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.

The Arabetic Sans Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Sans Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph’s isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Sans Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

Zarlino is an original typeface in the Blackletter style. It does not solidly adhere to any of the historical Blackletter classifications, but draws from all of them, with some characters owing more to the Roman than the Fraktur. Zarlino Delux includes three complete sets of upper case, ranging from the simple to the embellished to the even more embellished, two complete sets of lower case, and two more sets of embellished alternates for selected lower case characters. These alternates are available through Stylisitic Sets in OpenType aware applications. For use in non-OpenType aware applications, Zarlino Delux comes with a set of separate, standard fonts, one for each style. These standard fonts are also available for individual purchase. Zarlino was named by my cousin, a musician. Gioseffo Zarlino was a sixteenth century composer and musical theorist. Among other things, he offered detailed advice on the setting of words to music. With its blends of the old and the new, the simple and the ornate, Zarlino is suitable for many uses, from the elegant to the aggressive.

Initially commissioned in the summer of 2009 for a popular North American ice cream parlor chain we cannot name, Tuba started with a reconceptualization of a somewhat flawed '72 alphabet idea by Swiss graphic designer Erwin Poell. During the back-and-forth of the custom project, other ideas seeped into the design, mostly from other Canada Type fonts, like Fab, Jonah, Jojo and Teaspoon. The end result was what the client called a "sugar circuit trigger alphabet". This now is the retail version of that project. Tuba's main style is a straight-forward mix of 60s/70s art nouveau ideas and late-70s/early-80s tube aesthetic. The Highlight and Outline styles are almost necessary spinoffs for this kind of typeface. And the all-caps Black style is a nod to the fat font fad of the past couple of years. All styles contain many alternates – so many that each style is almost two fonts in one. Make sure to check out the character sets for a few nice and useful surprises. Life's too short. Seek sweetness. Get gooey.

Storefront is what the prolific and talented American sign painters of the 1920s and 1930s would have created if they had access to the advanced lettering and type technologies we have today. Rooted in an incomplete Alf Becker alphabet sample, Storefront is my usual overdose on alternates and swashes, my eternal attempt at giving typesetting that ever-elusive handmade impression. Though the main shapes, especially the majuscules, are almost a standard recitation of the natural evolution of nineteenth century scripts, the additional variants available within the font provide a leap in time to what sign makers and packagers are doing today. I can honestly say that Storefront’s influences are probably less historic and more in line with my recent travels and frequent supermarket visits. It’s difficult to avoid current visual culture when you're constantly bombarded with it. Not that I try. I certainly welcome the overflow. I'm probably addicted to it by now. With a very cool aesthetic, plenty of alternates and swashes, extended Latin language support, Storefront is over a thousand glyphs for your branding, packaging, and sign making pleasure.

The Greek font started from an experiment with designing fonts based on a geometric grid. I joined the points on the grid with straight lines to form the various characters and found that this resulted in a font that closely resembled Greek writing (derived from inscriptions carved in stone) of ancient times. I continued to develop this theme but I now accentuated the look and feel of Greek writing. The three styles shown are the results of this development. I did not kern or letterspace the individual letters since this would have been out of character with the orignal Greek writing. This means that the font is mono-spaced. At a later stage I may produce more refined and "modern" versions of these fonts. Surprisingly, the Greek SCF styles are very readable. The font is fully professional in terms of its character set. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). In fact, it has all the accented characters used in the major European languages.

Mareka, our newest font, is now released. Beautiful, tidy, and elegant font with a distinctive shape. If you employ this typeface, your once-good project will become something truly unique. This typeface is appropriate since the shape of each letter may be used in a variety of ways, including serious, relaxed, and natural. Because everyone does not necessarily understand Japanese letters, we supply fonts with letters that can be utilized for your project. We produced this display font with a Japanese theme or an Asian font, which we designed to fulfill the needs of your Japanese-themed project. Of sure, your initiative will be understood by people all around the world. Logotypes, food banners, branding, brochure, posters, movie titles, book titles, quotes, and more may all benefit from this font. Of course, using this font in your various design projects will make them excellent and outstanding; many viewers are drawn to the striking and unusual graphic display. Start utilizing this typeface in your projects to make them stand out.

Introducing Molgen Modern Display Serif Font Molgen Modern Display Serif Font is a distinctive and versatile typeface designed to make a statement. With a unique blend of classic serifs and contemporary display elements, it is a font that encapsulates the perfect balance between tradition and innovation. In the world of typography, Molgen is your gateway to elegance and modernity. Key Features: Serif Meets Display: Molgen is the epitome of a harmonious coexistence between the timeless serif font and the contemporary display style. Its serifs are pronounced yet not overwhelming, making it an ideal choice for a wide range of applications. Versatility: Whether you're designing a striking logo, crafting eye-catching headlines, or preparing an elegant invitation, Molgen can handle it all with grace and sophistication. Distinctive Characters: Each character in Molgen is meticulously crafted, ensuring that every letter oozes character and charm. From A to Z, you will find unique touches that set Molgen apart. Multilingual Support: Whether your audience speaks English, French, Spanish, or any other language, Molgen has comprehensive multilingual support, ensuring that your message is clear and effective worldwide.

Someri (English: Sumerian) is an Arabetic type design with a Cuneiform spirit. The Someri family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Someri employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Someri family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular and italic styles.

The new Fabrizio™ types, designed by Ari Rafaeli, have made their first appearance in Saggi di Letteratura Italiana: Da Dante per Pirandello a Orazio Costa, by Lucilla Bonavita, printed at Pisa in March 2016 by Fabrizio Serra Editore for whom the type was specially designed. The types are now offered for general sale. Each style (roman, small capitals, italic, semi-bold, bold) contains Cyrillic and ‘polytonic’ Greek letters and letters for many European languages (Czech, Hungarian, Icelandic, Lettish, Polish, Romanian, Serbian, Ukrainian, Welsh etc.), non-kerning fs, long ſ, ligatures and fractions. Alternative forms are supplied in ‘B’ versions of each style. A set of swash letters and sets of superiors, inferiors, fractions and phonetic letters are also offered. Two ‘Special’ fonts (roman and italic) containing special accents, letters for transliteration, Vietnamese letters, mathematics signs and symbols, arrows, commercial signs, pictograms, figures in circles, scansion marks, braces & benzene rings and the Rafaeli-Meruba Hebrew letters, as well as Latin, Cyrillic and Greek letters, are included in the Fabrizio family.

The Silsilah family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Silsilah employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Silsilah family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular and italic styles.

The thing is that many sans-serif typefaces are usually intended for universal usage. But sometimes faces that work fine in body text look not so good in large point sizes for display purposes when all the contrast in non-contrast sans-serif, or ink traps, become visible to the naked eye. Every designer solves this problem in his own way. We offer a drastic solution in our Stem: a sans-serif with optical sizing. The first part of the type family, Stem Display, is for use in largest point sizes, from 36 pt indefinitely. Stem Display consists of 12 faces of widths from Hairline to Bold, and it has true italics. The development of Stem type family will include Stem Text for body text and “traditional”, universal use, and Stem Caption for small point sizes. Stem is a geometric sans-serif with semi-closed aperture, large x-height and modern proportions of uppercase letters, like in famous Avenir and Gotham. Its important feature is a professionally designed and carefully tested Cyrillic glyph set.

Based on the classic Sol design by Marty Goldstein and C.B. Smith, published by VGC in 1973, Sol Pro goes above and beyond the call of revival/retooling to include plenty of optical improvements to the original design, more weights, italics, small caps, biform shapes, alternates, and extended language support. This particular design is one of the more prominent forefathers and strong influencers of the soft, streamlined aesthetic that has been going strong in branding and geometric design for more than 40 years now. It cuts all links to melancholy and classic empire shapes, and introduces smooth contrast modulation that communicates sleek, adaptable youth, confidence, knowledge, and modern hi-tech presence. This is not your grandfather's Eurostile. This is your offspring's global hope, optimism, and total awareness. Sol Pro's extended character set and range of weights and widths makes it quite suitable for applications of all sizes, from small collateral to product branding and massive marketing campaigns. The Sol Pro complete family comes in 20 fonts, each containing over 520 characters. Available in single fonts or value-maximizing packages.

Introduce the Booer Font Express Your Creativity with a Powerful and Modern Gaming Style. Booer display is a font that reflects the power and style of the gaming world in a sharp, modern package. Booer is the perfect solution for a variety of projects that require a unique theme, whether it's a film, game, or streaming event. Her bold and exciting style provides room for creativity to flourish. What Makes Booer Special: Powerful Gaming Style, Booer Design exudes power, capturing the essence of the gaming world. Each letter is a statement of dominance and modernity. Two Style Families: The Booer font offers two different style families: Regular and Italic. This advantage allows you to adapt your designs to various contexts, whether requiring a strong presence or an elegant touch. Multilingual Support: Booer Font supports multiple languages, allowing you to connect with a global audience easily. Enhance your designs and make an impact with Booer Fonts. It's not just a font; it's a gateway to a bold, modern, and compelling visual world. Download Font Booer now and experience the thrill of creating unforgettable designs!

Aston Script is a calligraphy script font that comes with very beautiful changing characters, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance. Aston Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters. The classic style is perfect to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any type of advertising purpose. Aston Script has 1330+ glyphs and 1039 alternative characters, including various language support. With OpenType features with alternative styles and elegant ligatures. The OpenType feature does not work automatically, but you can access it manually and for the best results needed for your creativity in combining this Glyph variation. ? New Update, Now the Aston Script font has been updated or has two styles with the Aston Script Bold version.

Rakochuk is the ideal font for your project if you want a typeface that has a classic, retro, and vintage vibe in a condensed form. This typeface has a unique shape that will bring a classic touch to your project and was designed with attention and detail in mind. Not only that, but Rakochuk includes ligature and alternate characteristics, providing you greater freedom in its application, especially when you need a more personal touch in your design. This typeface is appropriate for international projects due to its linguistic support. If you want to bring an elegant classic, retro, or vintage feel to your project, consider Rakochuk. Get it now and set your project out from the crowd! What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The Arabetic Serif type family follows the guidelines of the Mutamathil type style but also illustrates the effects of adding and removing Latin-like serifs on Arabetic scripts legibility. It has only one glyph for every basic Arabic Unicode character or letter as defined in Unicode Standards version 5.1. Arabetic Serif employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Arabetic Serif family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular, italic, bold, and bold italic styles.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

Introducing Gueton, the retro condensed font that adds a classic touch to your designs. This font features a timeless and stylish retro look and comes with 20 alternate characters and 25 ligatures that beautifully complement its unique design. Whether you’re working on a vintage-inspired project or just want to add some nostalgic charm to your work, Gueton is a perfect choice. Not only does Gueton offer stunning design features, but it also supports multiple languages, making it a versatile font for a wide range of projects. Whether you’re designing a logo, poster, or website, Gueton’s classic and modern blend will give your work a standout and professional look. Check out our collection now and elevate your designs with this elegant and sophisticated font. What’s Included : - File font - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

The Quarantinus font was created during the 2020 covid 19 lock-down. Tranquility being all around, the JOEBOB graphics studio almost felt like a monastery, and as a result my style of writing and my choice of pen had to fit. All this writing was turned into an authentic handwritten script font with over 150 ligatures, which make it look very credible and spontaneous. The font is especially suitable for personalized 'handwritten' notes, cards and messages. It can be used on T-shirts and on shop-windows. It has an 'instant logo' quality, it can be used for tattoo-designs and it screams home-made everything. And in case you are a writer you now have an option to print your work in a way that seems as if you wrote it yourself. Please note that even though the font comes with a complete set of Western characters, accents and special signs, the Cyrillic and Greek characters that are in the font do not make a complete set.

Rubber B is a heavy display typeface with very tight open counters & character spacing and non-existent closed counters. It is an amalgam of styles and influences that demands attention. It is comparable with the highly geometric experimental fonts of the '90s and early '00s, but also heavily inspired by decorative fonts of the '60s and the psychedelic poster art of the '70s. Bold and loud, yet delicate, almost calligraphic in some cases. It works with Latin & Extended Latin, Cyrillic & Extended Cyrillic and Greek. It comes with 1,500+ glyphs, with more than half of them being ligatures. It also contains several Stylistic Alternates as well as Localised forms (available through the Open Type Features and also as ligatures). All these features are available in order to not only make sure that it works with as many languages as possible, but also that depending on the specific glyph or ligature one chooses to use, they have the ability to alter the emotional character of the word(s) they’re setting. Ideal for titles and logos, as it works best in medium and large sizes.

The Bousni family's six faces display links unexpected by most readers of western alphabets. Inspired by both by Arabic calligraphy, and contemporary bitmap design, Bachir Soussi Chiadmi created this playful series of faces. Letters in each of the six typefaces link together, but not in the ways normally expected from script fonts. Suited for a wide array of fun functions, Bousni Carre and Bousni Ronde (each available in Light, Medium, and Bold weights) bring new a style and flavor to your collection. All six fonts in the Bousni family are included in the Take Type 5 collection from Linotype GmbH. The Bousni family espouses similar construction traits with other fonts from Linotype. Specifically, the straight lines and joints in the three Bousni Carre fonts are based off of a grid system similar to Anlinear, another member of the Take Type 5 collection from Linotype GmbH. The letter connections throughout the Bousni family are similar to Arabic kashidas, a typographic feature found recently in many non-Arabic typefaces, such as Linotype Atomatic."

The Nasrallah family follows the guidelines of the Mutamathil Taqlidi type style. It has one glyph for every basic Arabic Unicode character or letter, as defined in Unicode Standards version 5.1, and one additional, final-position, glyph for each Arabic letter that is normally connected with other letters from both sides in traditional cursive Arabic strings. Nasrallah employs variable x-height values. It includes all required Lam-Alif ligatures and uses ligature substitutions and selected marks positioning but it does not use any other glyph substitutions or forming. Text strings composed using types of this family are non-cursive with stand-alone isolated glyphs. Tatweel (or Kashida) glyph is a zero width space. Keying it before any glyph will display that glyph isolated form. Keying it before Alif Lam Lam Ha will display the Allah ligature. Nasrallah family includes both Arabic and Arabic-Indic numerals; all required diacritic marks, Allah ligature, in addition to all standard English keyboard punctuations and major currency symbols. Fonts are available in regular and italic styles.

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

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

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

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.

Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

From A to B, or not to Z: that is the question mark: whether 'tis nobler in the mind to kern with the left and right arrows of outrageous keyboards, or to take arms against a sea of ' thought bubbles,' and by opposing, burst them? To sigh, with those little fireflies: to sleep; No more; and by sleep that is to say we end each line of dialogue with 'zzzzz;' The heart-shapes and the thousand drops of sweat popping off my forehead that sight of flesh is sure to produce, 'tis a consummation devoutly to be letter'd. To die with still at least five balloons of dialogue, to sleep; perchance to flashback to a scene in a previous issue while a picture of my head floats in the corner of each panel: ay, there's the rub; 'Nuff Said.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you are looking for a font that is perfect to make your designs look hip and fresh, go no further. Jorge Jenks has got it all. It’s simple, organic, versatile, and super modern – but not too futuristic. It will set you above the rest of the market. Jorge Jenks is an urban brush font reflecting the urban freedom and organic flow of city life. it has strokes that are made of multiple connected nodes and his forms are unique and imperfect. This makes him a great match for both display and text typography, as well as logo design. A Million Thanks www.colllabstudio.com

This typeface is an attempt to offer as a font the well known marvelous Hans Holbein “Death Alphabet”, first published in 1523. We have tried to preserve as much as possible the spirit and appearance of the original Initials set — incredibly fine and enriched with detailed figures — trying at the same time to create a font not too complex to be usable. Neverteless, the font files are large, and when used, the decorated initials may appear on screen more slowly than ordinary characters. (Minimum size recommended : 96 pts) We are offering here two complete standard sets (no accented characters) : Initials and capitals. We have reconstructed the missing letters : J and U, Eth, Lslash, Thorn and Oslash. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

Bloque es una fuente moderna de tipo bloque perfecta para proyectos de grandes dimensiones como vallas, pósters artísticos, señalización, packaging, títulos y logotipos. Ya que su contador es tan estrecho no debes usarla en tamaños pequeños porque la definición de cada carácter se perderá. Es una fuente que cuenta con una sensación limpia y minimalista. Bloque es una excelente elección cuando se necesita una fuente impactante de letras en bloque para crear diseños impresionantes. Bloque is a modern block font perfect for large projects like billboards, poster art, signage, packaging, headlines and logos. Since its counter is so narrow you should not use it in small sizes because the definition of each character will be lost. It's a font that boasts a clean, minimalist feel. Bloque is an excellent choice when you need a striking font of block letters to create impressive designs.

Hey there, cats and kittens! Are you tired of the same old fonts cramping your style? Well, look no further than Hickertown - The Cat's Pajamas of Retro Comical Fonts! Hickertown will transport you straight to the Roaring Twenties, where flappers and dapper gents ruled the scene! 🍸✨ It's the bee's knees for all your design needs! These fonts are the real McCoy, capturing the essence of the speakeasy era. Your designs will be the talk of the town! Whether you're jazzing up your posters, covers, websites, social media, logo, branding, or invitations, Hickertown Fonts will add that authentic touch of yesteryear. Your projects will be the duckiest thing since sliced bread! Packed up with many Ligatures and Stylistic Alternates to elevate your design experience furthermore. Don't be a flat tire. Get Hickertown now and let the good times roll!

Galette is a contemporary all-purpose sans-serif for printing and online delivery, allowing the use of one layout both as printed material and online without loss of quality or legibility. Not only a high resolution printing font with extensive kerning, it was designed from the ground up for clear and uniform display on the computer screen. It displays more predictably than the traditional fonts: no overhangs are used, the stroke thickness of capitals and lower case letters is identical, making hinting or antialiasing smoother at any point size and zoom combination. The hint of Art Nouveau makes the font more expressive and individualistic. A number of alternative capitals allows the font’s expression to be turned up or down at will. A generous complement of accented characters (Western & Eastern European, Baltic, Turkish) enables multi-lingual use.

In the beginning of the 800s, during the reign of Carolus Magnus (or “Karolus”, as he signed himself), a great reformation of the written characters was conducted under the authority of Alcuin, Paul Diacre and Theodulfe. The new style, named “Caroline” script, was completely set up between 820 to 830. It was a regular script, with few ligatures, very legible, but only with lowercase. The capitals remained the old Romans ones. We have created the font to serve contemporary users, making a difference between U and V, and also between I and J, which had no relevance for ancient Latin scribes. We also added Thorn, Oslash, Lslash, W, and and the usual accented characters that did not exist at the time. Titlings (initial letters, without accents), historical and contextual alternates completes the set (in two separate files for MacOS9).

“So-called Baskerville Old Face of the type foundry Stephenson Blake & Co. of Sheffield. The Script is probably not immediately linked to Baskerville, but it is very much influenced by it. It is one of the most beautiful types of which the mats still exist; it has an incomparably different spirit than the ‘streamlined’ re-cuts of today’s Baskerville. Even keeping the general restraint extremely expressive. According to Berthold Wolpe (‘Signatures’ No. 18), the punches were cut and shown in samples in 1776 by Isaac Moore, who came from Birmingham to Bristol.” – Jan Tschichold, “Meisterbuch der Schrift”, Notes On The Plates, Page 231 Publisher note: I wanted to improve the contrast between thick and thin, reduce some ink-traps and give stems, serifs and links a smoother overall feel. I have also added some alternative letters and old style numerals.

My pet peeve for many years has been with the 'rn' in small texts, especially with my smart phone. I felt that perhaps others may have the same peeve. I decided to try and fix that with Atlantica. As you can see in poster No. 4. "With the combination of 'rn' in small text it tends to appear as 'm'. Therefore it may be read as 's t e m' instead of 's t e r n'. Altalntica has an alternate 'rn'. By invoking the < Contextual-Alternate > feature. Atlantica will replace each 'rn' - or you may individually change them if you desire". Also note the deep cuts to help legibility for smaller texts. This combination apparently does not appear in many words, but when it does it can suggest a different word as in; eastern, stern, tarnish, Tornado, Turn and in some names as well.

What do you use to write a price tag at a store or to design a wall menu in a cafe? What to choose – a marker or chalk? Now it makes no more sense to be torn apart by the choice – use both techniques for your design. Walls fontfamily allows to perfectly combine an eco-friendly style with contemporary motives. Walls fontfamily supports over 70 languages and consists of 10 typefaces in 5 popular weights (Thin, Light, Regular, Bold, Black). Initially we wanted to create a font that would imitate an inscription made by a square tip marker which is usually used to write price tags at supermarkets, shops and cafes. During the working process we've decided to extend the conceptual boundaries of the Walls fontfamily and added 5 rough typefaces that imitate the style of ecologic chalk writing

»Supra Demiserif« is the demi serif addition to the Supra family. I am no fan of slab serif fonts, so I designed this one with half serifs, that makes the serifs less important. Then I found, that the italic does not look nice with slab serifs, so I did only one italic cut for the normal weight. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is an OpenType family for professional typography with an extended character set of over 700 glyphs. It supports more than 40 Central- and Eastern-European as well as many Western languages. Ligatures, different figures, fractions, currency symbols and smallcaps can be found in all cuts. with each other.