A typographic revolution-Bronzetti has been a long term project for Greater Albion Typefounders, aimed at filling a large gap in the range of typefaces available today. The Bronzetti family of 22 text typefaces combines modern requirements for legibility and readability with the charm of traditional Roman faces in the spirit of those carefully constructed by small scale quality foundries such as the Kelmscott and Vale presses. In short, Bronzetti is traditional letterpress meets modern publishing, offering a real opportunity to make your material stand out from today’s ‘run of the mill’ crowd. The range of typefaces on offer includes five widths of type, as well as small capitals and italic forms and regular and bold weights. Try out Bronzetti today, make your work stand out from the crowd and join the revolution!

Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Driver Gothic is available in all popular font formats, and is comprised of a very extended character set (over 750 characters) covering a wide range of languages, including Central and Eastern European languages, Greek, Cyrillic, Esperanto, Turkish, Baltic and Celtic/Welsh. Driver Gothic Pro, the OpenType version, contains class-based kerning and push-button stylistic alternates for use with apps that support advanced typography. Buckle up!

The talented designer of the well-known Formata typeface, Bernd Möllenstädt was born on February 22, 1943 in Germany. He has lived in Westfalia, Berlin and Munich, Germany, and now permanently resides in Munich. From his earliest years he was interested in typography, first studying as a typesetter (1961-64) and then a student of graphic design (1964-1967). In 1967 Möllenstädt joined the Berthold typefoundry and his career as one of the leading type personalities began. One year after joining Berthold, he became the head of the type design department. For 22 years he worked as the head of that department, under the leadership of Günter Gerhard Lange. Upon Lange’s retirement in 1990, Möllenstädt ascended to the type directorship of Berthold where he was responsible for type design and font mastering. Möllenstädt designed two typeface for the Berthold Exklusiv Collection, Formata (1988) and Signata (1994). Under license from Berthold, Adobe marketed Formata as part of the Adobe Type Library. Formata is now one of the most successful sans serifs in the world, used both in American and European magazines, as well as newsletters in the Far East (Gulf New Kuwait). Formata also was chosen as the corporate typeface of Postbank, Allianz, VW Skoda, Infratest Burke, etc. In addition to his work for Berthold, Möllenstädt has lectured at local Munich schools on typography and graphic design, and designed corporate type identities and diverse logos for major corporations, including Allianz, Commerzbank, Mauser Officer and Hoepfner. Möllenstädt continues his association with Berthold as a designer. He most recently completed small caps and fractions for Formata. He also has substantially contributed to Berthold's Euro symbol program (e.g. adding the Euro symbol design-specific to the most popular families). Möllenstädt currently is working on a new Berthold Exklusiv design.

Film P3 - Ultra Condensed sans-serif typeface. It refers to characteristic typefaces such as Film Poster or Film P2 (which were inspired by futuristic movie posters). Film P3 is deliberately more versatile and designed to be used successfully in a huge variety of projects. In addition, the letters retain their unique and distinctive style, which allows them to stand out from the crowd. The Film P3 family has 9 members that are complementary and allow the expression of the projects to be very varied and adapted for appropriate use. They look good in many sizes, single words, slogans, titles, sentences as well as longer texts. Fonts include multilingual support, numerals, and a large range of special characters. Film P3 typeface offers many creative possibilities in graphic design and digital art. For print, brand identity, web design, and much more.

Let us introduce you the official big update of Intro type family with essential upgrades to this contemporary sans serif. The weight distributions completely revised has brought 8 new weights and matching italics resulting in 72-fonts family with 22 fonts extra. Intro’s refined playfulness is further emphasized with additions of multiple ingredients, such as carefully adjusted Oblique alternatives next to the existing upright alternatives. All these styles are now available as a Condensed version. On top of that, there are 3 inline fonts. The glyph case was expanded to cover Extended Latin and Cyrillic with adequate language localization. The OpenType features rewritten and improved now allow case-sensitive forms and contextual alternates, and plenty of stylistic alternates. The standard numerals set includes as well tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions.

BERNAT is a unique display typeface perfect for headlines, big text, brandings, logotypes & graphic design purposes such as posters, flyers, and advertisements. This all-caps font can be an excellent choice for creating outstanding logos, promotional content, and marketing presentations that bring uniqueness and freshness. The font is very flexible in terms of your creativity, you can adjust the letterspacing to design unique textual presentations, especially for creating amazing logotypes and branding designs. Please see the examples shown above to get an idea of the capability of this typeface. Extra Features: BERNAT features a Stylistic Alternatives Set of 22 glyphs covering major glyphs which will give you more possibilities to create unique design combinations. The font comes with extended language support including Western European, Central European, and South-Eastern European character sets (a total of 290 glyphs).

Here comes a New font, Introducing Roselle It's Fun Script Font is a Textured Natural Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Roselle a Natural Script Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes. This font is PUA encoded which means you can access all of 22 Ligatures glyphs.

Write like the inventor of the diesel engine — it’s possible with the Diesel Rudolf Script (patterned after the original handwriting of Rudolf Diesel)... In 2008 the city of Augsburg and the MAN Group celebrated the 150th birthday of Rudolf Diesel, inventor of the diesel engine which was named after him. With the help of a few preserved original letters, it was possible to create a convincing digital version of Rudolf Diesel’s personal handwriting. The engineer and inventor Rudolf Diesel was born in Paris in 1858 and also went to school there. In1870 his family moved to England and Rudolf was sent to relatives in Augsburg where he continued going to school. Later, after completing his studies in Munich, he began working as an engineer in the machine factory Linde. Alone this part of his life makes clear why Rudolf Diesel’s handwriting was so ”jerky,“ hesitant and inconsistent. He learned to write according to the French style, that is, Latin cursive — completely different from the very correct and neat German handwriting taught at that time which he had to learn at 13 years of age. These circumstances explain why his handwriting is ”messy“ (especially for those days) with its mixtures of letter forms within a text, even within individual words. Plus, he obviously did not attach much importance to ”pretty writing.“ Sometimes the characters are wide, then narrow, sometimes large and clear and then again crammed and primitive. The individuality is emphasized with characteristics derived from quill and ink. The diversified images of the font Diesel Rudolf Script make more than 80 ligatures and stylistic alternates possible which can be selected with help from the OpenType functions Ligatures and Discretional Ligatures.

Rapor is a powerful and elegant combination, built from a combination of sans serifs with strong gemometric foundations such as Futura, and grotesque fonts based on the equal-width system. Its slightly softened evenly converging diagonal corners add distinctiveness to it. It has 10 weights ranging from Thin to Black. It consists of twenty styles with matching italics. Rapor is equipped for professional typography with rich opentype features. Rapor OpenType features: aalt, locl (Romanian, Moldovian, Dutch, Catalan, Turkish, Azeri, Crimen Tatar, Kazakh), ordn, locl, case, frac, sinf, subs, sups, numr, dnom, tnum, onum, lnum, pnum, ss01 (Alternative a), ss02 (Alternative g), ss03 (Alternative r), ss04 (Alternative M), ss05 (Circled Figures), ss06 (Apostrophe), ss07 (Dingbats Ligature), dlig, liga, salt, cpsp, calt. Rapor Language Support: Afrikaans, Albanian, Alsatian Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Belarusian (Lacinka), Bislama, Bosnian, Breton, Catalan, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Haitian Creole, Hawaiian, HiligaynonHmong, Hopi, Hungarian, Ibanag, Icelandic, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Istro-Romanian, Italian, Jèrriais, Kashubian, Kurdish (Latinized Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Malay (Latinized), Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Quechua, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Samoan, Sardinian (Sardu), Scots (Gaelic), Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Latinized), Tuvaluan, Uyghur (Latinized), Veps, Volapük, Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu

Elpy is a friendly rounded sans serif workhorse family inspired by all things music! Spanning 22 Condensed and Regular weights with true italics, Elpy will fit right in with your record collection and your font collection! The Elpy family includes language support for Western and Eastern European languages, Greek and Cyrillic. Ian Lynam dreamt up Elpy one day when he visited a record pressing plant outside Tokyo, watching vinyl pellets being melted down and a fresh batch of 7-inch records get pressed. Despite the smell, a seed was planted that would be extruded into Elpy's rounded forms half a year later... Elpy Light and Regular function as highly readable text typefaces, while the bolder and lighter weights are perfect for display work. Elpy's rounded terminals make the family perfect for screen-based work, as well as for print conditions of any resolution—from offset to Risograph.

Lovebright is an expressive, untamed handwritten font, with exaggerated descenders and loops. It’s an engaging and charming choice for signature style logos, personable branding, display text, handwritten quotes & letters, and blog/social media posts. Lovebright includes a full alternate set of upper & lowercase characters, included as it’s own separate fonts. Use the alternate characters for a different text layout, or mix with the regular version to avoid repeating letters and recreate naturally inconsistent handwriting. Lovebright also includes 22 ligatures, these double letter combinations will help letters connect and flow more naturally. The ligatures will automatically generate when using the Lovebright fonts with most software. Please get in touch if you need any help with these. The Lovebright fonts contain language support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

10 years later, one of the first geometric typefaces in our portfolio and a popular favorite of yours is rising to a whole new level! We’re revealing the stand-alone type family Code Next—a staggering evolution from Code Pro in functionality, versatility, and application. The transformation includes 6 new weights, 10 new Italics, full support of Extended Cyrillic and Greek, full redesign and glyphs refinement, 2 variable fonts, to name but a few. Going back to 2011, the grotesque-inspired Code Pro was designed to complement memorable pieces that make a statement. Balancing between stylization and simplification, it was encoded with the distinct voice of basic organic shapes to stand the test of time. Little did we know, it would expand and live up to the potential of a “font from the future” as the new Code Next. Today, a type family of 22 styles, this geometric sans solidifies its relevance and carries a strong constructive aesthetic through simplified forms with a twist. These fit any modern design in print, web, and display visualization. Developed to go above and beyond, Code Next comes prepared for multi-script projects with Extended Latin, Extended Cyrillic, and Greek. Explore Code Next’s versatility and switch things up with the help of 2 variable fonts, more than 1280 glyphs, and an extensive OpenType features set including small caps, standard and discretionary ligatures, contextual and stylistic alternates, stylistic sets, case sensitive forms, and much more. Overview: • Font family of 22 fonts • 10 weights • Languages - Full support of Extended Latin; Extended Cyrillic; Greek • Entirely refined design and metrics • Glyph count - 1288 • Variable fonts - 2 fonts OpenType features: • Small Caps • Standard Ligatures • Discretionary Ligatures • Contextual Alternates • Stylistic Alternates • Stylistic Sets • Case-Sensitive Forms • Ordinals • Localized Forms • Lining Figures • Proportional Figures • Tabular Figures • Oldstyle Figures • Subscripts • Scientific Inferiors • Superscripts • Numerators and Denominators • Fractions • Roman figures • Extensive mathematical support • Navigation symbols

Grethania Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper plate calligraphy with handlettering style. Designed to convey the elegance of style. Grethania is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Grethania Script displays 310+ glyphs and 122 alternative characters. including multiple language support. With OpenType features with changes in style, binder and character swash, which allows you to mix and match pairs of letters to fit your design. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use font styles that are set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Sunlight Script is a calligraphy script font that comes with beautiful alternative characters. a mixture of copper calligraphy with handleting style. Designed to bring style elegance. Sunlight Script attracts such a subtle, clean, feminine, sensual, glamorous, simple and very readable typeface. The classic style is perfect to apply in various formal forms such as invitations, labels, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Sunlight Script has 422 glyphs. including multiple language support. With OpenType features with stylish alternatives, ligatures and characters, allowing you to mix and match pairs of letters to fit your design, as well as a touch of ornament to make this font look elegant. To enable OpenType Stylistic alternates, you need a program that supports OpenType features like Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all the alternate characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the stylistic font set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swashes, using Character Map (Windows), Font Nexus (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all the alternate characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

The Bilcase font family is a layered condensed font family that comes from vintage logos, labels, packages, and signage. This collection of styles has 5 type layers and vintage scrolls, panels, and ornaments. Combine these to create label designs, headlines, logotypes, signage, posters, greeting cards, letterheads, T-shirts... the applications are endless. This font family is available in 2 styles. Bilcase has font layers with contextual, stylistic alternates and ligatures. You will get special capital letters when you activate the contextual alternate feature. Bilcase Extras is the expanded version of the main font with panels, ribbons, and ornaments. You can access the ornaments by activating the ligature feature. Type the letter “p” for the panel, “r” for ribbon and “o” for ornament and add numbers to each code, e.g. “p1, p2, p11, r2, o2”. Complete information is in the pdf file. http://bit.ly/2OClGjY. You can also try it in the font tester below.

This script font was inspired by a lot of manuscripts, notes and drafts, written by the famous french novelist Émile Zola (1840-1902). Specially, letters and notes from the period he was writting "Germinal" one of his very famous novel (published in 1884-1885) depicting the french minor's life in the past middle of eighteens. It is an elegant pen written type, sometimes connected, sometimes disrupted, but always regular and legible, with many variants, ligatures and contextual alternate glyphs specialy numerous in the OTF version. It is used as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. This font, in spite of its small size, supports very strong enlargements as well as small sizes ( the original size was about 22 to 30 pts ). When printed, it remain perfectly legible and elegant from 12/14 pts even if using an ordinary inkjet printer.

Nurhalifa New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !! Nurhalifa The comes with 564 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers. Nurhalifa Uppercase & lowercase International signature & symbol Punctuation Support & PUA number Unicode Style Style Alternative Style Style Range 1-22 Contextual Character Variations. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows).

Nurhalifa New fresh & modern style with handmade calligraphy, decorative characters and dancing lineage! So wonderful are invitations like greeting cards, branding material, business cards, quotes, posters, and more !! Nurhalifa The comes with 564 glyphs. Alternate characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternate, Contextual Alternate. Open Type features are accessible by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X versions, and Microsoft Word. And this font has code PUA unicode (font with special code). So that all alternative characters can be easily accessed by craftsmen or designers. Nurhalifa Uppercase & lowercase International signature & symbol Punctuation Support & PUA number Unicode Style Style Alternative Style Style Range 1-22 Contextual Character Variations. If you do not have programs that support OpenType features like Adobe Illustrator and CorelDraw X Versions, you can access all alternative flying machines using Font Book (Mac) or Character Map (Windows).

Amika™ is a rational geometric sans serif with an engaging personality and a contemporary profile. The large x-height, minimal contrast and the double storey 'a' makes Amika™ a highly legible typeface suited for any kind of text applications, from display poster type to massive text layouts. Amika™ has 22 styles and it's a workhorse type system. Versatile and reliable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1280 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localized forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. With a tectonic touch, Amika™ is a prototypical sans serif of the New Media age that, due to its extensive set of features, conveys a great choice for a wide range of applications, from branding to broadcast.

Oktah Neue is an extended version of a more limited Oktah family. Since its release in 2019, Oktah Neue received two major updates, the most recent in June 2022. The latest version of Oktah Neue is comes in 22 styles as well as one variable font. Oktah Neue inherits the best traits of Oktah—great legibility, simple geometric letters shapes, low contrast across all styles—but also introduces what Oktah fell short of: extensive language support and enhanced OpenType features. While working on Oktah Neue, we strove to create a neutral typeface that would be a workhorse for designers, typographers and other font users alike. Building onto the familiar shapes of Oktah, we tried to make them more neutral, at the same time preserving the unique character of the typeface. Certain characters remained the same, others have undergone a complete transformation, which left them better tailored for the wide implementation range of Oktah Neue. Over the past years the size of the character set in Oktah Neue was significantly expanded (currently standing at 2500+ characters). In addition to Extended Latin, new language systems (Extended Cyrillic, Greek — both Basic and Polytonic — and Hebrew) were introduced. The already vast Cyrillic set also includes localised forms for such languages as Bulgarian, Serbian and many others. Oktah Neue is OpenType friendly: it knows how to do alternatives, contextual alternatives, switch various between stylistic sets and adjust the height of punctuation and symbols as you type. Small Caps include all listed languages as well as numerals and symbols. Oktah Neue comes equipped with various styles of numerals — from standard Proportional Lining figures to Oldstyle, Tabular Oldstyle. Sub- and Superscript, Fractions and two sets of circled numbers. Oktah Neue is well-kerned with more than 3000 kerning pairs and automatically hinted. Oktah Neue comes in 22 styles (11 uprights and 11 italics), two of which — Ultra Light and Black Italic — can be downloaded free of charge to get a firsthand experience of what Oktah Neue is ready to offer. The latest update of Oktah Neue introduced a fully variable option: now, both axes (Slant and Weight) can be accessed in the same file for utmost convenience.

Entendre is a stately, commanding and handsome sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre pairs well with our rounded sans serif family Elpy, sharing similar proportions and spacing.

The lettering found on an 1878 Salt Lake City advertisement for the Forepaugh’s Circus inspired Faux Pas JNL, which is a bit of a pun on the circus’ name and also a commentary on how this unusual lettering style seems to break all of the rules on stroke width and balance. According to Wikipedia: “Adam John Forepaugh (February 28, 1831 - January 22, 1890) was an American entrepreneur, businessman, and circus owner. Forepaugh owned and operated a circus from 1865 through 1890 under various names including Forepaugh's Circus, The Great Forepaugh Show, The Adam Forepaugh Circus, and Forepaugh & The Wild West. In 1889, Forepaugh sold his circus acts to James Anthony Bailey and James E. Cooper and he sold his railroad cars to the Ringling Brothers. The Ringlings used the equipment to transform their circus from a small animal-powered production to a huge rail-powered behemoth, which later purchased the Barnum & Bailey Circus. Thus, in liquidating his circus assets, he indirectly contributed to the demise of his arch-rival.” Faux Pas JNL is available in both regular and oblique versions.

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

The type­face Hand Stamp Swiss Rough Sans is desi­gned for the Typo Gra­phic Design font foundry in 2015 by Manuel Vier­gutz. A dis­play sans serif type for head­lines with an authen­tic used stam­ped style by hand. It star­ted ana­lo­gous with 42 stamps. Vin­tage look plus state-of-the-art OpenType-features like con­text­ual alter­na­tes (calt) for more hand-stamped fee­ling with the auto­ma­tic gene­ra­ted sty­li­sitc set loop. Deco­ra­tive liga­tures like CT, LL, LI, LU, MM, OO, TH, TT, TU, UH and Ver­sal Eszett (Ger­man Capi­tal Sharp S) type the word LOVE for ❤ and the word SMILE for ☺. Cha­rac­ter Set: Latin Exten­ded (Adobe Latin 3). 1086 gly­phs with 4× A–Z, 4× a–z, 4× 0–9 and 100+ extra icons like arrows, ding­bats, sym­bols, geo­ma­tric shapes, catch­words and many alter­na­tive letters. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE! Example of use from the Font The font works best for head­line size. Logo, Pos­ter, Edi­to­rial Design (Maga­zine or Fan­zine), Flyer, Music Covers or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, Animations … ■ Font Name: Hand Stamp Swiss Rough Sans ■ Font Weights: Regu­lar + Mix + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play & Deco­ra­tive ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1086 gly­phs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 100+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Access All Alter­na­tes (aalt), Sty­listic Alter­na­tes (salt), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Old­style Figu­res (onum), Lining Figu­res (lnum), Tabu­lar Figu­res (tnum), Slas­hed Zero (zero), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), 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: 2015 ■ Type Desi­gner: Manuel Viergutz

Butter Sweet is a charming smooth cursive script with a little french touch. It’s perfect for handcrafted brands that are looking for a bold script font with an authentic handwritten feeling. Use it for blog headers, signatures, elegant branding, wedding stationery, products packaging, instagram quotes, greeting cards, social media posts, and so much more. Butter Sweet is designed with a large selection of Opentype features such as contextual alternates, a full stylistic set (Uppercase and lowercase), 38 regular ligatures, 18 terminal forms ligatures, 22 beautiful terminal forms for lowercase letters and you have 4 different ampersands to play with. Software Requirement: ButterSweet can be used in any software though alternates, ligatures and terminal forms require a software that is Opentype capable. Note that you won’t be able to access them features in softwares such as Canva. How it works: Make sure you have activated the « standard ligatures » option in your Opentype panel (Illustrator & Photoshop) Add an «8» after your ending letter to switch to a terminal form letter. Multilingual support is also available for the single letter terminal form. Language support ButterSweet includes multilingual characters for western and central and European languages.

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

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

Proudly present our new font. It is named Hollgates - Elegant Signature Font. Hollgates is script handwritten style with a natural charm. This font which is a modern signature and unique style handmade comes with very beautiful character changes. To keep the maximum real hand-lettered effect, there were created 240 ligatures (you can see them among the presentation pictures). When creating the font, we should take into consideration that each letter should be able to be connected with other letters. For example, the letter "a" should be well connected as well as with "l" and "n" and with any other letters. This limits us: we have to start letter from exact one point and finish at exact second point. So here come ligatures. Hollgates font contains following ligatures: ab ad af ah ai ak al am an ao ap as at az az bh bl bk bt bx br cb cl ch ck cc cr cs ct co cx cz dd db dh dl dk dt dr ds dx dz eb ef eh ek el et ett er em en es ex ez ff fh fl fk fi fo fs ft fr fz fx gg gh gr gb gf gl gk gt go gs gz hf ho hs ht hz ib if ih ik il it itt ii in im ip is ir iz ix jo kl kk kh ko ks kr kt kx kz lo li ls lu lr lx ly lz mm mf mi mh ml mk mo mp ms mt mz mx nb ni nf nh nl nk no ns nr np nt nx nz ob of oh oi oj ok ol om on op os ot ott ou ox oz ph ppl pp ps pt pu pi pr po px pz rs rr st sh sl sk sb si sm sn so sp su sx sy sz oll all ell ill ull th tl tk ti ts tr to tu tx tz ty ub ul uh uk ul ut utt un um up us ux uz vh vl wh wl wo zz ee ll ff oo rr ss tt dd ff It’s the perfect fit for all luxury projects, such as wedding invitation, signatures, luxury logos, printed quotes, grettings cards, social media headers, product packaging and many more! It includes a full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation and ligatures. It is PUA encoded which means you can access all of the glyphs and swashes with ease! Fall in love with its incredibly versatile style and use it to create spectacular designs! Use this font for any crafting project that requires a personalized look! What’s Included : – Works on PC & Mac – Easy to use ( Installations ) – Easy Convert to webfont – Compabilty Windows, Apple, Linux, Cricut, Silhouette and Other cutting machines Thanks for downloading, and I hope you enjoy it!

Oktah is a geometric grotesk that comes both as a variable font and 22 static fonts: 11 uprights and 11 matching italics, which make it a great tool for those seeking a versatile font with a strong character and high legibility. Throw in a very pleasing look, elegant curves and a wide range of weights, and you'd get what Oktah aspires to be: a perfect typographic tool for every need.In Oktah, elegant geometric curves meet bold strokes and wide apertures. Round letters are nearly circular, but, to boost readability, slight changes were introduced for optical compensation. Oktah is also equipped with amazing OpenType features: case sensitive punctuation, ligatures, fractions, superscript and subscript figures, two kinds of circular figures, stylistic & contextual alternatives and much more! Oktah supports all major European languages, as well as Vietnamese and some dozens of foreign languages that you may encounter in your designs. We've got all that covered. The glyph count for each of the styles is 800+ characters. Two styles (Extra Light and Bold Italic) are free to try and experiment with. If you need wide language support and more extensive OpenType features, consider taking a look at Oktah Neue, a bigger version of the classic Oktah.

Garet is a modern geometric sans serif. It is characterised by high x-height, clean and soft letterforms with a smooth masculine tone. Garet derives its distinctive oval shapes from the optically perfect circle and has closed counters to further emphasise that form. The Garet type family consists of 11 weights ranging from quite thin to extremely fat and their corresponding Italics to make a total of 22 fonts. And all of them are combined into one variable font that will give you unlimited opportunities to explore and express without the restrictions of the predefined weights. We understand the need for more extensive language support. That’s why the typeface includes Extended Latin and Cyrillic and covers more than 200 languages. Garet also comes with several alternative stylistic sets that will change the overall look of a paragraph, giving it a slightly different appearance. In addition to that, the type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case-sensitive punctuation, and more. Тhe wide variety of weights, characters, and additional features allow Garet to be implemented equally well both in print and on-screen media.

Phoenician/Canaanite The Phoenician alphabet developed from the Proto-Canaanite alphabet, during the 15th century BC. Before then the Phoenicians wrote with a cuneiform script. The earliest known inscriptions in the Phoenician alphabet come from Byblos and date back to 1000 BC. The Phoenician alphabet was perhaps the first alphabetic script to be widely-used - the Phoenicians traded around the Mediterraean and beyond, and set up cities and colonies in parts of southern Europe and North Africa - and the origins of most alphabetic writing systems can be traced back to the Phoenician alphabet, including Greek, Etruscan, Latin, Arabic and Hebrew, as well as the scripts of India and East Asia. Notable features Type of writing system: abjad / consonant alphabet with no vowel indication Writing direction: right to left in hortizontal lines. Sometimes boustrophedon. Script family: Proto-Sinaitic, Phoenician Number of letters: 22 - there was considerable variation in their forms in different regions and at different times. The names of the letters are acrophonic, and their names and shapes can be ultimately traced back to Egyptian Hieroglyphs. For example, the name of the first letter, 'aleph, means ox and developed from a picture of an ox's head. Some of the letter names were changed by the Phoenicians, including gimel, which meant camel in Phoenician, but was originally a picture of a throwing stick (giml).

Antikor is "mono geometric sans" family consist of 3 styles, 55 fonts with real italics... All fonts of family contains 800+ glyphs, and equipped with many typographic features. (Styles: Mono, Text and Display) Antikor Text is designed for those who prefer to use monospaced fonts not only in coding but in many different media of graphic design. The idea came from creating a typeface with monospaced aesthetic without disturbing aspects of monospaced typefaces . Antikor text has proportional spacing and precise kerning to avoid poor rhythm and track in reading text. It also provides wide range of useful features with extended glyph sets and opentype features. Antikor Mono is geometric sans monospaced typeface with all typographic features except spacing and kerning. As other styles it has many opentype features and extended character set including SmallCaps, Stylistic Alternatives, Scientific Numbers, Fractions, Oldstyle Numbers, Case Sensitive Forms, Arrows, Circled numbers and etc... It is designed to meet all the needs of the monospaced text medias... As Antikor is a versatile family, Antikor Display is a very alternative typeface with playful calligraphic curves. It is designed with the idea of creating a contrast and eye catching touch in display use of typography. It creates tasty contrast against the serious and solid monospace look. Each style has 11 weights ranging from Hairline to ExtraBold + real italics, consist of 22 fonts.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

Many local variants of the Greek alphabet were employed in ancient Greece during the archaic and early classical periods, until around 400 BC, when they were replaced by the classical 24-letter alphabet that is the standard today. All forms of the Greek alphabet were originally based on the shared inventory of the 22 symbols of the Phoenician alphabet, with the exception of the letter Samekh, whose Greek counterpart Xi (Ξ) was used only in a sub-group of Greek alphabets, and with the common addition of Upsilon (Υ) for the vowel /u, ū/.[1][2] The local, so-called epichoric, alphabets differed in many ways: in the use of the consonant symbols Χ, Φ and Ψ; in the use of the innovative long vowel letters (Ω and Η), in the absence or presence of Η in its original consonant function (/h/); in the use or non-use of certain archaic letters (Ϝ = /w/, Ϙ = /k/, Ϻ = /s/); and in many details of the individual shapes of each letter. The system now familiar as the standard 24-letter Greek alphabet was originally the regional variant of the Ionian cities in Anatolia. It was officially adopted in Athens in 403 BC and in most of the rest of the Greek world by the middle of the 4th century BC.

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ 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 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), 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: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

Useful links: TT Supermolot Neue PDF Type Specimen TT Supermolot Neue graphic presentation at Behance Looking for a custom version of TT Supermolot Neue? TT Supermolot Neue is a redesigned, extended and greatly enhanced reincarnation of the popular TT Supermolot and TT Supermolot Condensed font families. During its existence, the hammers (‘molot’ in Russian) managed to get into the spotlight in a huge number of projects, for example, in popular video games, films, and branding. Despite its popularity, the limited composition of old families put boundaries their development, which prompted us to release a completely redesigned and greatly extended version. And while the old families could offer designers only a limited number of tools, in the new version you can already find 54 fonts, and each individual font now consists of more than 620 glyphs. First, we have added a completely new subfamily, TT Supermolot Neue Extended. But this is only the tip of the iceberg—in order to achieve visual harmony between the three subfamilies, we completely revised the distribution of widths among them. As a result of this work, the width of the TT Supermolot Neue Basic subfamily became a bit narrower, and the width of the TT Supermolot Neue Condensed subfamily became even narrower than it was in the old version. Secondly, we’ve increased the number of weights. While in the old versions there were only 5 weights, in the new ones there are 9 in each of the subfamilies. In addition, we gave a facelift to the lowercase and uppercase letters. In TT Supermolot Neue, the design of all controversial grapheme forms was soothed and now the family can also be used in the text set. We have completely redrawn italics. It took us half a year to compensate for all the circles, to transform italic strokes, to work out the position of the diacritics, to make right the spacing, and to finish kerning. Following a good tradition, in the TT Supermolot Neue extensive support for useful OpenType features was added, and hinting was also improved. If we talk about visual features, we recommend paying closer attention to two stylistic sets: the first set (ss01) is designed to make the typeface more humanist, and when you turn on the second set (ss02), the typeface becomes even more technological. In addition, the typeface has more than 26 items of standard and discretionary ligatures. We also have not forgotten about the figures and we added a set of old-style figures to the standard version. In addition, the typeface has case, ordn, frac, sups, sinf, numr, dnom, onum, tnum, lnum, pnum, calt, liga, dlig, salt, ss01, ss02.

The history of Able’s connection with the Harry Potter phenomenon is really up in the air. It’s a catch-22 in this business - you either promote your own work and negotiate expensive exclusive licenses, or you work with a promoter and sell your designs to anyone and everyone. It could have been an in-house designer at Rowling’s publisher, Scholastic, or a freelancer who proposed Able for the headings and such. The responsible party licensed it from T26, and JK Rowling’s storytelling made it a star. (I suppose it’s ironic that there’s a whole lot of unwritten history in the typography business.) Able’s rise to fame really is a classic love story between reading and type design. If the books weren’t so popular, Able might still be waiting for some Mexican fast food chain to pick it up for packaging design. The movie deal certainly made the font all the more recognizable, what with its merchandising campaign. Popularity can also cripple a great decorative face. It’s always being recognized as “The Harry Potter Font.” It might just have to wait a few decades for the Potter phenomenon to subside to be freed from the “Chamber of Pigeonholed Fonts.” In the meantime, I’m sure that a lot of fledgling graphic design apprentices are reading their new Potter books, being charmed by the idea of type design when they’re not turning the pages too fast to notice.