Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

Picaflor soft, is a continuation of "Picaflor" now in a rounded version, especially for titles, it contains different styles from Thin-Black, in addition to multiple languages

Honey Painting is a font inspired from both Honey and Painting, same imagination if a user do painting with Honey, this font now is giving this option.

Squarish could have been the Universe or Helvetica of the 1980's, if only it was designed then. Now it is just a little quirky gridded typeface.

XComputerBugs is a pictorial font of insects, mostly butterflies and moths. A few are based on actual species, but most are fanciful and meant only for decoration.

Originally issued as Marggraff Bold Script by the Dresden foundry of A.G. Vorm Brüder Butter. Minor variations were given to a few letters to even the color.

First designed in 1999 Large now becomes LargeOT and it's available in Regular, Extra and Italic. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Hello! Presenting a calligraphic font with natural scratched texture effect. It's a script with connected letters, lots of characters including West European languages support and few ligatures.

Schelter & Giesecke's grotesk font family, widely used for their marketing and in-house prints, now revived and extended with a Cyrillic character set and old-style numerals.

Download PDF Instructions from https://peggofonts.com/download/Rationell-Instructions_4.59.pdf Behance presentation https://www.behance.net/gallery/88695175/Rationell Rationell is a functional multipurpose corporate typeface, based on classic 1950's swiss rationalism, subtle tuned on a XIX century didonesque modernist structure, a contemporary interpretation with the eyes of the Latin idiosyncrasy. Designed in 12 upright weight with 12 matching Italic, from Hairline to ExtraBlack, average weights (Light to Bold) are easily read on text sizes, printed and digital media, while Hairline to ExtraLight and ExtraBold to ExtraBlack are especially suitable for big contexts like headlines, poster and higher sizes as big as storefronts, monumental billboards or building size printed mesh covers. 40 OpenType features: Standard and Discretionary Ligatures, Lining, Old Style and tabular numerals, scientific and fractional forms, slashed zero, stylistic and contextual alternates (rounded dots, "Il" readability, auto roman numbers, auto group enclosed numbers, slashed zero on alphanumeric contexts), sensitive case, localized forms, glyphs composition/decomposition, access to all alternates. Rationell has a serious but kind timeless look, an ideal voice for corporate publishing, branding, wayfinding and complex technical information systems. It Supports 222 Latin based languages, with +2200 glyphs Rationell is capable to solve the most advanced nowadays global design needs.

PB Carolingian Xc is a font face designed for imitate Carolingian minuscule (from the region of the German southeastern scribal schools) found in 10th century manuscripts. All characters are handwritten by use ink and quill pen, scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.), historical characters (overlined uppercase Roman numerals, many mediaeval abbreviations, d-rotunda, r-rotunda, I-longa, e-caudata, historical ligatures for “nomina sacra”) and wide range of ancient punctuation. OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Case-Sensitive Forms, Stylistic Alternates, Contextual Alternates, Stylistic Set 1-11, Historical Forms, Historical Ligatures, Standard Ligatures. Include also kerning as single ‘kern’ table for maximum possible backwards compatibility with older software. Historical ligatures for additional glyphs are mapped to Private Use Area codepoints. OpenType features automatically exchange some default glyphs by stylistic alternates and create ligatures for better historical appearance.

The Comic-Script by ingoFonts In the past cartoons used to be lettered by hand. Hardly anyone does this today. The reason is, because hardly anyone has nice handwriting these days, so there are practical advantages in having a special font. However the font should still look like it’s been written by hand. Well, most script fonts don’t meet this requirement. The LeDrôle Lettering is a computer font, but closely resembles genuine handwriting. The model for the LeDrôle Lettering is my personal handwriting, as can be seen on the example of the Biró Script, which is also an ingoFont. The habit of capitalization comes from the Romanic and Anglo-Saxon countries. Depending on the purpose they are designed in three significantly bolder weights. In order for the typeface to actually look handwritten, it needs to have clearly visible irregularities. These are not found only in the shapes of the individual letters. Even though LeDrôle Lettering is all in capital letters, the characters of uppercase and lowercase letters are clearly different. Additionally, many alternative shapes are used, which are automatically applied when the OpenType “Ligatures” feature is activated. Thus, there are no identical double letters or numerals, and many character combinations are defined as ligatures with alternative forms.

Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

Praxis® Next has the same robust shapes and proportions as the original 1976 Praxis design. Its large x-height, substantial counters and open apertures guarantee high levels of legibility and reading ease in print and on screen. More weights, condensed designs and true cursive italics differentiate Praxis Next from the older design. Praxis Next shines where space is at a premium. The regular designs are modestly narrow while the condensed typefaces perform with grace in the most crowded of environments. The bold designs create powerful headlines and banners and the lighter weights are ideal for both long and short-form text copy. Because of its many weights and proportions, Praxis Next is also an ideal design to build a brand identity. Praxis Next Variables are font files which are featuring two axis and have a preset instance from Light to Ultra and Condensed to Roman. Pair Praxis Next with old-style designs like Bembo® Book and Stempel Garamond™ to create a dynamic typographic contrast. Or complement the design with its serifed counterpart, Demos® Next . Unger also drew ITC Flora® as an alternative italic design. Looking for something a little different? Pair Praxis Next with Masqualero™ .

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

Bengala is a font based on Calligraphy & Geometry designed by Carlos Fabián Camargo. Its purpose is to be an innovative typographic system combining Script letters with geometric and hard Caps letters. The contradictory styles are ideal for designing covers, posters, branding and packaging. Its smooth calligraphic look meticulously incorporates characters to design logos and phrases that communicate dynamism and strategy. Bengala Script was inspired by Mistral by R. Excoffon. Bengala Script provides violent and unstable lines with generous spacing between the letters and tight horizontal proportions, producing showy upper and lower case italics inspired by French Gothic calligraphy late fifteenth century. For this reason, Bengala Script retains some uninterrupted calligraphic logic, up and down sometimes higher or shorter than the height of the lowercase, creating dynamism through a variable amount of contrast between thick and thin strokes. Bengala Dingbats has 62 drawings designed to accompany the designs. Script and Caps Bengala have different gender and the similar X height produces more visual appeal. This way Bengala Caps - inspired by the Porshe logo, due to its geometric uppercase Roman construction, extended horizontal proportions, light caliber, rounded strokes terminations and generous spacing between letters. Special thanks to John Moore and Manuel Corradine for their help with Open Type.

Meet Bjorn. A super usable, digital-device ready type design, refreshingly unburdened by today’s pre-conceived notions of ‘digital neutrality’. This is a typeface driven by the notion that today’s ‘digital’ shouldn’t automatically mean the devolution of typographic personality, Bjorn brings a softer-side to the idea of pixel perfect brand comms. Solid digital typography can also convey a warm tone of voice, radiate a softness, a human emotive charm whilst still maintaining all of the functional on-screen requirements of crisp easy reading fonts across viewports. Bjorn is a distinctive type design that combines a unique blend of flattened round stems (to take the edge-off), levelled inner terminals (pixel friendly) and pointed ears and feet (creating an distinct rhythm and dynamic with bowled letters). Bjorn is not a typeface following a tried and tested pattern, it’s a typeface designed to make digital brands feel special, enabling speech in a voice that brings viewers closer to their words. Bjorn is warm, yet clinical, flat and curved, elliptical and pointy. The font’s strong sense of ‘straightness’, the letter proportions and features build up its versatility across digital environments, not too wide, not too narrow, not too pointy, not too round — just right. Bjorn is available in 4 Roman styles — Light, Regular, Medium and Bold.

Tejuela (Spanish for “Wood Shingle”) is a neoclassical type inspired by the wooden architecture of the ancient churches of Chiloé, an archipelago in southern Chile; which are World Heritage Sites. This typeface has rough and broken forms but with soft strokes. The neoclassical characteristic of Tejuela is due to the architecture of these temples, which belong to this style but adapted to wood with excellent quality and ingenuity by Chiloé builders using a material available in the area. Therefore, this typeface reflects the tradition of the fonts of that period, but adapted to the coarseness and warmth of the southern wood of the world. Tejuela is useful for extensive texts in literature, history, art and heritage; as also for short and large phrases in headlines according to the occasion. Tejuela has eight variants in Roman and Italic versions, with small caps, Old Style and Lining numbers, ligatures, alternative glyphs, fractions, among other OpenType features; special mention to the capital letters Swash of the italic versions, which serve to generate delicate compositions. In addition, it has two stylistic sets to compose border ornaments inspired by the Chilota Architecture: colonnades and corners, only using the numbers on the keyboard; it is important that the line spacing has the same value as the font.

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

FF Attribute™ Mono is a monospaced design with an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting many languages also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Mono’s 14 designs, huge character set, including box-drawing characters and user-interface icons, make it the Swiss Army Knife® of monospaced fonts.

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Presenting the LAVOZA typeface from alitdesign. LAVOZA font is designed by combining a slant blackletter font with a classic serif font style. The Lavoza font is inspired by a classic roman design that we apply modern elements according to current trends. This bold classic concept will create a design that is frightening but still looks modern and elegant. The Lavoza font is perfect for the design of young people who dare to be different and unique from the current trending design concept. Lavoza font is highly recommended to be a collection of fonts for current or future design creation. LAVOZA is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern and brave concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "LAVOZA"contains 587 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. 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. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

VetteLetters is proud to bring you the TpKurier-family. It is cooked up by our German chef Martin Lorenz currently living in lovely Barcelona! Chef Lorenz about the TpKurier recipe: “TpKurier is the second redesign we did of Courier. The first redesign in 2000, although based on a five-unit grid, was drawn completely by hand. Six years later we designed another grid version of Courier, and the TpKurier family was born. This version is completely constructed up till its last detail. We didn't want to correct ‘mistakes’ deriving from the use of the grid, but instead make them visible (see “S”). TpKurier is based on a very simple grid, composed a proportion of four units high by two units wide. A series of other links between them make it possible to form a font from this grid. We felt it was important to consistently work within these limitations so that any unexpected asperities would help provide the font with its character. Even though it is a rough constructed typeface it was important to us to design real italic lower case letters and not just a sloped roman (see “a”, “g” or “s”). The first family published contained a serif and sans-serif version of the TpKurier, with italic and bold.”

Optimum readability in small bodies with scarce interlining, under poor printing conditions such as in newspapers, where velocity and bad quality’s irregular surface papers, truly distort strokes was the challenge taken. Pobla was designed with this in mind, hence Patau present a hybrid between the conventional strokes of a serif’s classical roman type and markedly “fractured” forms inside, providing a unique personality to this typographic family, where calligraphic’s humanistic axis is visibly broken with the straight axis of the fabricated letters. Subtle details in the serifs, give it a modern look to a classic skeleton. Very pronounced ink traps get the shapes rounded in the printed product to artificially increase the average medium-eye and promote reading in the small sizes it was designed for. An absolutely handwriting look for the italics, where the rupture of the stroke marks a white’s subtle change to only whisper in the printing surface a slight difference, but without fuss and so not to break the rhythm of reading. And as we are used to, a complete set of OpenType features, where you will find small caps, fractions, ligatures, old numerals and tabular, discretionary ligatures and support for 220 languages; and all available in twelve weights to meet the needs of any newspaper printing.

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Pyke's Peak is a spirit type descended from Paeleoflex: The Angel of the Odd. Wraith-like forms mix Roman inscriptional letters with an ar'deco theme for an ethereal graphic art effect. Suitable for magazines and editorial design, book jackets & interiors, posters & broadsides, art & craft objects and other things needing a touch of the extraordinary. Over 500 extra characters give Pyke's Peak unusual range and ability. Mirror capitals, phantom forms, dot phantoms, "superposed" (overlapping) ligatures, capitalized ligatures and fitted pairs for hours of trippy rub-down arcadian magic. Includes hanging numerals, lining numerals, full punctuation, standard math & monetary symbols. Accented characters for Latin 1 and Latin 2 cover the following languages: Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, French, German, Icelandic, Italian, Norwegian, Spanish and Swedish. Available in OpenType format only. Pykes Peak comes in two versions: (1) Pyke's Peak the full-blown OpenType version with over 500 extra characters, (2) Pyke's Peak Zero, the zero cost version with full Latin 1 & 2 character set but no extra characters. Pyke's Peak Zero is free to download, is licensed for commercial and personal (non-profit) use, and may be embedded on webpages using the CSS @font-face property. This typeface is dedicated to Australian musician James "Jock" Paull, who is a free spirit.

FF Sizmo™ is available in two flavors. One is an honest, industrial strength, somewhat condensed, sans serif family. The other builds on the first, and is a display design with horizontally connecting baseline strokes. The five weights of basic the FF Sizmo typefaces are ideal for print and digital projects. Character spacing is generous, counters are open and apertures are wide and clear. Banners, navigational links, sub heads, and short blocks of contextual copy are natural on-screen uses for the design. Print projects from branding to way-finding also fall easily into FF Sizmo’s range of applications. The “line” versions of FF Sizmo can be arresting stand-alone typefaces – or distinctive complements to the basic roman and italic designs. In either instance, the line designs make powerful statements in headlines, subheads, posters and cover art. OpenType® fonts automatically insert beginning, middle or ending line element characters into the copy. Drawn by Verena Gerlach, both designs were inspired by the same source, a commercial signage system that enabled quick and easy copy changes. “The idea for the typeface,” explains Gerlach, “is a housing complex index board, on which movable white plastic capital letters were fixed by a thick line to the wooden board. This line is an important part of the font’s appearance.”

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Ahmed is a modern Arabic headline face, first produced by Linotype-Hell Ltd. in the early 1980s. Originally developed as a simplified face, its design recalls the inscriptional and decorative tile work lettering of the medieval period. The strong treatment of the tails of certain characters departs from the more traditional style of tapering these finials, introducing a modern feel to the design. The contrasting proportions of the tall vertical strokes and the rather elongated counters lend a monumental look to Ahmed, allowing its effective use in titling. During the later 1980s Ahmed was developed into a traditional typeface, with the introduction of medial forms to improve character spacing and balance. Recently, Ahmed has been converted into the OpenType font format, ensuring its continued popularity as a heading face for newspaper typesetting. The Ahmed typeface contains two weights, Ahmed and Ahmed Outline. Both of the OpenType fonts include Latin glyphs from Clearface Gothic Roman inside the font files, allowing a single font to set text in both most Western European and Arabic languages. The two Ahmed fonts include the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations. The Waltari ML package includes: 1. Glyphs for ANSI 1250 Central European, 1252 Western Europe, 1254 Turkish and 1257 Baltic code pages. Total 319 glyphs. 2. Total of 472 kerning pairs. 3. OpenType GSUB features: Salt, dlig, hist and ornm. 4. Proportional Numbers 5. Alternate w and z. 6. Original design decorative ornaments 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.

Hi! Introducing calligraphic font named "Megawatt". It's a script with connected letters, lots of characters including West European languages support and few ligatures. Thank you and have fun!

From a few hand drawn letters seen on a poster from 1939 you may find this font familiar. Miss Scarlett resembles the Gone With The Wind poster lettering.

First designed for a design bureau, Ezzo is now available in 6 weights with italics and alternates. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Auto-scanning an example of a vintage typewriter font created the design which is now the digital typeface Bitmap Typewriter JNL, available in both regular and oblique versions.

Take the tri-line font Trilium JNL, remove the middle lines, close off the openings and you now have Duonor JNL, and interesting sans with a sectional look.

Grand Pix is a font family designed for the limitations of the old days low resolution monochromatic screens. Even with few pixels, it brings together legibility and personality.

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.