Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

Jaferon is a display font that comes with a stunning superhero style. Ready to take the lead in projects that call for a bold, bold touch and a bold look. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

Nezue is our first font family consisting of neat and elegant lowercase and uppercase letters, comes with 9 styles (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold, and Black) Formed in a modern style that can help your visual branding look younger, detailed letterforms for optical contrast can make this font even more attractive

Introducing Mixoma, a combination of Serif and Sans strokes gives Mixoma a stylish look. The available stylistic alternates are designed to make your typography look more unique and help bring out your inner Mixologist. Mixoma is available in 9 weights, Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black each having an italic version. Enjoy!

It's been a while since I named a font after a sheep, so I figured it was about time. The Blue Sheep, or Naur (Pseudois nayaur), is actually an existing species of sheep. It is found in the Himalayas and is a major food for the very rare snow leopard. Peter Matthiessen wrote a book about it called The Snow Leopard. My Blue Sheep font is not rare, nor threatened. It is an uplifting text font. It is very legible and fun to use and will keep you bleating for more. Comes with a flock of diacritics.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

Tekton font is based on the hand lettering of West Coast architect Frank Ching, who wrote out the text for his books. It is an Adobe Originals typeface designed by David Siegel in 1989. Tekton is ideal for architectural drawing/design software, to match the feel of the type with the designer�s plans, or to give the page an architectural or informal handwritten flavor. Tekton multiple master, released in 1993, has increased the usefulness of the design by adding weight and width axes and making the font more usable for signage and display work, as well as informal correspondence.

You begged with us..! You pleaded with us..! But we decided to release the official Richard Starkings font anyway! Yes, I am Richard Starkings and you may remember my hand lettering from such comic books as THE KILLING JOKE, TRANSFORMERS and, um, THE KILLING JOKE! Yes, finally Comicraft is making available the font that started it all -- from the pages of MARVELS, SUPERBOY, GENERATION X and, um... MARVELS! The font that Kurt Busiek, writer/creator of ASTRO CITY, really, really likes but we've always refused to make available to him. Always leave your friends wanting more, that's my motto.

Cerebri Sans is a design inspired by early geometric and grotesque typefaces. Subtle humanist details provide an undercurrent of warmth that simmers just beneath the bones of its contemporary simplicity. Cerebri Sans’ concept involved the development of a hybrid appearance. Its soft elegance and finely-tuned legibility make it appropriate for a vast range of applications including headlines, editorials, publishing, advertising, corporate communications, white papers, educational texts, web content, and mobile applications. Cerebri Sans' multilingual support is extensive, covering Basic Latin, Western European, Euro, Baltic, Turkish, Central European, Romanian, Vietnamese, Pan African Latin, Pinyin and Igbo Onwu for global accessibility.

An indomitable woman who traveled a lot, Emily Austin (Bryan) Perry was one of the children of Moses Austin, of Austinville, Virginia. Like her famous brother, Stephen F. Austin, she settled in Texas as one of that region's earliest colonists. While traveling about seeking treatment for a sickly daughter, she wrote many letters home -- letters that show a distinctively compact, legible hand. The challenge for me in designing the face: resisting the temptation to read and re-read her bossy directives and urgent appeals, all packed tightly together on a page. Emily Austin has a complete character set, and then some.

3 robbers is not a typeface family, only a collective name for three typefaces with the looks of handtexted characters: Kasper, Jesper and Jonatan. There are some common traits between them, but they are three individuals. As the three terrible" robbers in the Swedish writer Lennart Hellsing's Kamomillastad - the ones who borrowed their names to the typefaces - are three individuals. They always appear in the same order: first Kasper, then Jesper and last Jonatan. Swedish children love to sing about them and are not at all scared of them. All three robbers were released in 1995.

Bouncy Color is a funny cartoon font with pre-set coloring, outline and shine effects! Drawn and created by Mans Greback in 2021, this comic-style lettering has a happy, quirky personality and optimistic humour. It has a colorful graffiti and street art look, while being a childish and cute sans-serif – a typeface for boys and girls alike. Bouncy Color is provided in five styles: White, Blue, Pink, Highlight and Outlined. Use it in Photoshop, Illustrator, InDesign or any other modern software that supports color fonts, and you'll give any project a fun and happy appearance.

Op-art never looked so good. Taking a cue from the popularity in the 1970s of deco Prismas and their related contemporary interpretations, this geometric font updates the trend. Overlap text in different colours or black and white for eye-teasing moiré combinations. An image above illustrates the use of Dazzle Underprint, a uniform-width version of the font that is placed under Dazzle and used to create two-colour effects simply and easily. Dazzle Underprint is not intended for solo use, only as an underprint — please see Dazzle Unicase for a range of undecorated weights.

Acherus Feral is sharpened version of Acherus Grotesque. In this new version all sharp edges are flattened and rounded corners are sharpened. Alternative character "G" and optional "t" character have been added. Some of the characters like "A,K,M,N,Q,R,V,W,Z,v,w,z" have been changed completely for the stability of the typeface, in this way it looks more confident and serious. As you can see on the banners, Feral is excellent choice for many platform needs. For further information please check the pdf specimens. Behance Pdf Specimen (White) Pdf Specimen (Black)

It is the point that creates the expression from the writer via the pen unto the paper. The artist guides the point in unique ways to not only communicate, but also to make the resulting expression unique. The point can take the form of a quill or a marker or a pencil or chalk or a fountain pen or a chisel or a brush. What's so funny about that? Maybe that's the point:) Pointe is loose, fun and informal lending itself ideally to Advertising, Packaging design, Invitations and Scrapbooking. Pointe is available in Postscript, Truetype and Opentype for Macs and PCs

Mr Jones was originally conceived as a family for print design consisting of a sans and a headline. The lowercase are wide for legibility at small sizes while the caps are narrower to save space and keep an even balance of negative space when used in body copy. The overall widths of certain characters have been adjusted to almost extremes to keep an even balance of white space around each letter. He works well in body copy, but will need decreased tracking for larger settings. He comes with small caps; proportional, oldstyle, and tabular figures and discretionary ligatures.

A soft spoken sorceress whispers sweet somethings in your shell-like ear. Her words excite and enthrall, tantalize and tease, they soothe and seduce, stimulate and sustain you, they awaken and arouse you, they entice and engorge you, they -- oh, I'm sorry, what was I supposed to be saying? Oh yeah, from the pages of DC Comics' Vertigo title, THE WITCHING HOUR, and Joe Kelly and Chris Bachalo's STEAMPUNK, Comicraft is happy to make available one of our most requested fonts... Hey, what happened to that cute girl with the white hair? And, Hey, Where's my wallet?!?

Clearface Gothic first appeared in 1910, designed by Morris Fuller Benton, the world-famously prolific typeface artist. In addition to Clearface Gothic, Benton also designed classics like Franklin Gothic, Century Expanded, and many other types. Clearface Gothic is a sans serif face with light forms displaying the Zeitgeist of the turn of the 20th century. Distinguishing characteristics are the open forms of the a" and "c," the arched "k," and the upward-tilting horizontal stroke of the "e." The relatively narrow typeface, with its open inner white spaces, is extremely legible even in small point sizes. There is no accompanying italic."

Hope I made the world a little better. It's a great honor for me to be here. I'm super excited to present the next set of the Ring font family - Ring Slab. Ring Slab is a geometric slab serif typeface based on the original Ring font and inspired by classical writers. Ring Slab comes in 16 styles, ranging from Thin to Black. Fonts of the Ring Family is the perfect choice for headlines, logos, branding, packaging, publications, and websites. Ring Slab is still ready to take any decisions. The future of the big font family has come closer!

Bodoni expresses the beginning of the Industrial Revolution; its serifs are flat, think and unbracketed, while the stress is always on the mathematically vertical strokes. Bodoni believed in plenty of white space and therefore descenders are long. The M is rather narrow; in the Q the tail at first descends vertically and the R has a curled tail. The italic, like most continental modern faces, has roman serifs. Monotype Bodoni provides a clear-cut effect due to its simplicity. It reproduces well, particularly in sizes over 12pt. This font is slightly darker than Bauer Bodoni. The contrast makes Monotype Bodoni appear more condensed.

Minor is contemporary simple equable text grotesk in 6 weights with italics. It combines the best features of neo- and humanist sans types for legibility and easy reading. Clean design and balanced white spaces enables using Minor for long texts. Or in any other work as secondary invisible type in pair with display face. Using as primary type in large sizes it, static and non-emotional, will focus attention to text content. Minor family supports Latin Extended-A (Western, Central Europe, Baltic, Turkish) and Cyrillic Extended encoding languages. All styles contain basic OT-features and numeric forms for text typography.

DRUMBEAT, a brand new face from Edy Type, coming to help resolve the necessities of loose scripts in Packaging and Editorial Design. Its' very particular thicks and thins and ups and down, makes it very suitable whenever informalities is required. Used with tiny little characters, enlarged to mammoth sizes or filling a large page with it, would show it’s perfect balance and color, almost as if where hand writen. In fact, a truly different script, a graphologist would declare that is written by a person very sure of what he wants, and besides and best of all, it’s pretty.

It’s Krusty! It’s a Krypt Kicker! It’s a Killer Kween! Its serifs are like dynamite with a Laser Beam! KomiKraft’s new font Krazy Klown isn’t just white greasepaint and clown shoes, it’s hiding in the drain system ready to surprise you with alternate Kharakters, Killer ligatures… and did we mention Krazy Klown shoes? Kooky John K Roshell has kooked up a kinky font that is the perfect Kompliment to Monster Mash and Carry On Screaming. It’s a little bit Tiki and a whole lotta Kicky! Features two weights with alternate uppercase alphabets • Languages: Western & Central Europe • Features: Automatic Alternates & Connecting Ligatures

Parto Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing more typographic flexibility. It enables, moreover, the use of this typeface for decorative headlines. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parto supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parto Font is available in Regular and Bold. Parto design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parto is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parto's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parto was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. The Aban design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Aban is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Aban’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Aban was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

BiBi font family is designed by Naghi Naghashian. This font family is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. BiBi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. BiBi Font family is available in five weights: Light, Regular, Demi, Bold and Heavy; each of them in two diferent styles including normal and extended. BiBi designs fulfill the following needs: A Explicitly crafted for use in electronic media fulfils the demands of electronic communication. BiBi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BiBi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BiBi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Azkanio is a sweet and charming script with a unique style. Get inspired by its bold feel, and turn any design idea into a true standout with this bold script!

Nevaeh which also stands for Heaven if read backward, it is a unique rounded and stylized font family. Nevaeh has a futuristic and minimalist look, and the creativity depends on the use of the font set. Nevaeh includes; Nevaeh Light, Nevaeh Light Italic, Nevaeh Regular, Nevaeh Italic, Nevaeh Bold, Nevaeh Bold Italic, Nevaeh Extra Bold, & Nevaeh Extra Bold Italic. The font has a simple and minimalist factor with all main characters, the font is specially made for those who are in the printing and branding fields.

Hazim is a display font designed with isolated letters. It uses thin white slits positioned within extra bold black space glyphs emphasizing the main visual characteristics of the Arabetic letters in two positions: initial/medial and final/isolated. The spacing widths between glyphs match that of the slits to give a virtual cursive look and feel. The name Hazim was chosen to honor a friend of the designer, Hazim al-Khafaji. Hazim supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with one weight and a left-slanted “italic”. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Hazim includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Hazims’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to make sure they do not interfere with the letters. Kashida is enabled.

The typeface Hand Print Stamp Rough is designed in 2018 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough hand-printed typeface based on old wood letters, rubber-stamps and plastic stamps. 7 font styles (Reg + Mix, Circle, Diamond, Square Star + Icons) each with 1350+ glyphs incl. 200+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word LOVE for ♥ or SMILE for ☻ as OpenType-Feature dlig) and stylistic alternates (9+ stylistic sets). For use in logos, magazines, posters, advertisement and packaging plus as webfont for decorative headlines. The font works best for display size. Character Set: Latin Extended (Adobe Latin 3). 1350+ glyphs with 200+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. (9× A–Z, 9× a–z, 9× 0–9) For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Have fun with this font & try-before-buy the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand Print Stamp Rough ■ Font Weights: Regular + Mix, Circle, Diamond, Square, Star + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Sans Serif + Slab Serif Dis­play for Head­line Size ■ Font-For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1350 glyphs ■ Lan­guage Sup­port: 27+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 200+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 16 (ss16), Loca­li­zed Forms (locl), Super­script (sups), Ordi­nals (ordn), Slashed Zero (zero), Frac­tions (frac), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2018 ■ Type Desi­gner: Manuel Vier­gutz

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

The Brazzari Pro AOE is an unusual but fun geometric typestyle design. It is the historical revival and elaboration of the "Bizarre" typeface created by MacKellar, Smiths, & Jordan Co. in 1884. What began as a basic character set of Capitals, lowercase, numerals, and a small handful of punctuation characters has been expanded to a full character set including unlimited fractionals, superiors & inferiors, ordinals, tabular & proportional figures, and an expanded language glyph set, all with a smallcaps and Caps to Smallcap set to match. Definitely a niché use typeface, however, it has some great appeal. The letterforms of Brazarri Pro AOE are easy to convert to paths and extend various stems, making this revival something you can really let your imagination run wild with for your designs. WHAT'S INCLUDED: Enable the Stylistic Alternates feature for standardized letterforms without the extensions. Extensive language support. Invocation has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, and expand on their character sets to enable them to be used more widely than their limited originals. A lot of incredible historical typestyles created as wood or metal type with bare bones character sets have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."