Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Scandal is a handwriting font that is meant to sit big and bold on the page, calling all kinds of attention to itself.

Introducing Raqib, a distinctive and eye-catching font that gives any project a robotic, sci-fi edge. Raqib is ideal for creating futuristic and intriguing designs due to its bold font shape and distinctive robot style. Raqib is the ideal option if you’re working on a project with a sci-fi theme or want to incorporate robotics into your branding. Because of its bold design, it’s perfect for headlines, posters, and social media graphics, and its distinctive font shapes give your text a standout, memorable appearance. For those looking to stand out in the modern era and add a touch of innovation and futurism to their designs, the Raqib font is ideal. This font is a must-have for anyone looking to create designs that really stand out. Don’t miss this limited-time offer, get the unique and versatile Raqib font today and start creating designs that will be remembered. With Raqib, you can create stylish and professional designs, with a futuristic robotic look that’s sure to stand out. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

TELEPATH Telepath by Coniglio Type, first appeared in 1998. It is now in opentype .otf as of 2021. Telepath is a master sampling of a Royal office typewriter of industrial strength provided by the Miller Furniture store, of Dunkirk, New York. It had a baseline set of numbers to make accounting practices easy and line up nicely on the statements. (No gentile old fashioned numerical ascenders and descenders.) Yet, for a a rather old and stolid machine, it was very luxurious and built to definitely take the test of time. Cudo's for Royal Typewriter Company, is all I can say. The set of images were very carefully gathered and has fallen into the preferred category for a typewriter font that has it all. The font has exceptional value as a text font -and- a display font. It contains a great deal of graphic information and doesn't spike at higher sizes. Telepath presents a strikingly handsome typewriter font with a uniquely intuitive difference. Unlike the original source material—scans of monospaced typewriter copy, every font is painstakingly hand kerned for your most demanding copy fitting work in justified or casually ragged settings for print or the web. All Coniglio Type fonts are 100% embeddable. It will get you there.

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) 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 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.

Inkster breaks all the rules. The serifs vary from letter to letter, if they have any serifs at all. The upper and lower case letters intermingle and the contrasting characters bounce all over the baseline. Loosely based on the character shapes of Frisco, I developed a tightly spaced calligraphic version and called it Inkster. Use this artistic font when youre looking for a distinctive style!

A 1934 advertisement for the Roney Plaza Hotel at 23rd Street and Collins Avenue on Miami Beach yielded the inspiration for Tropical Tourist JNL. While this wonderful example of Art Deco lettering survived, sadly the original Roney was torn down around 1969 and replaced with a modern apartment house/condos bearing the same name.

German type designer Manfred Klein created this blackletter FontFont in 1991. The font is ideally suited for film and tv, poster and billboards as well as software and gaming. FF Koberger provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional lining figures.

German type designer Jürgen Brinckmann created this blackletter FontFont in 1993. The font is ideally suited for film and tv, music and nightlife, poster and billboards as well as software and gaming. FF Lukrezia provides advanced typographical support with features such as ligatures, alternate characters, and stylistic alternates. It comes with proportional lining figures.

Glamure Serif is inspired by the Myriad font which has often been used by technology companies and governments since the 1990s. Glamure Serif is a clean, sleek and versatile font, using geomatrices to make this font more modern and elegant. Glamure Serif can function as a title, logo, body copy, subtitle, headline and others.

A poster for the publication “The Quartier Latin – A Magazine Devoted to the Arts” featured the magazine’s name in a light Art Nouveau serif style. The Quartier Latin was published between 1896 and 1899 by the American Art Association of Paris. This is now available as Nouveau Meadow JNL in both regular and oblique versions.

Mitchell was released by Inland Type Foundry in 1906 as a bolder version of their popular sans, Blair. This revival is faithful to the original, and is quite handy for both formal and informal use. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

A ìthick and thinî Art Deco sans lettering design was found within the pages of the May, 1936 issue of Modern Screen magazine. This condensed typeface has rounded terminals, similar to that made by a round nib lettering pen. This is now available as Deco Film Ad JNL in both regular and oblique versions.

German type designer Manfred Klein created this blackletter FontFont in 1991. The font is ideally suited for film and tv, poster and billboards as well as software and gaming. FF Schoensperger provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional oldstyle figures.

A misprinted sans serif loosely based on Phillip Cavette’s 1999 font 4990810, but with re-drawn outlines, more distress marks, a neater vertical aspect and no baseline irregularity. Unlike its inspiration, Sans Culottes is a complete font which includes a lower case, accented characters and as many dingbats as you can shake a stick at.

British designer Tim Donaldson created the lively typeface Etruscan in 1995. Based on Etruscan letters from ancient Italy, this unusual and condensed sans serif face whimsically mixes soft lowercase characters with more angular capitals. Etruscan brings light and airy classical form into contemporary documents, and a sunny Mediterranean flair and jollity into your projects.

Avenida was created by architect and designer John Chippindale in 1994 and is a constructed typeface that leaves a cool, sophisticated impression. An Art Deco typeface inspired lettering found on buildings constructed in Spain's Andalucian region in the 1930's and 1940's. Avenida is best suited to headlines and short to middle length texts.

Let your mind wander, think about new cultures, missing links. After discovering a bamboo pen, the founder of the first digital type foundry in the northeast of Brazil proposed a set of graphic signs for a fictional civilization. Stone, established in 1999, is the only record of a mystical culture from the age of rocks.

ITC Buckeroo was designed by Rick Mueller in 1997, and as the name suggests, it is reminiscent of the Wild West in the US. It is a small caps alphabet with extremely heavy characters, which makes it particularly good for headlines. This ornamental font should be used in point sizes of 12 or larger.

German type designer Thomas Marecki created this display and script FontFont in 1994. The family contains 2 weights: Skinny and Fat and is ideally suited for music and nightlife. FF Tag Team Marker provides advanced typographical support with features such as swashes, ligatures, alternate characters, and case-sensitive forms. It comes with proportional oldstyle figures.

Upperclass was a font I created back in 1995. I had a brainstorm about the uppercase letter “A”. I noticed that the cross bar for the letter A is always toward the bottom, what if I moved it toward the top. The result is a unique font, a great addition to your font collection.

German type designer Manfred Klein created this blackletter FontFont in 1991. The font is ideally suited for film and tv, music and nightlife, poster and billboards as well as software and gaming. FF Carolus Magnus provides advanced typographical support with features such as ligatures, alternate characters, and stylistic alternates. It comes with proportional lining figures.

German type designer Jürgen Brinckmann created this blackletter FontFont in 1993. The font is ideally suited for film and tv, poster and billboards as well as software and gaming. FF Madonna provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, and stylistic alternates. It comes with proportional oldstyle figures.

Bold and squared with rounded corners, the hand lettering found within the November, 1936 issue of Radio Mirror magazine really stands out. This stylized sans serif design, when used in poster displays or headline lettering, is attention-getting and drives the point home. Radio Actor JNL, is available in both regular and oblique versions.

The Ko family was developed for the text posters at the Holland Festival in 1997, based on the filling of a lettering stencil with different pen thicknesses. Ko Heavy and the Ko KAP were the first weights; the family was completed in 2002 with a Ko Light, a second Ko KAP and two italics.

Glamure was inspired by the Myriad font which has been frequently used by technology companies and governments since the 1990s. Glamure is a clean, sleek and versatile font, by applying geomattric shapes to create a fantastic, modern and humanistic font. Glamure can function as a title, logo, body copy, subtitle, headline and so on.

A 'quick' font, originally made for the 25th anniversary of SSP Printing Co. in Amsterdam. First used for an intro spread in Wired Magazine (#3.05, May 1995): "The problem with computers is that they don't have enough Africa in them. What's pissing me off is that they use so little of my body" (Brian Eno).

This unicase beauty is based on the typeface Vesta, originally designed by Albert Auspurg for H. Berthold AG, Berlin and introduced in 1926. Classic, stylish and elegant, this typeface will add grace and charm to any project. Both versions of this font include the complete Unicode 1252 Latin and Unicode 1250 Central European character sets.

Ulysses was created by English designer Timothy Donaldson in 1991, an impulsive, dynamic alphabet in handwritten style. The sketchy strokes, the clear slant to the right and the light stroke contrast lend the font its flow and energy. Ulysses suggests randomness and individuality and is therefore perfect for invitations, greeting cards and other personal correspondence.

Polyspring is a handcrafted serif display font, with a cool flowery flair. It was hand-drawn based on Italia Condensed typeface from Keystone Foundry from circa 1906. Loaded with stylish ornaments and flourishing alternates for all its letters and numbers, this font is a terrific toolbox for display purposes. Yet, it has the superpower of changing the first and last letters in words to its germinated alternates at the click of a button, thanks to the smart OpenType programming. Please note that this feature will only work in OpenType savvy applications. Check it performing live on the sample text below: just click on the Advanced Typography option, located next to the sample colors options (look for an icon showing “ff”), and check the option “swash”. Very cool, isn't it? Happy blooming!

Haven font family is based on the compositionality of constructive elements that create the final shape of individual letters. Mechanical connecting was continuously adjusted by a type designer’s feeling. In this way Haven differs from similar typefaces of the 1960s and 1990s. Six fonts of different stroke intensity create a rich family of typefaces for a variety of uses in typography for special occasions. Although the typeface was drawn for headings, it is suitable for typesetting of long texts in a book. Even in extreme reduction it retains its technical basis, negating classic book alphabets, and it adds an experimental look to the text. Both extreme fonts Thin and Black create strong contrast and their magnification brings attention to their interconnection of all details. Serif version Haven Serif is also being prepared.

Omnibus is one of my absolute favourites. My intention was to design a typeface as easy to read as Baskerville, without being a copy of it. It is easy to see that I was influenced by Baskerville, e.g. in the open lowercase g. I had in mind to design a Baskerville with the looks of the Baskervilles used in earlier typesetting. I put aside those plans for a while (but fulfilled them later on) and dedicated myself to Omnibus. In both cases my aim was to achieve a typeface with darker looks than the most used Baskerville. The name has nothing to do with buses, it is Latin with the meaning of for all". It is also in the name of Omnibus Typografi. Omnibus was released in 1993.

The Pergamon series is a creation of Alfons Schneider (1890–1946) and was issued by the foundry of Ludwig Wagner in Leipzig in 1937/1940, though the website of the Klingspor-Museum says that several of the faces were probably produced after the death of Schneider. This digital version is extended with the necessary OT characters and signs, while also the “символы кириллицы” are added. Also, in addition to the members of the family designed by Schneider, regular, italic, bold and bold italic extended versions were produced. The specimens of Ludwig Wagner stated emphatically: “In allen Graden werden beide K K geliefert”, so these two forms are in all the faces, while the two condensed members also have k k, as the specimens said that this alternative character was also in these two faces.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."