Our Stint Family was originally influenced by extra wide letterform styles and developed later to create an ultra condensed range of fonts and the widths in-between. Highly legible throughout its width & weight ranges, the Stint Pro Family is both perfect for powerful headlines and copy. It also works well for getting as much information as possible into limited realty websites with the ultra condensed widths, as well as when realty on websites and designs is less of a concern and the wider widths can play. A small caps feature within all of the widths and weights gives this family more versatility and a serious tone, while the Stylistic Alternates feature offers a Caps to SmallCaps feature. Reserved and straightforward, with subtle distinctive notes of its own, the Stint Pro Family presents a visually strong yet subdued visual dynamic. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Habana Deco ML was inspired by a hand-lettered sign on the stucco exterior of a small pharmacy in modern-day city of Havana, Cuba. It, in turn, was based on the fat-faced Art Deco lettering of the late 20s and early 30s, especially the Futurismo posters out of Italy, as well as alphabets designed in The Netherlands, France, USA and even the Soviet Union. There are 24 stylistic alternate glyphs (SALT), many inspired by a variety of these sources, including a couple from the sign in the front of the Congress Hotel in South Beach, Miami. The others features of the Habana Deco include 363 glyphs, 184 kerning pairs (KERN), 14 ornaments and shapes (ORNM) and 15 discretionary ligatures (DLIG). This is a font with which you can have fun. 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.

Bignay is a lovely, modern calligraphic script. It features dynamic and pretty swashes and can be used for many purposes such as titles, signatures, logos, wedding invitations, letterhead, signage, labels, newsletters, posters, badges, and more. Bignay includes OpenType features, including the initial and terminal letters, ligatures and International support for most Western languages ​. To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Bignay is PUA encoded which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor / favorite applications.

❧ Useful links: Luther’s Manuscripts at the UNESCO Memory of the World at Google Arts and Culture Martin Luther font on Kickstarter (with Film about the creation) Each letter of the Martin Luther font is strictly based on original samples found in Martin Luther’s 500 year old handwritten manuscripts. Letters that occur more often for example vowels have two or more different versions stored in the font. (➶ Figure 4) These alternative forms are exchanged automatically by the font as you type, and create a vivid look that comes close to actual handwriting. The font avoids that two identical letters are placed next to each other like, for example the two “o” in the word “look”. ➸ What Historic Sources is the Font based on? Two historic documents were used to base the font on. The notes Luther took before giving his speech in Worms in 1521 and a 6 page letter he wrote immediately after to Emperor Charles V., summarising his speech (➶ Figure 2). Both documents have been added to the UNESCO “Memory of the World” and can be seen at the Google Arts and Culture website. ➸ The Creation of a Handwriting Font The creation of a handwriting font is very different from the creation of a regular font. Harald Geisler has specialised in recreating handwriting in preceding projects with Albert Einstein’s, Sigmund Freud’s and his own handwriting. His experience working with Archives and Museums has gone into this project. First Geisler analyses the movement in the writing to understand how each letter is drawn. This involves partially learning how to write like a person. In this process not the outlines of the sample are reproduced but the original movement path of the handwriting (➶ Figure 3). In a second step width and contrast is added to reproduce Martin Luther’s characteristic impetus and the writing tools used at the time. (Link: Youtube Playlist showcasing the creation of individual letters) How about signs that can’t be found in archives? Some Glyphs can not be found in 500 year old manuscripts, for example the @-sign. Towards the end of the creation one collects a profund amount of details about how a writer moves on paper and addresses certain tasks moving the pen. Keeping this knowledge in mind an improvisation can be based on similar letter forms. For example the @ sign is based on of the movement of a lowercase a and parenthesis. ➸ Features of the Martin Luther font ❶ Extensive Documentation of the creation of the font, including high quality reproduction of the used manuscripts. ❷ Additional texts from Historian Dr. Henning Jürgens and Palaeographer (and Luther handwriting expert) Prof. Ulrich Bubenheimer ❸ Alternating Letters - in handwriting every word looks a bit different. To avoid that two identical letterforms are placed next to each other (for example in the word look) the font actively changes between different versions of letters as you type. ❹ Ligatures - characteristic writing forms when two letters are combined (for example “ct”) (➶ Figure 5) ❺ Terminal Letterforms - renders a special letterform when letter is at the end of a word. (➶ Figure 8) ❻ ‘’’Initial and Medial Letterforms''' - some letterforms are different when placed in the beginning or middle of a word, for example the lowercase s. ❼ Luther Rose - is a seal Luther used to authorise his correspondence. Today it is a widely recognized symbol for Luther. When you enter the numbers of Luthers year of birth and death 14831546 using the Martin Luther PRO font, it will render a stylised version of the Luther Rose. (➶ Figure 7) ❽ Historic letter-forms - letter-forms that are specific to medieval writing around 1500. For example the long-s or h with a loop at the bottom. (➶ Figure 6) ⚑ Multi language support - see the technical information tab for a full list of supported languages. (➶ Figure 11) ➸ The different Styles explained ❋ Martin Luther PRO - this includes all features listed above and is geared towards writing texts that are more readable today. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. Historic forms are available through the glyph picker. ❋ Martin Luther Historic - this font creates a historically correct reproduction (i.e. with long-s) of Luther’s medieval latin handwriting. It features alternating letters to create a natural handwriting look as well as two stylistic sets accessible through the OpenType menu. ❋ Martin Luther Expert-1 - Dedicated access to the first set of letters only. ❋ Martin Luther Expert-2 - Dedicated access to the second set of letters only. ❈❈❈ Family Pack - recieve all fonts at a discounted price. ❈❈❈ ➸ Kickstarter The creation and development of the Martin Luther font was financed by 500 supporters on ➸Kickstarter.

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton+, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican+, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. A total of 20 well-developed fonts are available: 10 line thicknesses from hairline to black, each of which can be upright and italic. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability. Chef Script combines warmth and good humor running in countless design applications such as labels and base plates, covers, posters, movie titles, seals and any printed design that needs an unusual typographic tool. In that sense, Chef Script is influenced by Speedball lettering manual (1957), Ross F. George. The illustrative nature of "ChefScript-complete" does not look anything like the traditional type design hierarchies. Therefore offers 7 hierarchical resource groups to design comfortable contexts flavored with illustration and typography: • ChefScript-Basic: Letters with horizontal and vertical thrifty proportions mimic an uninterrupted calligraphy brush made with flat tip. Thus its letters have ascenders and descenders strokes perpendicular to its base line and equal to the height of the lowercase. • ChefScript-Swashes: Letters expressive and unique flourishes to design highlighted words or phrases. • ChefScript-Caps: Uppercase with lowercase height give the impression of interrupted uppercase italics writing within what is written with uninterrupted lowercase letters producing strong contrast within a paragraph fragment. • ChefScript-Containers: Container drawings designed to exchange with infinite possibilities each order so that its inferior serve to store information written or drawn. • ChefScript-Dingbats: Pictograms that communicate: kitchen, chef, restaurant, food, etc. • ChefScript-Numbers: Bulky and useful numbers to highlight prices or figures containing points or dollar signs. • Chef Script-Words: Predesigned words with uninterrupted letters diagonally leveled highlighting various thoughts in writing.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

Introducing Madriz, a slab serif font with a retro feel that's perfect for any project that needs a touch of old-school charm. With over 32 fonts in one font family, Madriz offers a wide range of styles to suit any need. You can choose from Thin to Black weights and Regular to Extra Expanded widths to create your perfect look. Madriz is inspired by the old-school signage of Madrid, Spain. The name "Madriz" is actually the affectionate nickname that Madrileños, the people of Madrid, gave to their city. The font's bold, blocky letters capture the essence of Madrid's vibrant and historic streets. Madriz's versatile nature makes it a great choice for a wide range of projects. Its bold, retro style is perfect for showcasing heritage brands or giving a modern touch to classic designs. Madriz can also be used to create a sense of nostalgia, making it ideal for retro-themed projects or campaigns. Here are some of the ways you can use Madriz: Titles and headings: Madriz's bold, eye-catching style is perfect for titles and headings. Text blocks: Madriz's wide range of weights and widths makes it suitable for text blocks, from body copy to large paragraphs. Logos and branding: Madriz's retro charm makes it a great choice for logos and branding. With its 32 font styles and support for over 90 languages, Madriz is an incredibly powerful tool for any designer. It can be used to create a variety of looks, from classic and elegant to modern and edgy. Whether you're working on a print project, a web design, or an app, Madriz has the potential to make a lasting impression. Madriz is the perfect font for anyone who wants to add a touch of old-school charm to their designs. With its wide range of styles and features, Madriz is sure to make a statement in any project. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. Happy creating everyone!

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Introducing Meloriac, the unicase display typeface that combines a pseudo-retro feel with a minimalist design, creating a strong and modern-looking font that has become a reliable staple in the toolbox of today’s graphic designer. Inspired by the classic Futura Extra Bold and Avant Garde Gothic Bold, Meloriac is an extra-heavy tribute that is perfect for tight headlines and logos. Its minimalist design and strong strokes make it stand out and demand attention. The font is versatile, able to convey a variety of messages while maintaining its bold and modern aesthetic. Meloriac is more than just a pretty face; it’s also highly functional. For improved clarity, we recommend tracking it wider (adding more space) on subheadings. The result is a cleaner, more legible display that will make your message pop. Additionally, the font’s OpenType stylistic alternates feature allows access to filled letter variations and an alternative ampersand, giving you even more creative control over your designs. Whether you’re designing a poster, a book cover, or a website, Meloriac’s minimalist design and bold aesthetic make it the perfect font to convey your message with impact. Try it out today and see for yourself why it’s a favorite among today’s graphic designers. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Xbka, the new must-have font for anyone looking for a vintage-modern, futuristic, cool, and sporty font. This display font is perfect for those looking to make a statement with their headlines or branding. With its unique blend of modern and vintage styles, Xbka is the perfect choice for anyone looking to give their designs a fresh and youthful feel. Its italic style adds an extra touch of elegance and creativity to any project. Whether you're designing a logo for a new sports brand, creating eye-catching headlines for a magazine or website, or adding a touch of urban style to your marketing materials, Xbka is the perfect choice. This font is great for use in a wide range of applications, including advertising, branding, web design, and print design. It's a versatile font that can be used in a variety of contexts, from sports and fitness to streetwear and fashion. Overall, Xbka is a unique and eye-catching font that is sure to make your designs stand out. So why not add it to your collection today and start creating something truly special?

Goldstone is a hand-brushed modern calligraphy script, created with both pen and brush. It includes a dancing baseline with separate swashes that can be applied to the beginning and ends of all lowercase. Goldstone includes several ligatures, alternates, and international support for most western languages. Perfect for branding, logos, greeting cards, wedding stationery and so much more. To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Goldstone is PUA encoded with Unicode, which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor or favorite applications.

Ace Attitude is a friendly, readable font with character and flair. When I started designing this font I wanted something that was readable as well as interesting and appealing. Something that showed character. When I look at this font now I think of an old fashioned aviator. One of those poeple that likes to show off and have fun but can still follow rules. This font is perfect for logo's and branding. But its also very versatile would be great in things like magazines, posters, packaging, billboards, etc. Ace Attitude has an impressive 179 Contextual alternates. These are like ligatures, but oh so much better. These contextual alternates will give any project that personal touch - all without any extra effort. All you have to do is make sure that they are turned on in your program. Unfortunately, these do not yet show up in the sample text. To help with this I have created a demo version of the font so that you can still try it out before you spend the money. Ace Attitude also has Over 800 glyphs and includes features such as small caps, ordinals, ligatures, fractions, tabular numbers, proportional numbers, subscript, superscript, numerators and denominators.

Bay Tavern is the first weathered version of our Tavern font that's based on Algerian. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. Bay Tavern includes all the same alternates as our regular Tavern font family. While our original Tavern font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bay Tavern family are meant to be used with Bay Tavern Open fonts, if you're using Bay Tavern Open then select Bay Tavern Fill, if you're using Bay Tavern Open L then select Bay Tavern Fill L, if you're using Bay Tavern Open S then select Bay Tavern Fill S, if you're using Bay Tavern Open SL then select Bay Tavern Fill SL, the same rule goes for the Open X version.

Introducing Rose Avenue, an extra bold serif font with soft, charming rounded edges and curves. Rose Avenue brings chunky retro typography to the modern era, and includes 70 additional special characters with additional flair and flourishes - providing you with a variety of captivating custom text arrangements. Whether it's a fancy retro-inspired logo, or engaging bold header text - Rose Avenue is able to deliver. Accessing Alternate Characters • Many letters of this font have multiple alternate versions (see final image). In order to access each one, simply make sure 'Standard Ligatures' are enabled, and follow your letter with a number. For example, typing 'A1, A2, A3, A4, A5' will generate the 5 alternate versions shown for capital A. Accessing Ligatures • There are 10 lowercase ligatures (double letters) included. In order to access these, simply make sure 'Standard Ligatures' are enabled, and the ligatures will automatically generate as you type. All special characters can also be accessed via a Glyphs panel. Language Support • Rose Avenue 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

This design is characterized by its futuristic and modern aesthetic. The clean lines and minimalist approach create a sleek and sophisticated look, while the unique touches and use of the MGN Debris font give it a bold and edgy vibe. It is a perfect example of how a modern design can also be unique and innovative, with elements that set it apart from traditional designs. This style is perfect for businesses and organizations that want to convey a sense of innovation and cutting-edge technology. The MGN Debris font used in this design adds to its modern and futuristic feel. The font is bold and sharp, with a unique style that makes it stand out. It complements the overall design perfectly and adds to the edgy and unique vibe. This font is perfect for businesses and organizations that want to convey a sense of innovation and forward-thinking, and it pairs well with modern designs. Overall, this design is a great example of how a modern and futuristic style can be unique and captivating, with the use of the MGN Debris font adding an extra element of boldness and edge.

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

A text typeface design with completely isolated letters and extra emphasis on vertical feel and visual connectivity to aid easy reading. The Hallock font family is named after Homan Hallock, a New York based American type designer and typographer who created the first documented unified and isolated Arabic font design in July 1864. The Hallock font family has two styles, regular and left-slanted italic styles. This font family design follows the guidelines of Mutamathil Taqlidi type style with one glyph for every basic Arabic Unicode character or letter, as defined in the latest Unicode Standards, and one additional final form glyph, for the freely-connecting letters in traditional Arabic cursive text. Hallock employs variable x-height values. It includes only the Lam-Alif ligatures. Soft-vowel diacritic marks, harakat, are selectively positioned. Most of them appear by default on the same level, following a letter, to ensure that they would not interfere visually with letters. Tatweel is a zero-width glyph. Keying the tatweel key before Alif-Lam-Lam-Ha will display the Allah ligature. Hallock includes both Arabic and Arabic-Indic numerals, in addition to standard punctuations.

Mofid Mahdi is a distinctive, bold Arabic display face, suitable for heading and titling work in Arabic newspaper and magazine composition. In this typeface the rounded internal counters and dots contrast with the angular and more robust outlines of the letterforms to give a decorative, harlequin-like appearance. The design was originally developed for use in dry-transfer format, and was first produced as a digital font by Linotype-Hell Ltd. in the early 1980s. Initially a simplified face, with its inherent limited range of letterforms, Mofid Mahdi was enhanced during the late 1980s by the introduction of medial letterforms to improve character spacing and balance. The recent advent of OpenType has led to the release of Mofid Mahdi. This OpenType font includes Latin glyphs from Memphis Extra Bold, allowing users to set text in both most Western European and Arabic languages without switching between fonts. Mofid Mahdi incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. The font also includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Mikha, designed by Carine de Wandeleer, is a delightfully handwritten family font which keeps the casual drawing of a marker with clean strokes. Its slight bounce and intentional irregularity, gives your words a wonderful flow. This new font family with 736 glyphs, includes Regular, Condensed and Sans. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to five Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Mikha Sans it is possible to write all in capitals. Mikha looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Enjoy it!

Lambresia is a handwritten script with a natural & stylish flow. This font has a multitude of natural looking ligatures in its OpenType features - making the font look as close to natural handwriting as possible. This collection of scripts is perfect for personal branding. Lambresia is perfect for many different projects such as logos & branding, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor/application. We hope you enjoy the font, please feel free to comment if you have any thoughts or feedback. Or simply send me a PM or email me at kotakkuningstudio@gmail.com. Thanks for purchasing and have fun!

Boatman Font – 3 Styles + Extras We introduce our new font called Boatman. Boatman is a (All Caps) vintage display font inspired from classic whiskey labels, vintage labels and sing painting. Boatman comes with 3 styles (Regular, Outline and Stamped) that extends the possibilities when you design something. Boatman also has the Stylistic Set. With the Stylistic Set, Boatman gives you so many options to create something awesome. Mix and match the alternate characters to add an attractive message to your design. Furthermore the Boatman includes a Set of Ornament Labels which perfectly complement text compositions. You can see it on my presentation examples. Boatman is great for Logotype, Branding Design, Logo Design, Badges, Digital Lettering Arts, T-Shirt/Apparel, Headline, Posters, Magazine, Signs, Advertising Design, and any vintage design needs. Boatman Features : - All Caps Characters, Punctuation, Numerals. - Opentype Feature such as Stylistic Set. - Fully accessible without additional design software. - Includes a range of multilingual characters. - Ornament Labels You can access all those alternate characters by using a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7. Guides to access all alternates glyphs : http://adobe.ly/1m1fn4Y

Strong table is a hand-brushed modern calligraphy script font, created with both pen & brush. It includes a dancing baseline with separate swashes that can be applied to the beginning and ends of all lowercase. Strong table includes several ligatures, alternates and international support for most western languages. Perfect for Branding, Logos, Greeting Cards, Wedding Stationery and so much more! To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Strong table is PUA encoded with Unicode, which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor / favorite applications.

Bentonite Script is a hand-brushed modern calligraphy script font, created with both pen & brush. It includes a dancing baseline with separate swashes that can be applied to the beginning and ends of all lowercase. Bentonite Script includes several ligatures, alternates and international support for most western languages. Perfect for Branding, Logos, Greeting Cards, Wedding Stationery and so much more! To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Bentonite Script PUA encoded with Unicode, which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor / favorite applications.

Breadley Serif It was a continuation version of the previous one (Breadley Sans) that come up with Serif type look, surely including small decorative on the ends of some of the strokes that make it more expressive. Still stunning great with an elegant look and stands strongly on its own as a heading and brand logo. This Serif version of BREADLEY fancier within sexy touch for business utilities use like business card, name sign, uniform as brand elevation, and many more. This serif BRADLEY typeface, obviously fit to embossed as an exclusive brand tag or even decorating your enormous office corner. You can view all of the available characters in the screenshots above, and you can try out the brand new BRADLEY SERIF now for any design matter. Breadley Serif also has five weights, plus an extra superbold weight, Ligatures, small caps, old-style numerals, and other OpenType features Latin and multilingual support A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window – glyphs Adobe Illustrator go to Type – glyphs Thank you and have a nice day

Anthony Script is a lovely, modern calligraphic script. It features dynamic and pretty swashes and can be used for many purpose, such as titles, signatures, logos, wedding invitations, letterhead, signage, labels, newsletters, posters, badges, etc. Anthony Script features OpenType, including the initial and terminal letters, ligatures and International support for most Western languages ​​included. To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Anthony Script is PUA encoded with Unicode, which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor / favorite applications. Enjoy using Anthony Script!

Yohey is a hand-brushed modern calligraphy script, created with both pen and brush. It includes a dancing baseline with separate swashes that can be applied to the beginning and ends of all lowercase. Yohey includes several ligatures, alternates, and international support for most western languages. Perfect for branding, logos, greeting cards, wedding stationery and so much more. To activate OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign and CorelDraw X6-X7, Microsoft Word 2010 or later. How to access all of the alternate characters, using the Windows Character Map to Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all of the alternate character using Adobe Illustrator: http://youtu.be/iptSFA7feQ0nn How to use stylistic sets font in Microsoft Word 2010 or later versions: https://youtu.be/x1A_ilsBsGs Yohey is PUA encoded with Unicode, which allows full access to all the extra characters without having to design special software. Mac users can use Font Book, and Windows users can use the Character Map to view and copy one additional character to paste into your text editor or favorite applications.