The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

Sebastian Bobby is an authentic & organic hand-drawn script font, crafted using a real fountain pen. This font has been carefully designed to re-create natural handwritten text, and includes 78 custom ligatures to achieve those free flowing pen strokes. Sebastian Bobby lends itself perfectly to handwritten quotes, signature-style logos, stylish branding projects, and hand-crafted product & stationery designs. This product includes 4 fonts; Sebastian Bobby • A handwritten script font containing upper & lowercase characters, numerals, and a large range of punctuation. Sebastian Bobby Alt • This is a second version of Sebastian Bobby, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Regular & Alt Slanted Versions • These can be used for a more italicised, fast-hand flow to your text. FAQs; Accessing Ligatures • Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Many programs will automatically have this feature switched on for you. Language Support • Sebastian Bobby supports the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Bfrika is an 'Africa inspired' typeface and a contribution for the typographic issue 'National Typographica' of I-Juici Magazine, in South Africa. This geometrical decorative design represents bold simplicity, directness and rythm. The name evolved from text for the spread in the magazine. The B replaces the A. Africa be free. Bfrika. The concept behind Bfrika is to generate an unpredictable visual rhythm in an attractive decorative presentation. Filling up the white space around the letters accentuates form over function, thus creating an interference of visual impressions with its legibility. This visual rhythm is amplified by its redundancy in a text, only pausing at a break or a word space. Based on the concept of separate printing forms in letterpress, Bfrika Two Tone and Bfribat Two Tone separate the letter from the outside form in two fonts. Placing two text frames exactly on top of each other and assigning each part of these font to a frame in a different color, offers a quick way to add color. Originally Bfrika was designed for I-Jusi magazine #17, National Typografika, South Afrika 2001. Bfribat and both two tone fonts were created for Building Letters, a fund raiser for orphanages in Kenya and Uganda (www.buildingletters.org) and are also available for Mac and PC at www.hollandfonts.com and will be distributed in 2004 through associated foundries.

The Times Europa Office family is designed after the model of the original serif family produced by Walter Tracy and the Linotype Design Studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for The Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Akira Kobayashi, Linotype’s Type Director, brought Times Europa up to speed for the new millennium in 2006. Now optimized for office communication instead of newspaper design, Times Europa Office offers a familiar yet refreshingly new appearance for serif text. Because of The Times of London’s specific printing conditions in the early 1970s, Times Europa originally had some intentional errors built into its letterform design. These inconsistencies created an even image in newspaper text in the long run. However, these design elements bear no role on modern office communication and its needs. Kobayashi redrew these problem forms, eliminating them completely. Now Times Europa’s font weights appear clearer and easier to read than ever before.

Introducing Hiyida Script! Hiyida Script is modern script font, every single letters has been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project, example: weddings, invitations, greeting cards, posters, name card, quotes, blog header, branding, logo, fashion, apparel, letter, stationery, etc. Hiyida Script allows you to create custom dynamic text. you can access by turning on; Stylistic Alternates, Stylistic Set, Initial Forms, Terminal Forms as well as ligatures in Photoshop, Adobe Illustrator, Adobe InDesign or through a panel of glyphs such as Adobe Illustrator, Photoshop CC, Let's swirl from the reguler character into character alternative to get the text with the layout of your dreams. Hiyida Script features 801 glyphs and has given “Private Use Areas” PUA Encoded (specially coded fonts), with tons of alternate characters. The pack can be accessed in full by any crafter or designer, without the requirement for extra design software, Compatible With Silhouette Studio & Cricut Design Space. Files Include: - Hiyida Script Features: - Basic Latin A-Z and a-z - Numbers & Symbols - Stylistic Set & Ligatures - PUA Encode (specially coded fonts) - Latin Pro Support Character In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Thanks for your visit :-)

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

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.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

Thanks for checking out Snowdrop Script! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & alternates, Snowdrop Script is guaranteed to make your text stand out - perfect for wedding invitations, printed quotes, cards, product packaging, headers and whatever your imagination holds. By the way, you can make your own design IN ANY language What's really awesome is that Snowdrop Script comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Here's what you get in the download: 1. Snowdrop Script - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Fully support of all Latin and Cyrillic languages 2. Snowdrop Swirls - The set of small letters with swirls at the beginning and end of the letter. You can use A-Z and A-z to get to them 3. Snowdrop Alt - The set of small letters with special endings + a set of letters with special curls for the middle of words Fonts are provided in TTF / OTF / WOFF formats. You do not need a special design program. Font easy and convenient to use.

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

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole SC Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version of their logo, and from there we expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include smallcaps, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole SC Family bundle: 489 glyphs per style - including Capitals, SmallCaps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole SC Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Welcome to Wubble Labs—where we don’t just think outside the box, we dissolve it! Our team of mad scientists has been busy experimenting with the latest in colloidal glopulation technology, and we’re thrilled to present our latest creation: Wubble, the blobbiest, squishiest, most liquid font you’ve ever seen! We know what you’re thinking, “liquid font? What the heck does that even mean?” Well, let us tell you, Wubble is more than just a font—it’s a living, breathing, dripping typographical workfish. Each letter is like a tiny blob of ooze, flowing and shifting in a mesmerizing dance of liquidy goodness. But don’t let Wubble’s gooey exterior fool you—this font is the product of years of careful research and development. Our team of scientists have spent countless hours studying the precise characteristics of colloidal glopulation, perfecting every last detail to bring you the finest liquid font ever produced. So if you’re ready to take your design game to the next level, come on down to Wubble Labs and see what all the fuss is about. We promise, once you go Wubble, you’ll never go back! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In the bustling world of rough, grungy typography, there’s one typeface that stands out among the rest—Chinese Rocks. This iconic typeface draws inspiration from the hand-cut rubber-stamp writing found on Chinese export crates from the twentieth century. It’s a typeface that captures the raw, unpolished energy of the streets and infuses it into your messaging. What sets Chinese Rocks apart is its artisanal, handcrafted quality. Each letter is carefully carved to give your words a unique, personal touch that cannot be replicated by any other font. With Chinese Rocks, your text takes on a casual, laid-back vibe that speaks to the rawness and authenticity of modern culture. This versatile font comes in sixteen different styles, including Fat, Condensed, and Shaded. Each variation offers a different take on the classic Chinese Rocks style, allowing you to tailor your messaging to fit any occasion or application. Whether you’re looking to make a bold statement or add a touch of personality to your branding, Chinese Rocks has you covered. So why settle for a generic font that doesn’t capture your essence? Chinese Rocks is the typeface that captures your personality and turns your words into art. Try it out today and discover the power of authentic, handcrafted typography. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

We are proud to introduce, Board of Directors. This striking, square display typeface is a true testament to the advancement of modern technology. Inspired by hi-tech logos of the 1970s, the tight curves and large x-height of Board of Directors truly set it apart from the competition. But it’s not just the aesthetics that make Board of Directors stand out. The stroke gaps were carefully crafted to lighten the perceived character weight, making it the perfect choice for scientific and technical applications. The flat sides of the A and V harken back to the dot matrix printer letterforms of the past, adding a sense of nostalgia and history to this otherwise futuristic typeface. Board of Directors is available in seven weights and italics, giving you the flexibility to choose the perfect weight for your project. From the lightest weight for subtle emphasis to the boldest for maximum impact, Board of Directors has you covered. We believe that Board of Directors is more than just a typeface. It’s a symbol of innovation, progress, and forward-thinking. With Board of Directors, you can take your message to the next level and make a statement that truly stands out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Geometric/Technical style logotypes have been developed for car chrome labels since the early 1980’s, but automobile companies don't monopolize the style by any means. Shoe companies have a foothold in the geometric sans serif styles as well, and range from straightforward to full of techno styled play. Nonetheless, these logotypes all lack an expansive family which shows off all the logotypes are and what they "could" be and do. And that's where we come in. The Midsole Family finds its origin of inspiration in the CONVERSE shoe company logo, or an older version fo their logo, and from there expanded it into a 40 font family of weights, widths, and obliques. Midsole pays homage to the styling of the earlier logotype, including unicase variations to match the original look, while further evolving beyond the brand inspiration to yield a family that pulls on modern and historical styles. It adopts a sturdy yet approachable and recognizable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Midsole Family bundle: 489 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 10th graphic for a preview of the characters included) Stylistic Alternates - alternate characters and unicase variants for a less standardized text look. 4 weights in the family: Light, Regular, Medium & Bold. 4 obliques in the family, one for each weight: Light, Regular, Medium & Bold. Here’s why the Midsole Family is for you: - You’re in need of stylish sans font family with a range of weights and obliques. - You’re love that older CONVERSE letter styling, and want to design anything within that genre. - You’re looking for an alternative to Eurostile & Handel Gothic. - You’re looking for a clean techno typeface for your rave poster designs. - You just like to collect quality fonts to add to your design arsenal.

Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

Patches is a multi-faceted, victorian-era serif typeface for when you need something more than plain text. Get that extra attention while adding a genuine, original appearance to your message. Patches was designed from scratch to give a sense quality and depth. Its designer Mans Greback has created a typeface with a complex structure, yet one that will be easy to master. This work will suit every style, taste and skill level. It is a decorative and completely hand-drawn design in vintage lettering, with the perks and flexibility of present-day technology, which is exactly what you'd expect from a modern typeface. Whether you are making a decorative floral headline, drawing a cowboy logo, or creating a unique design based on this ornamental font, the hopes are that Patches can give you a set of tools and inspiration to bring out the best of your artistry. Standing on the shoulders of giants, it was inspired by a wide range of works, and will hopefully be able to continue to teach and inspire future artists. Or at least help you become a better designer when you're designing an elegant and classic headline. Set the coloring of Patches to light gold and cream tones to apply a luxurious look, or in dark tones for a more rugged impression. Bold, bright colors will make it appear In the mid-1800s, decorative design flourished in the Western major cities. Victorian style thrived and encouraged techniques such as enamelling, embroidery and calligraphy. From the 1880s onwards, there were a series of reactions to higher Victorian tastes, with Art Deco reaching the heights of the 20th century. However, the Victorian art persisted popularity, as it changed to more sophisticated designs which made it more attractive to specific professions and groups. The evolution of the Victorian style in the mid-20th century was a key factor in the succession of the movement. Classic shops and salons, sport designs and traditional festivals, and later Rock'n'Roll and Harley Davidson-themed graphics ​inspired the continued development of the art. Aspiring to carry on this tradition, this typeface family consists twelve different high-quality variations. The main ones are Patched and Patched In – an outlined variation – and each one provided in five weights: Thin, Light, Medium, Bold and Black. Additionally, the two rough fonts Hangaround and Prospects, that tries to grasp the rough, earthy atmosphere of a shady motorcycle club. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Copihue is the newest font from the foundry of Juan Pablo De Gregorio. A Sans-Serif with some humanist hints, it displays simple and subtle yet sober, vivid strokes. This font’s personality unfolds itself as long as we are reading it. The aim of Copihue is neither to be as neutral as a grotesque font nor to become as predictable as a fully geometric typeface can be. This typography wants to appeal to the likes of designers who prefer all-rounder fonts, the ones who fit well in most layouts. With this purpose in mind, Juan Pablo studied elements of different typefaces and styles to cast them into Copihue, which boasts a personality that makes it a great fit for different compositions and designs. Copihue has a slanted version with "real italics". These italics are slightly more condensed than the regular version, in order to give it a different text texture. The typeface has 9 weights, ranging from “hair” to “black”, and two versions: "regular" and "italic". Its 18 files contain 749 characters with ligatures, alternates, small caps, oldstyle and tabular numbers, fractions, and case sensitive figures. It supports 219 Latin-based languages, spanning through 212 different countries. Copihue 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, Hotc?k (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, M?ori, 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, Zapotec, Zulu, Zuni.

The Dee font family started from letter "d" and "e" followed by the rest of the letters. "Dee" is Thai word mean "Good" in English that is the source of this font name. The Dee XTS style has alternate stroke ends relative to the Dee XT style. It is included as a bonus style in the Dee Regular Set and Dee Complete packages.

Somedeals is a captivating script font that beautifully captures the essence of cursive handwriting with a touch of elegance. This typeface exudes a sense of grace and sophistication, making it perfect for projects that require a refined and stylish look. With its smooth and fluid letterforms, this font offers a natural and seamless writing style, evoking the charm of handwritten notes. The high letter contrast in this font adds a dynamic and eye-catching quality, enhancing the overall visual appeal and making each word stand out. The cursive handwriting style of this font ensures that each letter flows gracefully into the next, creating a harmonious and aesthetically pleasing rhythm. This script font exudes a sense of personality and elegance, adding a distinctive flair to your typography. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Stylistic Sets Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Somedeals fits in headlines, logos, movie posters, flyers, invitations, greeting cards, branding materials, print media, editorial layouts, headers, and many more. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Ricordi Allegria useful links: Specimen | Graphic presentation | Customization options TT Ricordi Allegria is a sleek and intelligent contemporary Florentine grotesque inspired by the half-erased lettering in Basilica di Santa Croce, Florence. TT Ricordi Allegria was drawn by Antonina Zhulkova and reflects in its graphics the transitional stage between the classic serif with varying proportions, gravitating towards the Roman capital type, and the Florentine sans serif. The font is characterized by variability in the proportions of characters, contrast between strokes, wedge-shaped triangular characters, and the absence of traditional serifs. The main visual feature of the typeface is its diversity and the ability, using different stylistic sets, to completely change the character and perception of the typeface. The drawing of the characters from the main set is strict, thanks to which the font looks stern, as if the inscription in the font was really carved out of stone. And with the help of another set, we can add roundness, or even smoothness, to the font. This is due to the fact that the letters (E R K Q J Y in Latin, and Л К Ж Э in Cyrillic) from the second set have either very noticeable "curls" or smooth, rounded "legs". In addition, the typeface includes a set of beautiful ligatures for use in display inscriptions, such as large headlines. An interesting moment when working on the typeface was the creation of the Cyrillic typeset, since the Cyrillic alphabet does not so easily fit into the concept of the Florentine grotesque and stressed semi-serif. The most difficult thing in working on the Cyrillic alphabet was to create a system of spacing for characters, as it was done in the Latin alphabet, and to make sure that when typing in Cyrillic, the drawing of the text remained beautiful. That is why the letters Д Л У Ы appearing in the font family are somewhat unusual to the eye, and the proportions of other characters in Cyrillic are not quite “classic” either. In general, the Cyrillic set looks more display than its Latin prototype, but at the same time it lacks the sense of historicity or legacy of the Soviet past, which often comes to the foreground when working on the design of the Cyrillic alphabet in this type of serifs. TT Ricordi Allegria consists of two weights (Regular and Bold) and one variable font. Each style includes over 750 characters, as well as 19 OpenType features. Interesting features of the typeface include three stylistic sets that greatly change the perception of the font, a set of bright display ligatures, a few neat icons that are suitable for breaking text and will emphasize the visual language of the font. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org FOLLOW US: Instagram | Facebook | Website

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

PMN Caecilia™ is the premiere work of the Dutch designer Peter Matthias Noordzij. He made the first sketches for this slab serif design in 1983 during his third year of study in The Hague, and the full font family was released by Linotype in 1990. The PMN prefix represents the designer's initials, and Caecilia is his wife's name. This font has subtle variations of stroke thickness, a tall x-height, open counters, and vivacious true italics. Noordzij combined classical ductus with his own contemporary expression to create a friendly and versatile slab serif family. With numerous weights from light to heavy, and styles including small caps, Old style figures, and Central European characters, PMN Caecilia has all the elements necessary for rich typographic expression. eText fonts - the optimum of on-screen text quality With our new eText fonts that have been optimised for on-screen use, you can ensure that your texts remain readily legible when displayed on smartphones, tablets or e-readers. The poor resolution of many digital display systems represents a major challenge when it comes to presenting text. It is necessary to make considerable compromises, particularly in the case of text in smaller point sizes, in order to adapt characters designed in detail using vector graphics to the relatively crude pixel grid. So-called 'font hinting' can help with this process. This, for example, provides the system with information on which lines are to be displayed in a particular thickness, i.e. using a specific number of pixels. As font hinting is a largely manual and thus very complex technique, many typefaces come with only the most necessary information. What is unimportant for a text printed in high resolution can result in a poor quality image when the same text is displayed on a screen, so that reading it rapidly becomes a demanding activity. Specially optimised eText fonts can help overcome this problem. An extremely refined and elaborate font hinting system makes sure that these fonts are optimally displayed on screens. Monotype has not only adopted font hinting for this purpose but has also thoroughly reworked the fonts to hone them for display in low resolution environments. For example, the open counters present in the letters C, c, e, S, s, g etc. have been slightly expanded so that these retain their character even in small point sizes. Also with a view to enhancing appearance in smaller point sizes, line thickness has been discreetly increased and x-height carefully adjusted. Kerning has also been modified. Don't leave the on-screen appearance of your creations to chance. Play it safe and use eText fonts to achieve perfect results on modern display devices. Many typefaces, including many popular classics, are already available as eText fonts and new ones are continually being published. The eText font you can purchase here are available for use as Desktop Fonts or Web Fonts. Should they be used in Mobile Devices such as smartphones, tablets or eReaders, please contact our OEM specialists at sales-eu@monotype.com.

Parte is a organic handwritted font inspired by natural brush typography. Written in rapid motion using a slightly dry brush pen. This will give you a fresh and elegant design. Parte comes with uppercase and lowercase sets, numbers, alternative styles for some lowercase characters are also available which make your text and designs more attractive. Included multilingual support and special ligatures

Yazan is a New Arabic display typeface for desktop applications, inspired by oriental kufi and Qairawani kufi . Designed and developed by Sultan M. Saeed, Yazan has updated proportions and details, and is distinguished by its traditional serenity, modern aesthetics, This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face.

Monograms or connected letters are very popular; apart from looking elegant, the monogram will also present an impression that sticks in the eyes of the audience. Lougra has more than 100 monograms or ligatures, making designing an initial or logo easier. Lougra is elegant and minimal modern sans serif. It has three contrast options which are display, regular and text.

Introducing Relagina is a elegant and classy serif typeface – This font is both modern and nostalgic and works great for logos, magazine, social media. Already matched up and ready to be used together for your next design! For those of you who are needing a touch of elegant, stylish, classy, chic and modernity for your designs, this font was created for you!

Maxwell is a clean condensed san serif typeface inspired by similar retro fonts from the 1950's. It comes in regular and small caps versions, includes stylistic alternatives and via the glyph panel you can access scientific inferiors, fractions, oldstyle numerals, Cyrillic, Greek, Latin and other Western and Central European languages. It can be used as a headline font or paragraph text.

Sonopa is a classically unclassifiable face, with an array of standard and extended ligatures and alternates, tabular and lining oldstyle figures. In essence, it is a playful, hand-penned script, with elements of rigidity taken from more structured styles. Sonopa contains enough detail to fare well at poster sizes, with an evenness of color that is also suitable for text runs.

Valute is a custom font with variable typeface, but at first glance it looks very mischievous. Very thincontrasting lines are very legible with heavy use of paragraph text. We made Valute with 9 weights that include ligatures and are multilingual. We will make language and feature updates in the future as this is a long-term project that we will be building on.

Delvon is a modern sans serif font family. It is suitable to create text for branding, product packaging, invitations, quotes, t-shirts, labels, poster, logos and more. Features: Uppercase Lowercase Numbers & Symbols International Glyphs Ligatures If you need anything else just shoot me on email at: dedukvic@gmail.com or find more previews on my Instagram here : https://www.instagram.com/acekelgondolayu/ Hope you enjoy it.

The BALIAN font is inspired by Balinese style carvings, because it is made in Bali and the Balinese also make it. The unique and beautiful engraving forms create a display font with character. The Balian font is perfect for classic and unique themed designs, besides that this font is perfect for t-shirt designs, poster titles, text headers or logotype designs.

Blue On Blue is a display font not intended for text use. It was designed specifically for display, headline, logotype, branding, and similar applications. Blue On Blue has an uppercase alphabet, numbers, and punctuation. For convenience, the uppercase alphabet is repeated under the lowercase keys. Only the portions of the characters that are outlined by the 3D-simulated depth are visible.