Seuchter Experimental is a product of the fertile Jugendstil period in Austria. Drawn by Bruno Seuchter, about whom little biographical information is available, the design first appeared in Seuchter’s publication, Die Fläche, in 1902. Die Fläche means “surface or expanse,” presumably a reference to a “tabula rasa” or clean slate. The implication is one of starting anew, rejecting the past and searching for fresh, different modes of visual expression — which is exactly what Art Nouveau attempted to do. Seuchter Experimental is a quirky and light-hearted font. Ligatures include AT, AV, CH, CK, FJ, LO and ST. Although basically an all-cap font, several of the accented letters in the lower case position represent the oft-seen desire to keep the accents below cap-height. The a-umlaut at 228 and u-umlaut at 252 reflect Seuchter’s original design. For a discussion of the difference between a diaresis and an umlaut, see Appendix B of Bringhurst’s The Elements of Typographical Style. In the meantime, give this font room to breathe.

Leprechaun Vomit is just a pretty way of saying Lucky Charms, which I had to use something else besides the name of a cereal anyway. Leprechaun Vomit is a ding bat of luck including images of rainbows, horseshoes, clovers, diamonds, moons, the number 7, japanese "lucky" calligraphy, The Maneki Neko (the Beckoning Cat which is a lucky symbol), and some shooting stars (make a wish). You can use these images to create Irish themed designs like St. Patrick's Day art, or you can use them for lucky purposes. Bellafonts' user license allows for commercial use, so you can make products for re-sale, including services offering graphic design. You can choose from a variety of clovers for your own version of a "Kiss me I'm Irish" T-shirt, and you can add some shooting stars and rainbows to make any design for any occasion extra special. If you are a graphic designer with any clients like a ranch, horseback riding schools, and so forth, you may like these lucky horseshoes for your library.

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface. Although about 14 miles inland, Norwich lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. From the 17th century until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Gothic Tuscan One, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. There is also a more contemporary glyph of a whale, looking quite pleased that the only whaling ship left in Connecticut is the Charles W. Morgan, permanently moored at Mystic Seaport. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004). Gothic Tuscan One ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 332 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm and dlig. 3. Added 330 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators 6. Included of both tabular (std) & proportional numbers (optional). 7. Refined various glyph outlines. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

The P22 Underground Pro font family started in 1997 as the first and only officially licensed revival of Edward Johnston’s London Underground railway lettering. The original design by Richard Kegler sought to be as true to the original as possible. In 2007 P22 revised and expanded the fonts into a massive character set with additional weights, language support, and stylistic alternates. Endeavoring to make this font family a more versatile and useful tool for a designer, P22 sought to add true italics to this stalwart type design. The only other existing italic interpretation of Johnston’s Underground type was executed by the inimitable Dave Farey and Richard Dawson at Housestyle Graphics. We asked Dave Farey to imagine an Underground italic that would pair well with the P22 Underground, done as if Edward Johnston himself might approach the design challenge. This new italic version was then expanded for all six of the existing P22 Underground weights and characters sets by James Todd of JTD Type. Final mastering of the P22 Underground Pro roman and italic with a streamlined yet still expansive language coverage by P22 partner Patrick Griffin of Canada Type. These refinements remain true to the original Johnston design while employing contemporary typographic finesse to create six weights with optional alternates to increase legibility. The new P22 Underground Pro family is now a rock-solid and very versatile humanist sans serif font family that should be a cornerstone of any designer’s typographic toolkit. After five years in development, the new P22 Underground Pro is the most iconic and useful font family ever presented by P22 Type Foundry.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Rabigail is an unique and very elegant font for brand and logo design. Based on our experience as a graphic designer who works for a lot of companies, we often are requested to design a logo in a unique style but with an elegant shape. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get classy, elegant, and certainly unique logos with this font. To make it look more unique, here we prepared some ligatures: ab ah am an ar ak ap at oo cb ch ck cm cn cr ct eb eh ek em en ep er ub uh uk um un up ur st tb th tk tm tn tp tr tu ty fl fi ff ft oo cra ee ga gi it UPDATE v2 - New Additional Ligatures: ob oh om on op or Wish You enjoy it. :) Rabigail is also included full set of: uppercase and lowercase letters multilingual symbols numerals punctuation Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help :)

Linotype Maral is based on an historic Armenian typeface which was originally designed by Henrik Mnatsakanyan. Hrant Papazian has revieved and digitized this four weight type family . Armenian keyboard drivers for Mac OS 9 (and under) as well as for Windows are included when any of the Linotype Maral fonts are purchased. These drivers must be installed before the fonts may be used properly. Linotype Maral will not function properly under Mac OS X, unless you are using the OpenType-format version, which does not work under OS 9! The Linotype Maral family includes four fonts: Linotype Maral Regular, Linotype Maral Oblique, Linotype Maral Bold, Linotype Maral Bold Oblique. The Armenian language is written with its own script. This script and its language are written and spoken in the Republic of Armenia and by the Armenian Diaspora. The Armenian alphabet first appeared around 406 A.D. Its creation is attributed to St. Miesrop Mashtots (died 441), but it is most likely an independent modification and extension of the Greek alphabet created by Gregorian denomination.* * (Source: The book Schrift- und Buchkunst, by Albert Kapr [Leipzig: 1982], references Quadra della storia letteraria della Armenia by Ph. Lukias Somal for this information)

It's Festive! But don't let the name fool you... It's a fun script font (plus a Roman) accompanied by an assortment of exciting ornamental dingbats. In fact, it's the ornamentals that make this font so much fun! At first glance, Festive appears to be suited only for the Christmas holiday season. But wait… you can use the ornamental dingbats for any occasion where festivities abound— New Years, Valentines, St. Patty's Day, Back to School, Graduation, Baby & Wedding Showers, Halloween, Thanksgiving, and much more— even Sports. The base font works well with bodies of copy, while the alternate fonts can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all 14 fonts in this package—especially the fun ornamental dingbats. Festive Regular is included with all the alternate fonts (Festive One thru Ten) which are sold as two font sets. The PRO version contains all the glyphs of the family plus OpenType programming to easily access alternates. The Festive family of fonts are PUA encoded, so you can access them easily. So, get in the mood and have FESTIVE fun!

Nature is fond of stripes. Animals have them, plants have them and the rainbow has them. Besides being beautiful, stripes in nature have various origins and functions. But only Homo sapiens gave them symbolic meaning. In the American flag, the 13 stripes symbolize the 13 colonies that declared independence from Britain. In the French “Tricolour” flag, they represent Paris and the king of France. And in Russia’s “Georgiyevskaya lenta,” they symbolize the death and resurrection of St. George, the dragon-slayer. The font family COLORADO , named after the beautifully striped Colorado potato beetle, can be used to construct all kinds of symbolic or just beautiful messages. And thankfully, you need no OpenType diploma to do this. To get your texts multi-striped and multicolored, follow this simple procedure: Write the message with one of the COLORADO fonts and apply a color. Then copy and paste in place, and apply a second font and color. Repeat this again if wanted – and the masterpiece is done. COLORADO ’s language support covers about 100 languages. It has a Western European, a Central European and an Extended Cyrillic character set.

A font family with excellent visibility and aesthetic originality was developed after years of troubleshooting. It will be the best choice for designers as it contains a variable font with two axes. A variety of styles, including stem widths from 10pt to 220pt, will be an exciting attempt for unique typography. And, 44 beautiful and amazing ligatures will make your imagination deeper and richer. On the Typographic Foundation, it makes sense to break most of the ligatures used here into discretionary ligatures. However, in view of the trend of modern typography, in which the essential boundary between function and decoration is increasingly blurred, it may be meaningful to use them together. All ligatures of this font family are included in Standard Ligatures. Your choices become easier and clearer. Its name is Quickflio. OpenType Features 44 Ligatures : Am, An, Br, Cr, Gr, Le, Lo, Op, ad, am, an, at, ba, ck, ct, da, de, do, er, es, ff, fo, fi, fl, gh, ha, hn, hs, in, le, ll, lo, ma, ns, oe, om, on, re, sh, st, um, un, ve, wa Ordinals Oldstyle Figures Tabular Figures Fractions Scientific Inferiors Superscrpt

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Introducing Soft Whisperings Calligraphic - A beautifully flowing modern calligraphy font. This delicate, modern script font is full of romance and elegance. It’s perfect for wedding stationery, Save The Date and special occasion cards. Soft Whisperings has a lovely handwritten feel to it so it’s also great for logos, signatures, taglines and calligraphic projects. There are plenty of alternate glyphs and ligatures! International Language Support Soft Whisperings Calligraphic supports 219 latin based languages, which are spoken in different 212 countries. Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu,  Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese,  Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog,Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan,Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. --------------------------------------------------------------------------------------------------------------------- The fonts are PUA encoded which means that you don’t need any special software to be able to use the alternates and Ligatures.  Well, that’s about it!  Enjoy! Jo

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Introducing La storia - a fine tip signature font. Beautiful monoline signature, looking so classy and natural. There are 2 version, - Regular - Bold La storia is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, labels, and more that needs a natural sign feel. Includes number-punctuations and multilingual support. I created 89 ligatures to keep this font looks natural. at ct dt et ft gt ht it jt kt lt mt nt ot qt rt st tt ut vt wt xt zt an in un en on ar ir ur er or aa ant int unt ent ont att itt utt ett ott ii ee oo uu ff rr ss xx zz ll adl idl udl edl odl ald ild uld eld old art irt urt ert ort fl fh fb jl Fr Gr Hr Ir Kr Mr Nr Or Pr Tr Ur Vr Wr Dr space-r Titling and Ending Swash - Quick Access Add underscore 2x before or after a lowercase (you can see this on the presentation posters). For example a_ _ or _ _a Swash Lines make this font complete. Add underscore 2x before numbers from 1 to 9, you'll get 9 variations of swash line (as shown in the posters). For example _ _1 Thank You so Much!

Presenting Gilligan Shine! A Handwritten Monoline Font with some Ligatures and Extra Dingbats. This font made with the perfect combining of each character. You can combine with Extra to get a unique combining. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. You can see in the presentation picture above, Gilligan Shine looks stylish and unique on design projects. So, Gilligan Shine can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. Besides that, Gilligan Shine also has some ligature that gives a surprise when you type certain characters combining. The ligatures are or, ss, on, ill, st, of, ar, arr, rr, ff, ll, tt, at, it, and itt. WHAT'S INCLUDED? 1. Gilligan Shine • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Extra Dingbat • Included 19 Dingbats. You can feature all with typing c_1 until c_19 A Million Thanks Colllab Studio

Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

Zenoa Display Serif Font Family - They are sharp and sensitive, but connected-oriented. That's why they're designed by incorporating hook glyphs into an elegant serif style. Somewhat high contrast between vertical and horizontal, they reveal the strong individuality of each glyph, so you can create creative layouts. The meticulous design stands out so that readability and individuality can be expressed in harmony. And, these are the special excellences of this font family: Stylish Alternates and Ligatures where calligraphic subtlety is artistically connected. These OpenType features are decorative pleasures of using this font family more functionally. Please check first if the app you are using supports these features. They are easy to use in Adobe apps such as Photoshop and Illustrator. Alternates : A, B, C, D, E, F, G, H, J, K, L, M, N, P, Q, R, S, T, U, V, W, X, Y. Standard Ligatures : ff, fi, fl Discretionary ligatures : Am, Ba, Ca, Ch, De, En, Fr, Ge, Ha, In, Lo, Mi, No, Pa, Ro, Sa, Th, Va, Wo, Yo, an, bi, ck, de, ee, gn, ha,ie, lo, mo, no, oo, pr, ro, ss, st, te, um, ve, we, yo. Supported Languages: Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian

The new Religan serif font is luxurious and elegant which will bring a unique style and trendy look to your designs. This modern serif relogan has several on-trend ligature binders and special characters to make it look more unique in all design projects and work perfectly to pair with other fonts. It's perfect for logotypes, branding, wedding monograms and invitations, blog headlines and more. Here we prepare some fasteners: ab ar an am ah ara ap ti tr st tu tt ct et ff ty ffi fu ft fj fy th tm tn in im ir it ta ri er eh em en ch cr ra ng li eb cb fr ck fb fh fk jj gi and more.. Religan also includes the full set: Uppercase and lowercase Multilingual symbol Number Punctuation This type of family has become a work of true love, making it as easy and enjoyable as possible. I really hope you enjoy it! I can't wait to see what you do with Religan! Feel free to use the #Dora Typefoundry tag and # Religan Modern Serif Font to show what you've done. If you have any questions, you can contact us by email: doratypefoundry@gmail.com Thank You!

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

'1812' type family is a revival and further development of the typeface '1812' by Lehmann Type Foundry (St. Petersburg). It was created for the centenary of the French invasion of Russia, known in Russia as the Patriotic War of 1812 along the lines of decorative engraved inscriptions and ornamented typefaces of that time, presumably by the artist Alexandre Benois. It was used mainly for the decoration of luxurious elegant publications. Later, in 1917, this typeface was used on the Russian Provisional Government banknotes. In the Soviet period of time '1812' appeared to be one of the few typefaces included in the first Soviet type standard OST 1337. It was produced for manual typesetting until the early 1990s. This typeface could be seen on Soviet letterheads, forms, posters and even air tickets. The digital version development was launched in 2010. The original version was supplemented with lowercase letters and alternative symbols, the extended Latin and Cyrillic alphabets were fully supported. The font was evolved into a family of 14 decorative styles which can refine any design giving it a festive and elegant but at the same time strict and nostalgic look. Despite its decorative nature, '1812' is perfectly readable in small emphasized text blocks due to its classic shape and careful spacing.

Art Gothic was attributed to the Central Type Foundry of St. Louis, Missouri, USA by Henry Lewis Bullen, writing in INLAND PRINTER in 1907, with a reproduction shown in Kelly’s American Wood Type. The typeface appears on the cover of an issue of “The Superior Printer” pictured in Typology by Heller and Fili dated in the 1870s. Art Gothic was designed in 1884 by Gustav Schroeder and proved to be one of the more popular and enduring of the American-designed Victorian display faces of the period, appearing frequently in ads in various publications. The Hamilton Mfg. Co showed a very similar wood type, No. 232, with a modified and rather heavy-handed upper case in 1892. As late as 1897, it may be found in the advertising section of The Ivy of Trinity College of Hartford, Connecticut and was included in the Norwood Press 1902 Specimen Book. Our font includes a complement of five upper case and four lower case alternatives as follows: 123=C, 125=E, 135=H, 137=S, 172=c, 175=e, 215=m and 247=s. Great for period pieces. ART GOTHIC HIH is clean, readable, and surprisingly modern-looking; unlike so many overly complex Victorian display fonts, it can be used in text sizes.

Blossoms, leaves, buds and tendrils create fragile objects of words and letters. · Weingut Script Flourish is a decorative display font with high contrasts, perfectly hand-drawn to the tiniest details. The font is trimmed to fairly large font sizes and is highly suitable for chapter titles or book jackets as well as Headlines, Invitations and wine labels :), although also impressing with an astounding legibility in small typesettings. Inspired by the handmade Blätterschrift from the 19th century Mettenleiter’s Schriftenmagazin, its basic structure is related to the English Script which makes it a perfect wedding font. The Weingut Family – noticable bouquet, beautiful structure with full fruit and a long finish. · Design with bicoloured capitals: In Weingut Script and Weingut Flourish, leaves and letters are available separately. You can stack them and apply different colours to the foreground and background. · Decoration and patterns: Weingut Swashes and Ornaments offers extra decorative elements in a separate font. Leaves, flourishes and borders available on their own or merged to ornaments. · Please make sure to use an application that supports the layering of text (two-coloured capitals) and OpenType features (contextual alternates). Be aware if you intend to combine Weingut Script Flourish and Weingut Flourish that these two do not go together. The floral outlines differ slightly and inaccurate overlaps will be the end result. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Weingut Script / 151 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cofan, Corsican, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romansh, Rotokas, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois, Shawnee, Shona, Sicilian, Slovio, Somali, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Handmade Mr Moustache™ is designed for Great Type. · Extra thin letters, condensed and with a handwritten touch, Mr Moustache gives a warm and friendly feeling to your layout. Mix upper- and lowercase letters according to your own liking. Furthermore, choose between a hand-drawn Unicase and an almost Unicase appearance. Use Mr Moustache Display for headlines and anything BIG. Use Mr Moustache Text for small type sizes or large volumes of text. · Mr Moustache is accompanied by frames, ornaments and dingbats in regular and solid, that can be layered for multicolored effects, providing endless design-possibilities. Please download MrMoustacheAccessories.pdf to get a complete overview. If you prefer the document in Indesign, please send an email to office@buerofliegenpilz.at · Mr Moustache offers OpenType features, including contextual alternates and stylistic sets. The font family works best with frame-based layout programs that support full OpenType functionality. · For Mr Moustache Frames please note: The glyph preview in your design application may be a bit confusing due to the size of the "letters". Please download the MrMoustacheAccessories.pdf which shows all possible frame parts. Here you can easily copy and paste all the parts you need. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for MrMoustache / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

A Neogothic typeface that radiates trendy ease and allows bicolor compositions. The decorative elements of Aeronaut, the swashes we call parachutes and the squiggly arrows of the upper-case characters soften the font’s Gothic appearance. It’s the reason why we labeled it a “Neogothic typeface that radiates trendy ease.” Make it as modern as you like it to be. · Aeronaut-Base combined with Aeronaut-Parachute allows bicolor compositions. Simply place them on top of each other to create playful, two-colored headlines. Aeronaut-Balloon is similar to Aeronaut-Parachute but offers even longer swashes. AeronautPlain is similar to Aeronaut-Base but works as a complete font on its own (as it contains all punctuation). We abandoned the swashes of the upper-case characters to keep the font pure and straight. · The glyphs of Aeronaut are derived from Textualis also known as Textura or Gothic Bookhand. Textualis represented the most calligraphic form of blackletter types and is today regarded as quintessentially Gothic. Aeronaut has been inspired by Kirchengotische Schrift, a font that can be found in a German font book from 1879 entitled Vorlegeblätter für Firmenschreiber. As its name suggests, it was designed for religious publications. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Aeronaut / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

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

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

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.

Vanitas is an elegant high contrast contemporary sans. It is rooted in the style of a classic didone, excluding the typical serifs and ball terminals as well as being designed with a cleaner, more reductionist appearance. Strict attention was given to the cohesiveness and balance between letterforms as well as the careful refinement of all curves. Stylistically, Vanitas’ alluring, sophisticated sensibility is directly inspired by high fashion. The upright styles are complimented by a pairing of optically adjusted true italics, which were purposefully adapted to retain the sharpness of their counterparts. Abandoning traditionally executed cursive italic letterforms retains Vanitas’ sharp characteristic through each style. Features include: Precision kerning Standard Ligatures set including ‘f’ ligatures (fb, ff, fh, fi, fj, fk, fl ffb, ffh, ffi, ffj, ffk, ffl, ffy, ae, oe, AE, OE) Discretionary Ligatures set including (st, ct, No) Alternate characters (H, A, AE, Q, $, h circumflex, ¶ and numero sign) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Tabular Lining, Proportional Lining, Tabular Oldstyle and Proportional Oldstyle Figures Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Hibernica is a new genuine Irish sans in the classical modern style. With Hibernica it is possible to express Irishness in an up-to-date fashion rather than the traditionalist way. The design of Hibernica is based on my Lapidaria family. With Lapidaria it shares the classic appearance and coolness, stroke pattern, proportions and dimensions. Therefore Hibernica and Lapidaria are a perfect couple for bilingual text editing, e.g. Irish–English (not to forget the Greek parts of Lapidaria!). All fonts contain the full set of dotted ḃ ċ ḋ ḟ ġ ṁ ṗ ṡ ṫ in upper- and lowercase and an additional set of a dozen celtic ornaments. Hibernica also ows its “Minor-Medior” concept to Lapidaria, that is a special uncial-style variant set for lowercase letters. Choose from the six Hibernica fonts which suits your needs best! The Minor fonts are performing elegantly even in longer text bodies, whereas the Medior sorts offer a brillant and entirely new typographic look for headings and captions. Use Hibernica for outstanding designs – for a contemporary Irish understatement in typography. Wether you’re designing menus or shop signs, banners or ads, wether you do textwork upon historic topics or create T-shirts for St Patrick’s day – Hibernica is your new friend! For more new wonderful Irish fonts look at Ardagh and Andron Gaeilge!

Add some old fashioned charm to your designs with the distressed alphabets in the new BLINCtype Letterpress Fontpak, a brand new font collection containing 8 letterpress-inspired fonts from the creative minds at Blinc Publishing in St. Paul, MN. The BLINCtype Letterpress Fontpak contains a handy concise assortment of old-school display fonts. From the old Western "WANTED" poster look of Prospect Modern, to the no-nonsense all-caps classic Goshen and its lowercase companion Gideon, these fonts are inspired by wooden letterpress blocks and other archaic technologies. It's like having your own letterpress print studio! Except it's all instantly downloadable right now as easy-to-use fonts! Designers love working with the Cheltenham-esque Gomorrah and its grittier, grungier counterpart, Sodom. The bouncy Golgotha has a rough and tumble readiness that exudes a hand-made charm, while Hamilton Offset has a cryptic, experimental look and feel that gives the impression of double-vision. You also get the newest member of the Blinc font family, Player Piano, which was based on punch-cut stencil letters on an old player piano paper song roll. Purchase the BLINCtype Letterpress Fontpak today and you'll be able to download and start using these 8 great fonts right away! The BLINCtype Letterpress Fontpak contains the fonts: Gideon, Golgotha, Gomorrah, Goshen, Hamilton Offset, Player Piano, Prospect Modern and Sodom.

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters "a", "b" and "s". These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case "g"; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped finials of its lower-case descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name - after St. Serapion.

Here is another design by jewelry designer Max Joseph Gradl. Zier is a verb, meaning to decorate, adorn or ornament; zierlich means decorative, elegant, fine, neat. Schrift means type. Zierschrift, therefore, means decorative type. Gradl Zierschriften is a decorative type in the Art Nouveau style, rather than the more ornate Victorian style. Very modern, very young, with an elegant simplicity of form. Maria Makela, in her book The Munich Secession (Princeton 1990) suggests that the frequent use of simple, flowing, organic forms that was so characteristic of Art Nouveau was a reaction against the growing complexity and rapid urbanization that resulted from 19th century industrialization. In keeping with that reaction is the hand-drawn quality that intentionally rejects a mechanistic mathematic precision of line rendering. Gradl Zierschriften preserves that hand-drawn quality. Designed with upper case only, this face was obviously intended for short headlines only and is best set at 18 points or larger. However, I don't think you really get to experience the grace of this design until you get to 36 points or more. In the larger sizes, it is simply stunning. Please note that while most of the uppercase letterforms are repeated in the lower case for convenience, the ‘F’,‘L’ and ‘T’ are rendered a little narrower than in the uppercase to provide for visual variety. The font also includes a generous supply of ligatures for just the right fit ... and just for the fun of using them. Three common ways of inserting a ligature, accented letter or other special character are: 1) Key in “ALT”+“0”+[ascii #]; for example ALT+0233 for the e-acute, 2) From within your application program, go to the INSERT menu and look for something like “Insert Symbol,” (this function is NOT available in all application programs) & 3) Cut & Paste from the CHARACTER MAP display that has been supplied by every generation of Windows Operating System that I can recall (All Programs>Accessories>System Tools). Isn't it amazing what you can do? Don't be afraid to experiment. If you back up your work, you have very little to lose and a lot to gain. Not only do you acquire a new tool, but by the very process you have learned how to continually expand your knowledge and skill base.

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Stadtmitte is a grotesque font with a distinctly industrial flair. It is inspired on a reinterpretation of the Berlin’s vernacular signs and characters created under the DIN 1451 norm. By the early 1900s, german painters and sign makers started to spread this unmistakable way of font drawing used back then on freight trains. Such letter design was both very easy to read and build, hence it started to quickly spread until it became a standard in 1936 for highway signage. Stadtmitte is not aimed to be yet another literal remake of those drawings but rather a revision of shapes and concepts that seeks to transport us to Germany’s industrial way of creating and displaying information, therefore being suitable for a wide scope of design uses, considering its own nature and different available weights. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 618 characters with ligatures, alternates, small caps, old-style and tabular numbers, and case sensitive figures. It supports 219 Latin-based languages, spanning through 212 different countries. Stadtmitte supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi,