characters from uppercase to lowercase. Mars Brands is perfect for greeting cards, wedding invitations, posters, logotypes, product branding, and much more.