Benjammin' is a handwritten sans-serif font. My 12 year old brother wrote this font himself, and it would be great for any kid's design or project! - Contains over 200 accented characters for language support. Some of the languages supported are: English, Spanish, Portuguese, German, Italian, French, Polish, Catalan, Irish, Norwegian, Croatian, Gaelic, and more! If you would like to know if a certain language is supported, please contact me with the language and/or any special characters you wanted to know about.

My kids like to read Donald Duck magazine. They have boxes full of old editions that we bought second hand. Most of the comics are well-used, but there are some in near mint condition. I thought it would be nice to create a font that mimics the lettering found in comics. Mint condition is a very nice, very friendly handmade comic book font that comes with extensive language support (including Vietnamese and Cyrillic), plus two sets of alternate glyphs.

Vladimir Script is a brush-style font, similar to the kind of lettering found on old hand-painted department store signs during the 1950s. The letters have a steep slant, and the uppercase letters and the numbers are rather informal. Many of the letters' strokes end in looped terminals, some with dynamic amounts of contrast. Vladimir Script is best used in larger point sizes, where its subtle details can dance across the page. The typeface looks fabulous on signs and cards.

Paralex is a complete typeface family of 12 fonts with geometric-slab style. The edges of shapes are rounded to give a smoother appearance. It contains several OpenType functionality, such as initial and final decorative forms, old style numerals and an extensive set of geometric style ornaments. The character set supports Central and Eastern European as well as Western European languages. Despite the robustness of its forms has a warm appearance, and good readability that make it useful for a variety of situations.

First cut by Lanston Monotype, the Goudy Modern font family was based on designs used by French engravers during the eighteenth century. Although called a modern it possesses a number of old style characteristics. Capitals are much shorter than the ascenders, serifs are fully bracketed and round shapes have a slight stress. The overall weight of Monotype Goudy Modern is on the heavy side, giving good emphasis in display sizes but it is not too heavy for use in text.

Tudor Perpendicular is Greater Albion's seasonal Black letter release (not that we rule out the possibility of non-seasonal ones...) for 2012. As the name suggests, it is a design which emphasises, and yes, exaggerates for effect, the perpendicular up and down nature of Black Letter typefaces. There's no particular historical basis for this one - straight out of our own minds, just as a lot of Black letter 'revivals' have been over the years. Come and visit 'Ye Olde' world today...

Anko is a mix of Old Style Roman Serif styles. The glyphs are formed in extend width, smooth strokes, moderate stem contrast and soft edges to pursue clarity, quick recognizable text and warm personality. The italics style is 8 degree low slanted with redrawned lowercase which shown in more organic and flowy forms. Anko contains 8 weights with more than 450 glyphs that support extended latin language and opentype features such as standard and discretionary ligature and a variation of numeral figures.

Welcome to Sacremende, a chunky, slightly messy display font. As the name implies, this font was inspired by the retro California aesthetic and, in particular, old surf rock posters. To highlight the vintage feel, the font package comes with a distressed option for a well-worn effect. This font is all caps but includes unique styles for upper and lowercase letters. Both versions are available as webfonts but for better performance, I would recommend using the regular option for the web.

Introducing the WBP Cor. A retro font based on the old drugstore signage (DROGISTERIJ). Many happy customers have observed it and is now made available for all. Accents have been added, and there quite are a few alternative glyphs. The A has two options for example: there's a sharp version consistent with the original signage, but also a rounded version consistent with the rest of de design. The font can be used to recreate retro signage or other niche designs.

Baseball Dynasty™ is an all-caps Art Nouveau font with authentic, classy, turn-of-the-century styling that recalls the early days of baseball. It can be used for historical purposes such as documentaries, but it also lends itself to nostalgic marketing & packaging with its down home, good-old-days kind of vibe. Let Baseball Dynasty™ help you knock your project out of the park! Digitized by John Bomparte. **Breauhare’s Elephant Party™ font also appears in the “Granny’s” poster

Palitura is a display typeface designed to translate Cyrillic flavor into the Latin script. Palitura means lacquered book cover in Old Ukrainian. The design of letter shapes is inspired by Early Cyrillic handwritten letters and Ukrainian patterns that are conveyed through the sharpness of form, vertical strokes that are narrower at the bottom, stylized oblique hooks at the top, and triangular accents. Languages: 480+. Scripts: Latin, Greek, Cyrillic. Specimen: michaelrafailyk.com/typeface/specimen/Palitura.pdf The promo images used photo of Tima Miroshnichenko from Pexels.

Grafton Titling was designed for dramatic impact. It contemporizes old style proportions, bracketed serifs and a left-leaning stress angle with striking contrast and modern angular joins. The solid style has a timeless feel, while a flared through-line variation provides textural interest. Small caps, a complement of OpenType features, and support for diacritics and accented characters make it a robust and distinctive choice for headlines that demand attention. Through-line characters are accessible using the Stylistic Set or Stylistic Alternate OpenType feature.

Thequilla is vintage monoline script font. It has vintage, elegant, old school, classy, and cool. It’s a great font for fashion, apparel projects, signature, album cover, logo, branding, magazine, social media, & advertisements, but also works great for other projects. Highlight: - Easy instalation - Work on PC or Mac - PUA Encoded Support - Basic Latin A-Z and a-z - Numbers - Symbols - No special software is required, The fonts can be opened and used in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word.

JokerWild is a thematic typestyle reminiscent of Christmas Stories, sixties Cocktail Parties, and playing jacks when you were younger. A retro inspired typeface of nostalgic memories, the good old days. A fun and funky typestyle full of life, sure to add spark to your designs. Add a little festive mayhem to your designs, and remember, the Joker is WILD! Suitable for anything from the Jester, to the Grinch, Holidays to MardiGras mayhem, JokerWild can introduce play back into your designs today!

Valentia is an elegant font, casual and readable, this new script typeface is based on Copperplate style. Valentia has been drawn with spontaneous strokes and slightly contrasting thicknesses.The capital letters are full of expressiveness, with very dynamic "ductus" and linked ends, which allow to decorating with subtle and finishing touch. Contains small caps and titling. Decoration variables with its own terminal forms and initial forms. You can use Standard and discretionary ligatures, swashes, stylistic and contextual alternate, old style figures, CE languages andornaments.

Stacked Deck is a retro typestyle inspired by an old private eye pulp paperback of the same name, and it expands on the title to dance on screen or in print. Let the cards fall in your favor with Stacked Deck in your playful typeface design collection. While this may look like an all capitals typeface, it contains a mix of capitals and alternate capitals meticulously kerned and cross kerned so you can mix them seamlessly. Just have fun with it.

Sincerity Stencil is the new extension of the typeface Sincerity. It's a fierce and elegant typeface identified by its high contrast, sharp shapes and triangular. The stencil component of this new version will add originality to your designs. Its large variety of glyphs, including accents, old-style numbers and ligatures will give uniqueness to your designs. It's a great fit for branding, magazines, newspapers, and so on. Sincerity Stencil is available in 16 styles, from thin to black in roman and italic.

Regain - Beautiful Serif Font Regain that is a font mix of old and new. This typeface has been made carefully to make sure its premium quality and luxury feel. The combination with the width of each letter forms a modern feel and is suitable for various magazines, logos, branding, photography, invitations, wedding invitations, quotes, blog headers, posters, advertisements, postcards, books, websites, etc. Feature - Regain (TTF) - Uppercase & Lowercase - Numerals & Punctuation - Multilingual - Ligature Drop any message if you any question, Thank you! Fridaytype

Trinculo is a cursive font which combines traditional letter forms with ridiculously ornate embellishments and flourishes. It's rather like what an 18th century clerk might have done with his lettering if he was bored to distraction with writing the same old letters again and again. The upper case characters are more complex with simpler versions of the same characters in the lower case. Trinculo is a lot of fun, though if you use it too much it may become overwhelming.

The ITC Stone Sans II typeface family is new from the drawing board up. Sumner Stone, who designed the original faces in 1988, recently collaborated with Delve Withrington and Jim Wasco of Monotype Imaging to update the family of faces that bears his name. Sumner was the lead designer and project director for the full-blown reworking – and his own greatest critic. The collaborative design effort began as a relatively simple upgrade to the ITC Stone Sans family. As so often happens, however, the upgrade proved to be not so simple, and grew into a major design undertaking. “My initial intent,” recalls Sumner, “was to provide ITC Stone Sans with even greater versatility. I planned to add an additional weight, maybe two, and to give the family some condensed designs.” As Sumner began to look more closely at his twenty-year-old typeface, he decided that it would benefit from more extensive design improvements. “I found myself making numerous refinements to character shapes and proportions,” says Sumner. “The project scope expanded dramatically, and I’m pleased with the final result. The redesign has improved both the legibility and the overall appearance of the face.” The original ITC Stone Sans is part of the ITC Stone super family, along with ITC Stone Serif and ITC Stone Informal. In 2005 ITC Stone Humanist joined the family. All of these designs have always offered the same three weights: Medium, Semibold, and Bold – each with an italic counterpart. Over time, Stone Sans has emerged as the godfather of the family, a powerful design used for everything from fine books, annual reports and corporate identity programs, to restaurant menus, movie credits and advertising campaigns. ITC Stone Sans, however, lacked one attribute of many sans serif families: a large range of widths and weights. “These fonts had enjoyed great popularity for many years – during which graphic designers repeatedly asked for more weights and condensed designs in the family,” says Sumner. “Their comments were the impetus.” ITC Stone Sans II includes six weights ranging from an elegant Light to a commanding Extra Bold. An italic counterpart and suite of condensed designs complements every weight. In all, the new family encompasses 24 typefaces. The ITC Stone Sans II family is also available as a suite of OpenType Pro fonts, allowing graphic communicators to pair its versatile design with the capabilities of OpenType. These fonts offer automatic insertion of ligatures, small caps and use-sensitive figure designs; their extended character set also supports most Central European and many Eastern European languages. ITC Stone® Sans II font field guide including best practices, font pairings and alternatives.

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

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

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. The Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. The W1G versions featuring a Pan-European character set for international communications supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet including several based on Cyrillic and Greek alphabets. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Aukim is an exceptional, unique and ligature-rich font that gives a new look to your texts. It is a more text-oriented font and thanks to its OpenType features, it becomes versatile. It is available in 3 sub-families (condensed, normal and extended) for a total of 54 fonts. There are 9 weights with their real italics. It has 886 glyphs, 107 uppercase and 65 lowercase ligatures per font. It also offers a wide range of languages, from Latin to Cyrillic, as well as powerful OpenType features such as meticulously and professionally maintained kerning, stylistic variations, swashes, highly distinctive ligatures, old-fashioned tabular figures, fractions, denominators, superscripts, unlimited subscripts, arrows and much more to satisfy the most demanding professionals. On the one hand, it has rounded curves with very open endings that make this font family noble, friendly and contemporary and on the other hand very useful for writing titles on any medium. Perfectly suitable for graphic design and any display use. It could easily work for web, signage, corporate design as well as editorial design. Aukim is a cool, wonderful, elegant, bold and fun display font. It can easily be paired with an incredibly wide range of projects, so add it to your creative ideas and notice how it makes them stand out!

A nice, black display face - for a retro/western poster look. I have kept the quirky “t”, increased the dot above “i” and “j” slightly, improved the spacing/kerning and modified/added all the usual diacritics. A pretty easy reworking of a good quality font. Nick Curtis says: "An old favorite, Bernhard Antique Bold Condensed, cleaned up and fattened up. Warm, charming, personable … suitable for any occasion." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Sociato: a typographic trendsetter. It's a quirky font that perfectly blends modernity and antiquity. The French Revolution was a period of uncompromising innovation in art and fashion, with celebrity artists, notably Jacques Louis David, creating propaganda for the new regime. This regime failed, but we have rare historical artifacts related to this historical upheaval. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being. It's a stunning piece of work, with a wild, baroque layout and hand drawn typography. Words leap off the page in a cascade of sounds and shapes, and quirky letterforms give it a lively, almost mischievous character. It's a veritable goldmine of typographic ideas. This typeface is based on the hand lettering in the original manuscript, but it has been enhanced by adding a full variety of characters. The typeface comes with a comprehensive range of diacritics, including old-style figures. The typeface is suitable for a wide range of uses, including titles and headers, and it should look beautiful in any typographic setting. Use Sociato to create a revolutionary identity, as bold and audacious as the French Revolution!

Presenting Blessing and Struggle! A Spontaneous Handwritten Font with all-caps glyphs. This font made with the perfect combination of each character. You can combine with Extra to get a unique combination. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and in any project. You can see in the presentation picture above, Blessing and Struggle looks unique and authentic style on design projects. So, Blessing and Struggle can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. WHAT'S INCLUDED? 1. Blessing and Struggle Regular • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Blessing and Struggle Slant • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Blessing and Struggle Slant Bold • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 4. Blessing and Struggle Semi Bold • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 5. Blessing and Struggle Minus Slant • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 6. Extra Swashes • Included 7 Dingbats. You can feature all with typing c_1 until c_7 (in all versions) A Million Thanks Colllab Studio

Welcome to the world of Galderglynn Esquire. This typeface is a celebration of the sans-serif types from the 1800s, with a unique twist that sets it apart from the rest. Galderglynn Esquire is not just a simple revival of a specific typeface, but rather, it’s a concoction of them all. With a bold personality and a distinct voice, Galderglynn Esquire is full of inconsistencies that make it stand out. It’s as if the letters have a mind of their own, dancing and shifting on the page. This typeface is perfect for those who want to add a touch of whimsy to their designs. And speaking of designs, Galderglynn Esquire has a variety of numerals to choose from. Whether you need standard, monospaced, old-style, inferior, or superior numerals, Galderglynn Esquire has got you covered. It’s a typeface that’s as versatile as it is unique. But don’t take our word for it, try it out for yourself. Galderglynn Esquire comes in seven weights and italics, giving you even more options to play with. And if you prefer a more well-behaved version of this typeface, check out Galderglynn 1884. With Galderglynn Esquire, you’re not just getting a typeface, you’re getting a piece of history. This typeface pays homage to the sans-serif types of the past. It’s a typeface that’s as timeless as it is modern, perfect for designers who want to create something truly unique. So why settle for the ordinary when you can have the extraordinary with Galderglynn Esquire. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A 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, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface. Although about 14 miles inland, Norwich lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. From the 17th century until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Gothic Tuscan One, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. There is also a more contemporary glyph of a whale, looking quite pleased that the only whaling ship left in Connecticut is the Charles W. Morgan, permanently moored at Mystic Seaport. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004). Gothic Tuscan One ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 332 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm and dlig. 3. Added 330 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators 6. Included of both tabular (std) & proportional numbers (optional). 7. Refined various glyph outlines. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.