Marchioness is a typeface that was built on the same basic structure as Lady Edith. I considered making it a subset of Lady Edith but felt that its overall appearance projected a uniqueness that allowed it to stand on its own. Although still maintaining a definite Art Deco form, it differentiates itself from its parent font by possessing a more opulent, if not regal, construction. The bones may be that of Lady Edith, but the typeface itself is most certainly Marchioness. There is no lower case for Marchioness as it is a decorative font. The Upper case version serves both the upper and lower case keys. Marchioness has a glyph count of 389 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Elanor is a serif typeface inspired by Retro ’70s fonts mixed with Experimental touches. Its main features are a diagonal stress and soft curved teardrop shape terminals. It has ligatures that make it more elegant and grotesque elements that give it a modern look and make it more versatile.This typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Elanor come with elegant style, Retro and contrasts, with features an extended latin character set of 555 glyphs covering over 94 languages, Latin & Cyrillic. Elanor is ready to making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best retro design. 94 languages : Afrikaans, Albanian, Asu, Basque, Belarusian, Bemba, Bena, Bosnian, Bulgarian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Russian, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Baba Jaga is a font you may want to turn to if you’re in need of something eye catching, if not, eye gouging! Thinking of something horrific? Something distressing? Baba Jaga is your go to font, Whether you’re putting together a flyer for a Halloween party, or trying to put a little “oomph” into a poster that needs a little something jarring, Baba Jaga may just be what you’re looking for. See for yourself…if you dare! (ok, that was a bit corny, but it wouldn’t have been if it was set in Baba Jaga!) There is no lower case for Baba Jaga as it is a display font. The Upper case version serves both the upper and lower case keys. Baba Jaga has a glyph count of 390 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Consisting of 5 fonts in 5 weights, it features an extended charset of over 520 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Introducing Hackensack—a rugged and reliable typeface that embodies the spirit of the past with its vintage charm and commanding presence. This Clarendon-inspired narrow slab serif design is perfect for anyone looking to make a bold statement with their typography. With Hackensack, your message will be delivered with a sure-footed confidence that demands attention. This compact display typeface has an old-fashioned feel that hearkens back to a bygone era, giving your design a touch of timeless elegance. But don’t let its vintage charm fool you—Hackensack is as rugged and durable as they come. Its strong, sturdy lines and slab serifs make it perfect for headlines, logos, and other display uses where you need your message to stand out. And if you’re looking for even more vintage flair, Hackensack includes old-style numerals which can be accessed in applications that support OpenType features. So whether you’re creating a vintage-inspired poster, a classic logo, or any other design that requires a touch of old-world charm, Hackensack is the font you need. Most Latin-based European, Vietnamese, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Loosely based on an early 20th century type from the Brussels foundry of Van Loey-Nouri. Many European foundries had fonts of this general design. Schelter & Gieseke of Germany had several.

Warhol is a font family designed by Carlos Fabian Camargo. Its 3 fonts work in groups or independent. His carefree soul lies in the sensibility, creativity and abstract motivations listening to the album: The Velvet Underground & Nico released in 1967. Preparations for his typographic design were illustrated by imagining extravagant, fascinating and hard-to-resist ideas, That is why his brushstrokes of the alphabet were born of irregularity, with naive character and expressive drawing, notable with the discordance and instability of drawing by Andy Warhol, infiltrated with pop folk art and artisan harmony. Warhol is a font family offers uppercase, lowercase and numbers that work at the beginning, middle or end of words, achieving calligraphic expressiveness. In that order of ideas Warhol font family offers the following vantages: • Warhol Script (694 glyphs): handwritten letters drawn with a thin-thickness tool, simulating interesting imperfections in their contours and connections. * Warhol Script Bold (694 glyphs): Thick letters that appear to be drawn with a brush of inflated and irregular thickness • Warhol Extras (140 glyphs): Words with letters written with pen, highlighting meaningful criteria that function as perfect companions between words designed in Warhol Script and Bold.

An older typeface belonging to a family of sans serif fonts known as Grotesque (or Grotesk in the classic spelling) has been re-drawn by Jeff Levine and released as Album Cover JNL. The font's name is derived from the fact that this typeface was found on many long-playing record jackets during the 1950s and 1960s. To add a look closer to that of hand-set type, there are minute variants in some of the heights of the characters.

No prizes for guessing this font family was inspired by the 1950s - the sounds (Buddy, Eddie, Elvis), the styles (polka dots, petticoats and Dior's New Look), and the kitsch, from furry dice above the dashboard to plaster ducks over the mantlepiece! A particular point of reference is the furnishings and fabrics of the Fifties (with their distinctive kidney shapes and angular curves) as showcased in the Festival of Britain 1951. See also my other fun fonts Barrowboy, Calypso and Pier Arcade.

Dom was designed by Peter Dombrezian for American Type Founders in 1951–52. It is an informal unjoined script typeface that looks brushwritten. Its letters are almost monotone, freely or casually drawn. Vertical strokes of them have irregular ending at different heights, and oval axis have slightly different slopes. This typeface is to create a friendly, informal look in signs, advertising, and invitations. The Cyrillic version of the Bitstream digital font was developed by Dmitry Kirsanov for ParaType in 2008.

The wealth of vintage hand-lettering styles found in a 1941 edition of the Speedball® Lettering Pen instruction book has allowed Jeff Levine to re-draw a number of them in digital format for today's designers. As with other fonts in the Eckhardt Series of sign painter-inspired styles, this font is named in honor of Jeff's good friend Albert Eckhardt, Jr. Al was quite the talented sign writer, and ran Allied Signs in Miami, Florida from 1959 until his passing.

As usual, I stumbled upon a great 1971 Italian movie poster when looking for something else. The poster for “La Morte Cammina Con I Tacchi Alti” (directed by Luciano Ercoli), was made by an unknown artist and comes with a great font. Cortese was based on this movie poster font, but as I started working on the glyphs, I figured they would even look better in ligatures. So here it is: Cortese font - complete with 135 ligatures, accents and even Greek and Cyrillic!

Popular music of the early 1900s included a genre called two step; round dances utilizing a sliding step with a tempo in either march or polka time. 1911's "Daughters of the American Revolution" was one such march/two step. The cover of the sheet music had the title hand lettered in a slightly rounded sans serif type design in the Art Nouveau style popular during that era. It is now available as Two Step Nouveau JNL, in both regular and oblique versions.

Let’s not be frightened of the asymmetrical Kayino font. The character of this Groovy Retro font is intriguing and enjoyable. If your project calls for enjoyment, proceed with care. The foundation of Kayino was classical but modern music. A psychedelic-inspired look called Kayino was created using vintage objects and brash pop art typography from the 1960s. The fun and captivating character of the Groovy Retro font makes it the ideal option for designs like posters, banners, music, branding, logos, and more.

Bungehuis font was modeled on the lettering found on an Amsterdam art deco building from 1931. This building on the Spuistraat, also called "Het Bungehuis", used to house offices, but is now part of the University of Amsterdam. In 2015 it had its brief moment of fame, when students, demanding more democracy at the University, occupied it. Bungehuis is a heavy art deco font and would look great on posters and in headlines. It comes with a rather democratic range of diacritics.

Franken Jr. Pro was inspired by the title screen from the 1966 Hanna Barbera cartoon titled, "Frankenstein Jr." The original titling had a unique presence to it, overflowing with charm and offbeat personality. The addition of a Small Caps set, Unlimited Fractionals, Superiors & Inferiors, and Ordinals gave the a bit more serious, but not too serious) titling stance to the Franken Jr. Pro typestyle. Franken Jr. Pro truly embodies the comic lettering of its time, and gives designs a lively retro spark.

In the 1920 edition of “How to Paint Signs and Sho’ Cards” by E. C. Matthews is an example of what is termed “poster lettering” that is so free form and unusual it borders on the eccentric. Resembling lettering more commonly found in 1960s “underground comics” of the Hippie generation rather than of the Art Nouveau period, it oddly enough works well in both styles. This novelty typeface is now available as Hippie Comics JNL in both regular and oblique versions.

Bulletin Script was a style offered by several American wood type manufacturers in the late 19th Century. It may actually be one of the most iconic styles of the late 1960 Psychedelic era when Victorian revival was in full swing. The style known as "Bulletin Script No. 2” varies from the more commonly seen Bulletin in that its bottom strokes have a concave swash to them rather than rounded bulbous bottom terminals. This new digitization features over 300 glyphs including Central European characters.

Linotype Balder is a part of the Take Type Library, winners of Linotype’s International Digital Type Design Contest. Designed by Lutz Baar, Balder is reminiscent of advertisement and poster typefaces of the 1950s and 1960s. It is composed of only capital letters, making it perfect for initials and headlines. Balder looks as though it were written with a broad tipped pen. Its light serifs at the tops of the characters and the slant of some of the strokes give Balder a dynamic feel.

Zagolovochnaya was based on the letterforms of Zagolovochnaya gazetnaya (Newspaper Display) type family of Polygraphmash in 1962 by Iraida Chepil et al. The face was a revival of Cyrillic version of Caslon designed in the late 1930s. The artworks of Zagolovochnaya gazetnaya were redrawn by Isay Slutsker (1924-2002) in the late 1990s. In spite of its name the font is useful both for display and text matter. The digital version was developed for ParaType in 2002 by Manvel Shmavonyan.

Samuel Welo was a sign painter who had published in the 1920s and again in 1960 editions of his “Studio Handbook – Letter and Design for Artists and Advertisers”. In-between, in 1930 Welo also published “Lettering - Practical and Foreign”. Within the pages is an Art Deco outline slab serif design using multiple thin lines to create an “incised” or “engraved” look within the characters. This intriguing type style is now available as Guest Invitation JNL, in both regular and oblique versions.

Accidents happen. Things go where they don't belong, get changed - remade. Something new crawls out of the murky depths. Ghixm is a retrospective of the horror comics and movie posters of the 1960s and the 1970s. It's fluid forms harken to watery graves and tentacled unnameable horrors. These twisted shapes are reminiscent of titles that will make your skin crawl. It’s already warped and twisted, so don't hesitate to abuse it. This face can take it and still deliver its chaotic message.

Hold the line, True Believer! Stand together. Stick up for the vulnerable. Challenge bullies. Don't let the forces of evil reign supreme. Expelliarmus! A worthy companion to our Balloon Lettering family FACE FRONT, TRUE BELIEVER is a scripty serif handwriting font for wizards everywhere. Features Four fonts (Regular, Italic, Bold & Bold Italic) with upper and lowercase characters.

Nice wave font - a fluffy fun display typeface with a wavy form. This decorative font works perfectly for bold titles, festival posters, as a graphic element for bright T-shirts or hoodies, or even backgrounds! This weird and ugly typeface likes an experiment with spacing and additional graphic elements. Please, don't hold back on your bold modern ideas!

Siberian is a geometric unicase sans-serif. It was inspired by Russian avant-garde typography and old Siberian runic scripts (Orkhon-Yenisey script). The idea was to create a typeface so simple, cold and beautiful as the snow in Siberia. And varied of course, as the snow too (according to a legend snow has more than 100 names in the north Siberian people’s language). So, every letter in this typeface has 7 stylistic alternates. And you can choose how cold your typography should be today. Siberian was initially designed for the I'm Siberian project (the tourist branding of Siberia).

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. This version of Bodoni was done by Morris Fuller Benton for American Typefounders between 1907 and 1911. Although some of the finer details of the original Bodoni types are missing, this family has the high contrast and vertical stress typical of modern types. It works well for headlines, logos, advertising, and text."

Essay was born from an afternoon in Berlin in September 2013, looking at old book covers. Inspired by Herb Lubalin, Athletics & Rock music. Its details relate with speed & punk styles but keeping the main structure intact. Works perfectly as main/bold typography combined with some serif typefaces. - More than 250 Glyphs - Full Accented Character Set - Numbers + Punctuation Marks - International Characters - 8 Different Styles (Normal, Display, Poster, Poster Heavy, and Oblique versions)

Introducing West Carabao, a versatile vintage font that effortlessly blends modern and old-school aesthetics. With a range of styles from thin to bold, including italics and a captivating shadow effect, this font offers creative freedom for various design projects. Its multilingual support makes it a global choice. Perfect for posters, marketing materials, titles, T-shirt designs, games, art, and more. Elevate your projects with the timeless charm of West Carabao.

Dansburg is an aesthetic vintage font, inspired from the past typography , elegant signage, gold leaf , sign painting and old label product. Dansburg comes with tons of alternates characters to make more eye cacthy . Dansburg Font is suitable for authentic logos, headings, sign painting, posters ,letterhead, branding, magazines, album covers, book covers, movies, apparel design, flyers, greeting cards, product packaging, and more. Finally BOOM..!! you get a great design for your project.

This bold, bodacious blackletter typeface is based on an offering from the 1832 Boston Type Foundry catalog. Although it generally appears to be a sober Old English font, there are a few quirky turns here and there, which make it a lot of fun. The Postscript and Truetype versions contain a complete Latin language character set (Unicode 1252); in addition, the Opentype version supports Unicode 1250 (Central European) languages as well.

Everland Script is a hand painted bold script font inspired by old signage and sign painting. This font is great for your next creative project such as Logotype, printed quotes, invitations, cards, product packaging, headers, Letterhead, Poster, Apparel Design, Label, and etc. Everland Script comes with uppercase, lowercase, numerals, punctuations and so many variations on each character include OpenType alternates, and common ligatures to let you customize your designs.

Just call me CHAKIE. I'm born from the old natural brush chalk look from the 60's and 70's. Use meto create very bold and strong design! Great for posters, t-shirt designs, branding, packaging, labels, and more. Bring back me to the 60's brother! :D And why you must grab me? - Simple installation - Support for 23 languages (WOW!) - Compatible with MAC or PC - PUA encoded - Lots of fun!

WallAxe Typeface is the first commercial typeface from illusletra Co. A Victorian font with a classic, elegant, vintage, luxury, and clean feel. It comes in 2 styles, inline and bold. Released since 2018. FEATURES Standard Ligature Stylistic Alternate Fraction, Numerator, Denominator Number Styles, Lining Figures, Old Style Ordinals Multi-lingual Characters WallAxe Typeface is suitable for various purposes like logotypes, signage, labels, posters, titles, letterhead, book covers and more. Thank you!

TT Travels useful links: Specimen | Graphic presentation | Customization options About TT Travels: TT Travels is a geometric grotesque with wide proportions and peculiar shapes of circles and brackets. TT Travels incorporates two stylistic sets which add completely different characters to the type family. The first set ss01 (aka salt) makes the font more humanistic, thanks to the ductal and smooth design of the characters defining the style. And if you want to work with the futuristic version of TT Travels, we recommend that you enable the second set (ss02). In this set, most of the characters defining the style change to characters possessing experimental forms of graphemes. For the convenience of the TT Travels font family use and for working within a complex text hierarchy, we've created 9 weights (Thin, X-Light, Light, Regular, Medium, DemiBold, Bold, X-Bold, Black) and added 9 true Italics. TT Travels also implements standard and discretionary ligatures, oldstyle figures, slashed zero, and much more. The full list of OpenType features used in TT Travels is: ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01, ss02, case, frac, zero. TT Travels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

This is a new barely modulated, slightly narrow, sans serif font family. It has eight styles: thin, thin italic, regular, italic, bold, bold italic, black, & black italic grouped into two 4-font families: Amico Thin with the Bold; and Amico with the Black. Amico has the standard feature set developed at the end of 2007. It has many OpenType features and 654 character/glyphs: Caps, lower case, small caps, ligatures, discretionary ligatures, swashes, small cap figures, old style figures, numerators, denominators, accent characters, ordinal numbers (1st-infinity): lining and oldstyle), and so on. It is designed for text use in body copy. However, Amico really shines as the choice for heads & subheads when using Amitale or Brinar for the text family.

The Swedish designer/typographer Anders Bodebeck designed the Bodebeck type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional style typeface as well - Eric Gill's Perpetua (originally released by the British Monotype Corporation in 1928). Like these two previous English stonecutters turned masters of typography, Anders Bodebeck has given us a modern re-interpretation of classic letterforms. Bodebeck, which is fitted with old style figures, is available in the following styles: Regular, Italic, Bold, Bold Italic, and Extra Bold."

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

Based on my very first font creation, New Ayres keeps the same feel, but raised to high-quality level. Its long clean lines and soft curves merge old style and modern, giving a new meaning to timeless elegance. Perfect for titling; with at least five alternates per letter, the possibilities become endless. Choose the one better suited for your project and make your text stand out immediately! 703 glyphs take part in this font, including a large set of alternates, ligatures and swashes for you to choose from. With accents and special characters for languages, New Ayres supports 88 languages: Afrikaans, Albanian, German, Swiss German, Upper Sorbian, Asu, under Sorbian, Bemba, Bena, Norwegian Bokmal, Bosnian, Catalan, Czech, chiga, cornic, Creole Cape Verdean, Creole Mauritian, Croatian, Danish, embu, Slovak, Slovene, Spanish, Esperanto, Estonian, Euskera, Faroese, Filipino, Finnish, French, Rialan, scottish Gaelic, Galician, Greenlander, gusii, Hungarian, Indonesian, Irish, Icelandic, Italian, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kiroundi, kölsch, latvian, lithuanian, luo, luxembourgish, luyia, machame, makhuwa-meetto, makonde, malay, malagasy, maltese, manx, meru, Northern ndebele, nyankole, norwegian nynorsk, oromo, polish, portuguese, romeo, rombo, romanian, rwa, samburu, sango, sena, shena, shamble, Shona, rope, somali, swedish, swahili, taita, teso, Turkmen, vunjo, walser, zulu. This font is PUA encoded: this means each character has a unicode name, and you may access any of them through this codes. Open Type features on the open type file: easy access for alternates and ligatures! The download includes both .otf and .ttf files, so you may choose which one suits you better. With a strong personality, but yet adaptable into many styles, New Ayres is everything you are needing for your projects!!

Alex Kaczun, originally designed BottleKaps for Linotype-Hell, in 1992, as a QuickDraw GX multi-master font series. A few new GX applications, like 'Unicorn', where able to utilize these unique fonts. The GX application allowed the user to adjust weight and proportions, on the fly, including glyph substitution for small capitals, old style figures, swash and alternate endings. The technology was never successfully deployed by Apple, so the individual fonts, 21 styles and variations in all, where sold in the Linotype Font Library as separate Truetype fonts up until 1998. Unfortunately, the fonts collected dust for many years thereafter, but now have been reworked and rejuvenated by Alex in OpenType format for both Mac and PC. 'BottleKaps' is a 'unique', 'playful' and 'decorative' font series. Use it for those bold headlines to stimulate interest and show off your 'unique' individual style.

Introducing Starboy - The Hottest Bold Serif Display Font of the Moment! Starboy is here to redefine your design game with a boldness that's right on-trend. This dynamic font duo features both a regular and outline version, making it the ultimate choice for designers who want to stay ahead of the curve in today's design scene. The regular version of Starboy is a powerhouse of bold serifs and stylish sophistication, perfect for creating designs that make a bold statement. The outline version takes this to the next level, adding an extra layer of modernity and versatility to your projects. In a design world that's constantly evolving, Starboy stands out as the go-to font for capturing attention and creating memorable visuals. Whether you're working on cutting-edge branding, striking headlines, or contemporary packaging, Starboy's duo of fonts ensures your work aligns with the latest design trends. Here's what you get: Regular, Outline All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you!