The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Rolphie can be your go-to sans-serif, with 16 easy-to-read weights and 10 versions for each weight, and the subtlety of choice that represents. The versions contained in each weight are: Regular; Condensed; Half-Condensed; Expanded; Small Capitals: and their italic counterparts. (At heavier weights particularly it seemed to be justified to have two Condensed versions). Plus there's 20 funky versions with the letters all shook up (that would make a good title for a song), or jumbled around, plus some Shadow, Doubled-Up, College, and other FX versions. In total there's 180 variations, giving a comprehensive selection of both standard and funky fonts, and that subtle degree of choice of weight. To make things easier, the weights are put in ascending numerical order from 01 to 16, and the FX versions have been stuck in the 80s and 90s, (like two musicians I know). There are grouped packages available for certain weights (which have 10 fonts in them) and the complete family package (180 fonts) which represent better value than the individual fonts, and there's a basic package containing the Normal and Italic versions of all 16 weights (32 fonts). A limit of 5 sub-family packages has been imposed, unfortunately, which precludes a more comprehensive selection. To let you know what's in the font that you might otherwise never know about . . . With Discretionary Ligatures on, you get special characters if you type Mc St. Rd. Bd. Ave. c/o No. (p) (P) - include the full-stop/period. With Stylistic Alternates switched on, you get plenty of extra characters - including a WiFi symbol (type Wifi or WiFi) / bullet numbers instead of ordinary numbers / that different U-dieresis / special characters for c/o No. Mc / an upside down ~ / a huge bullet, and different forms for cent, dollar, percent, per-thousand. As you'd expect, there's all the accented characters for all Western European scripts using Latin letters, and standard ligatures, plus other Open Type features including Class Kerning, Slashed-Zero, Historical Forms, Sub- and Superscript numbers, fractions for halves, thirds and quarters, Ornamental forms giving bullet numbers, etc. There's also the main mathematical operators, symbols like card-suits and male/female signs and so on, and some more obscure stuff like schwa and O-horn, U-horn - and there's lots more if you can Access All Alternates. Much will depend on what your software recognises. The Small Caps versions have (intentionally) lost the ligatures for lower case ff, fi, fj, fl, fr, fu, ffi, ffj, ffl, ffr, ffu. The names for the weights are not absolute - we had to make up some names to make them stretch out to sixteen - so rather - see them as relative to each other, being in ascending numerical order by weight.

Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

Light and flexible, slightly retro, casual and readable, Hoofer combines 28 brush script, mono line script and sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Hoofer Mega-Family of fonts can be divided into three sub-families: Hoofer BRUSH subfamily: An eclectic group of five fonts. These are mainly joined scripts. Hoofer LINE subfamily: Seven mono-line scripts with joined letters in a number of weights, widths and styles. Hoofer SANS subfamily: Sixteen casual, Sans-Serif fonts. They are very readable and in a variety of weights & styles The mood of the Hoofer mega-family is light and flexible, slightly retro, casual and readable. It combines script and many sans-serif styles with ornaments into one Mega-Family. The different styles of the Hoofer Mega-family have been chosen to work together and to harmonize in a pleasing way. The Brush Sub-Family is designed for titling, packaging and display purposes, The Line Sub-Family can also be used for titling, packaging and display, however, it is less “showy”, and conveys an air of informality. The Sans Sub-Family is designed to shine as sub-heads and as body text. The wide range of Hoofline styles gives you, the designer, great flexibility in creating just the mood or impression that you want. Most of the fonts can use one or more OpenType Features. These can be accessed in a number of ways. The reason for this is that the major software producers provide different (and often conflicting) ways of accessing OpenType Features. In some cases such software manufacturers provide NO way of accessing certain OpenType Features. We have tried to remedy this by providing a highly flexible family of fonts. OPENTYPE (these OpenType features are only available in the “otf” fonts and not in the “ttf” fonts.) OpenType features that Hoofer makes use of are: Swashes (Word-Begin and Word-End Features); Alternate Numerals; and True Small Caps. ORNAMENTS In addition the Hoofer family has a font containing 94 ornaments. ALTERNATE NUMERALS You can access two sets of figures (numbers) in Hoofer Sans fonts. Both sets are tabular and lining but they differ in the height (but not the width) of the figures. The height of the alternate figures has been chosen so that they are compatible with the small caps. However, these alternate figures are available in ALL Hoofer Sans fonts, whether they feature small cap fonts or not. Hoofer has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 90th, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honoured as a member of the Art Director Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

The Eskapade font family is the result of Alisa Nowak’s research into Roman and German blackletter forms, mainly Fraktur letters. The idea was to adapt these broken forms into a contemporary family instead of creating a faithful revival of a historical typeface. On one hand, the ten normal Eskapade styles are conceived for continuous text in books and magazines with good legibility in smaller sizes. On the other hand, the six angled Eskapade Fraktur styles capture the reader’s attention in headlines with its mixture of round and straight forms as seen in ‘e’, ‘g’, and ‘o’. Eskapade works exceptionally well for branding, logotypes, and visual identities, for editorials like magazines, fanzines, or posters, and for packaging. Eskapade roman adopts a humanist structure, but is more condensed than other oldstyle serifs. The reason behind this stems from the goal of closely resembling the Fraktur style to create harmony in mixed text settings. Legibility is enhanced by its low contrast between thick and thin strokes and its tall x-height. Eskapade offers an airy and light typographic colour with its smooth design. Eskapade italic is based on the Cancellaresca script and shows some particularities in its condensed and round forms. This structure also provided the base for Eskapade Fraktur italic. Eskapade Fraktur is more contrasted and slightly bolder than the usual darkness of a regular weight. The innovative Eskapade Fraktur italic, equally based on the Cancellaresca script previously mentioned, is secondarily influenced by the Sütterlin forms — an unique script practiced in Germany in the vanishingly short period between 1915 and 1941. The new ornaments are also hybrid Sütterlin forms to fit with the smooth roman styles. Although there are many Fraktur-style typefaces available today, they usually lack italics, and their italics are usually slanted uprights rather than proper italics. This motivated extensive experimentation with the italic Fraktur shapes and resulted in Eskapade Fraktur’s unusual and interesting solutions. In addition to standard capitals, it offers a second set of more decorative capitals with double-stroke lines to intensify creative application and encourage experimental use. The Thin and Black Fraktur styles are meant for display sizes (headlines, posters, branding, and signage). A typeface with this much tension needs to keep a good harmony between strokes and counters, so Eskapade Black has amplified inktraps and a more dynamic structure seen in the contrast between straight and round forms. These qualities make the family bolder and more enticing, especially with the included uppercase alternates. The Fraktur’s black weights are strident, refusing to let the white of the paper win the tug-of-war. It also won’t give away its secrets: Is it modern or historic, edgy or amicable, beguiling ornamentation or brutish presentation? That all depends on how the radically expanded Eskapade family is used, but its 16 fonts certainly aren’t tame.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE 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 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Blossoms, leaves, buds and tendrils create fragile objects of words and letters. · Weingut Script Flourish is a decorative display font with high contrasts, perfectly hand-drawn to the tiniest details. The font is trimmed to fairly large font sizes and is highly suitable for chapter titles or book jackets as well as Headlines, Invitations and wine labels :), although also impressing with an astounding legibility in small typesettings. Inspired by the handmade Blätterschrift from the 19th century Mettenleiter’s Schriftenmagazin, its basic structure is related to the English Script which makes it a perfect wedding font. The Weingut Family – noticable bouquet, beautiful structure with full fruit and a long finish. · Design with bicoloured capitals: In Weingut Script and Weingut Flourish, leaves and letters are available separately. You can stack them and apply different colours to the foreground and background. · Decoration and patterns: Weingut Swashes and Ornaments offers extra decorative elements in a separate font. Leaves, flourishes and borders available on their own or merged to ornaments. · Please make sure to use an application that supports the layering of text (two-coloured capitals) and OpenType features (contextual alternates). Be aware if you intend to combine Weingut Script Flourish and Weingut Flourish that these two do not go together. The floral outlines differ slightly and inaccurate overlaps will be the end result. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Weingut Script / 151 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cofan, Corsican, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romansh, Rotokas, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois, Shawnee, Shona, Sicilian, Slovio, Somali, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

From the heart of the Blue Ridge Mountains, by way of Toronto, comes Martie's handwriting. Martie Byrd is a school teacher in Roanoke, Virginia, and a friend of Canada Type's Rebecca Alaccari. After years of admiring the cheer and clarity of Martie's handwriting, we asked her to write out full alphabets for some cool font treatment. The intent was to do three different versions of her writing in two different pens, then use the auto-magic of OpenType to determine letter sequences and rotate character sets on the fly when the fonts are in use. A successful endeavor it was. Take a look at the images in the MyFonts gallery to see the character rotation in action, along with a visual explanation of why Martie is not just another handwriting font. Unlike other available felt tip and ballpoint handwriting fonts, the regular and bold variations are style-based, not weight-based. They are the handwritten expressions of two different Sharpie pens: The fine point one (Martie Bold), and the ultrafine one (Martie Regular). The style-based variation considerably helps the realism needed in design pieces that take advantage of the contrast of two different handwriting fonts. Weight thickening in handwriting is an obvious mechanical effect that only happens with computers. Weight changing by replacing pens is what happens in the real world. Martie Pro and Martie Pro Bold each contain three different character sets in a single font. Language support includes Western, Central and Eastern European languages for all three sets. This translates into each Pro font containing over 750 characters. Add OpenType code and stir, and you have true handwriting fonts with versatility unavailable out there in anything else of the genre. A software program that supports OpenType features is needed to use the randomization coded in Martie Pro and Martie Pro Bold. Current versions of QuarkXpress and Adobe applications (Photoshop, Illlustrator, InDesign) do contain support for the randomization feature. But if you don't have one of these apps, you can still use the interchangeable Type 1 or True Type fonts and change the characters manually to achieve the appearance of true handwriting. The Martie fonts come in a variety of price packages, from the affordable single fonts to value-laden complete sets. All the proceeds from these fonts received by Canada Type will be donated 50/50 to two primary schools: One in Roanoke (where Martie teaches), and one in Toronto (where the 10-year old, real Canada Type boss goes). So next time a design project needs a handwriting font, do the write thing and use Martie to keep it real.

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

Get your Aussie on! The new typeface, Ainslie, with its mix of influences from Oz, makes its mark as the first semi-serif from insigne Design. Ainslie, named for Mt. Ainslie and Canberra’s inner suburb of the same name, was originally developed for the Canberra Australia Centennial Typeface Competition. Canberra is Australia’s capital, and it’s a planned city designed by American Walter Burley Griffin, a contemporary and one-time associate of Frank Lloyd Wright. Griffin’s plan involved a distinctly geometric design with several focal points--one of which was Mt. Ainslie. This same purely geometric scheme is now the basis for insigne’s new release. Similar to the Chatype project in its scope, its challenge, and the way its concept was developed, Ainslie incorporates influences from Canberra and surrounding areas to form a font that is uniquely Australian. In comparison, Chatype was developed for the city of Chattanooga, Tennessee by insigne in conjunction with designer Robbie de Villiers. Chatype took elements from Chattanooga’s industrial character and Cherokee past and merged them with the area’s technological influences. Likewise, Ainslie takes Canberra’s distinct, geometric design and blends it with the organic, flowing effect of aboriginal art. Add in touches from the smooth, aerodynamic design of the boomerang and Ainslie gives you a look uniquely Australian yet usable in a wide range of applications. The fashionable typeface includes a multitude of alternates that can be accessed in any OpenType-enabled application. These stylish alternates along with a number of swashes as well as meticulously refined details with ball terminals and alternate titling caps keep the font well accessorized. Also included are capital swash alternates, old style figures, and small caps. Peruse the PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. While Ainslie wasn't selected as the final font in the Canberra competition, the outcome allowed for additional adjustments to the typeface. Several approaches were attempted for the final product including a technological hexagonal concept, which may still be developed to another form later. Some of the organic forms were removed and substituted with more abrupt endings, leaving the face looking pretty spiffy and a fair bit more legible. In the end, Ainslie was pulled back to the basic forms from which it was started. Give it a go for your next project. It’s guaranteed to be anything but a barbeque stopper.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Solantra is a solidly crafted handwritten script. I’ve long felt that beautiful writing is more pleasing to the eye than the more attention grabbing swashes and flourishes. That being said, both have their role in design and Solantra has a large slice of each. Solantra combines vintage style handwriting with all its quirks and English Roundhand of that same era. The result is a solid setting script filled with charm and personality. With default Adobe Illustrator settings for Ligatures and Contextual Alternates active, the vintage charm is in full display. Want to add more flair? There are loads of more embellished letters inside the full version. Solantro takes into account how scripts are actually written so that connections from letter to letter are more fluid and rhythmic than the average script font. In natural script/handwriting most letters end at the bottom right and move up to connect with the next. Some letters like o, v, and w, however; end at the top right. Rather than force these letters to dip down and go back up they should ideally connect from that upper right point. This is accomplished through a series of alternate letters and ligatures with extensive contextual feature programming. So, for example, you might get one version of a ligature in the middle of a word and a different one at the beginning or end of that word. Solantra also takes into account another often overlooked feature of natural handwriting. When you write you inevitably pick your pen up from the paper at times. This is often just to reposition the hand, but in the days of writing with dip pens this was also needed to attain a fresh supply of ink. Having these occasional breaks in connections makes the writing less static and more rhythmic. While the Basic versions are limited to a standard character set and several ligatures and alternates for better settings of text, the full pro versions contains 1292 glyphs and an abundance of features. Even with numbers there are options like Oldstyle numbers, fractions, and ordinals. Central European language support is included as well as some select ligatures that use accents. To see more on the technical aspects and instructions on using Solantra, please check out the user’s guide in the Gallery section. **Note: The Pro versions of Solantra which do not have the word “Basic” attached to the title, have everything in them. So if you license a Pro version there is no need to get the Basic versions.

For much of the world, the last half of December encompasses the beginning of winter and the a season of gift-giving, marked by Hanukkah and Christmas. It is generally accepted that the tradition of giving of gifts at this time was begun by The Three Wisemen. As described in The Gospel According to Matthew, the wisemen, led by a star from a distant land to the east, found the baby Jesus. First, they worshipped him and then, "they presented him with gifts: gold, frankincense and myrrh." (Matthew 2:11). Thus began the tradition of celebrating the birth of Christ with the giving of gifts. There is a parallel tradition in the Jewish faith of the giving of gelt or gold at Hanakkuh to help support poor students, in keeping with the rich history of scholarship that is fundamental to the rabbinic system. Inevitably, in our secular culture, there has been a blending and a secularization of these traditions. The reasons have gotton lost in the “gimme.” What is often overlooked is what Paul realized when he told Timothy, “Neglect not the gift that is in thee.” The most importent gift is the gift inside of us, the gift of sacrificial love for others. When we let that gift be diminished in our minds amid the clutter of modern day material seeking, we can recall the prophesy of Micah over 2800 years ago, But thou, Bethlehem Ephratah, though thou be little among the thousands of Judah, yet out of thee shall he come forth unto me that is to be ruler in Israel: whose goings forth have been from of old, from everlasting." (Micah 5:2 KJV) Never underestimate the impact you have on others. Words of kindness can change people’s lives. The Talmud says that the highest form of wisdom is kindness. Be wise this holiday season. The font BETHLEHEM STAR was originally designed for the church to which I belong, The Star Bethlehem Church of Ansonia, Connecticut, USA and is based on the typeface Accent with the permission of URW++ of Hamburg, Germany. You might choose BETHLEHEM STAR for your personal greetings as well as for flyers and programs at your church this holiday season. Like most display fonts, it is most effective at 18 points and larger. Like most script fonts, it is most effective when set with both upper and lower case. All caps with this font is like eating two pieces of pecan pie — too much of a good thing.

Introducing Guyon Gazebo, the luxurious display font that will elevate your designs to new heights. Get ready to make a bold statement with its unique style, perfect for captivating headlines, branding that stands out, eye-catching promotional materials, or adding a touch of elegance as a stylish text overlay to any background image. With its high contrast strokes, slender stem, and pointed terminals, Guyon Gazebo exudes sophistication and charm. Let your creativity flow as you explore the extensive collection of standard and discretionary ligatures, ensuring your designs are irresistibly attractive and visually stunning. Embrace the jovial spirit of "Guyonan" as this font's name suggests, originating from the Javanese language. Inspired by the traditional rural gazebo, where locals gather to exchange jokes, Guyon Gazebo infuses a sense of lightheartedness into your designs. Included in the package are Guyon Gazebo Regular and Italic styles, along with a full set of basic Latin characters, ligatures, numerals, and punctuation marks, providing you with all the tools you need to bring your vision to life. Don't miss out on this opportunity to enhance your design projects with Guyon Gazebo. Take your typography to the next level and let your creativity shine. Get Guyon Gazebo today and unlock a world of endless possibilities. Ready to make a statement? Purchase Guyon Gazebo now and let your designs speak volumes! What’s included: Guyon Gazebo Regular & Italic Full set of basic Latin+ Ligatures Numeral & punctuation Multilingual Support: Afrikaans, Albanian, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Zulu. Typeface Story: The name "Guyon" derives from the Javanese language and is often associated with humor or joking. In rural areas, there is a traditional gazebo called "Cakruk" where locals gather in the afternoon or evening to exchange jokes (known as "guyonan"). This font's name pays homage to the jovial atmosphere found in these communal spaces. Thank you for choosing Guyon Gazebo! If you have any questions or need assistance, feel free to reach out to us. ------------------------------ Alifinart Studio alifinart@gmail.com www.alifinart.com Instagram | Behance

Handmade Mr Moustache™ is designed for Great Type. · Extra thin letters, condensed and with a handwritten touch, Mr Moustache gives a warm and friendly feeling to your layout. Mix upper- and lowercase letters according to your own liking. Furthermore, choose between a hand-drawn Unicase and an almost Unicase appearance. Use Mr Moustache Display for headlines and anything BIG. Use Mr Moustache Text for small type sizes or large volumes of text. · Mr Moustache is accompanied by frames, ornaments and dingbats in regular and solid, that can be layered for multicolored effects, providing endless design-possibilities. Please download MrMoustacheAccessories.pdf to get a complete overview. If you prefer the document in Indesign, please send an email to office@buerofliegenpilz.at · Mr Moustache offers OpenType features, including contextual alternates and stylistic sets. The font family works best with frame-based layout programs that support full OpenType functionality. · For Mr Moustache Frames please note: The glyph preview in your design application may be a bit confusing due to the size of the "letters". Please download the MrMoustacheAccessories.pdf which shows all possible frame parts. Here you can easily copy and paste all the parts you need. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for MrMoustache / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Introducing the unique family of COLORED fonts "Boldini" with minimalistic clean letters of a harmonious form in the style of modern POP culture. You no longer need to adjust the gradient for each letter, letters are immediately printed in gradient! Gradient fonts is perfect for headlines for fashion websites, magazines, and print design, and the basic solid font is suitable for branding boutique signs as well as for large amounts of text, because the font is very readable in a small size. Font family has two thicknesses - bold & regular, 6 gradient directions, gradient fonts also 2 type - with transparency and without transparency, as well as 2 basic monochrome fonts. Font consists of letters of the same height without division into uppercase and lowercase glyphs. *See also these fonts, which based on this family: Culoare & Anaglyph. Which means that if necessary you can combine these families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Such color combinations in gradients are universal and very convenient for repainting. IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. Try to experiment, it is so interesting and very easy! ld.luxfont@gmail.com

A Neogothic typeface that radiates trendy ease and allows bicolor compositions. The decorative elements of Aeronaut, the swashes we call parachutes and the squiggly arrows of the upper-case characters soften the font’s Gothic appearance. It’s the reason why we labeled it a “Neogothic typeface that radiates trendy ease.” Make it as modern as you like it to be. · Aeronaut-Base combined with Aeronaut-Parachute allows bicolor compositions. Simply place them on top of each other to create playful, two-colored headlines. Aeronaut-Balloon is similar to Aeronaut-Parachute but offers even longer swashes. AeronautPlain is similar to Aeronaut-Base but works as a complete font on its own (as it contains all punctuation). We abandoned the swashes of the upper-case characters to keep the font pure and straight. · The glyphs of Aeronaut are derived from Textualis also known as Textura or Gothic Bookhand. Textualis represented the most calligraphic form of blackletter types and is today regarded as quintessentially Gothic. Aeronaut has been inspired by Kirchengotische Schrift, a font that can be found in a German font book from 1879 entitled Vorlegeblätter für Firmenschreiber. As its name suggests, it was designed for religious publications. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Aeronaut / 175 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

MarshmallowPopHeart is a cute font that imagined a sweet marshmallow. Since hearts are mingled in various places such as voiced points and parts of kanji(chinese characters), it may be fun to look for it. Because the heart is missing, it is recommended for when you want to designing cute. I think whether it's good for contents for young ladies. Because it is a thick font, it may be good to use it for headlines and where you want to make it stand out. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think it's better to become a font that makes people who use or watch them fluffy and feel happy like when eating a pastel colorful sweet marshmallow. ＜「ましゅまろポップ　ハート」紹介文＞ ぷにぷにの丸っこい甘いマシュマロをイメージしたかわいいフォントです。 濁点や漢字の一部など、色んな場所にハートが紛れ込んでいるので、探してみるのも楽しいかもしれません。 ハートが紛れ込んでいるので、かわいくデザインしたい場合などにオススメです。 若い女性向けコンテンツにもいいかと思います。 太めのフォントなので、見出しや目立たせたい所に使うのも良いかも知れません。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字を収録、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）してますので、使い勝手も良いかと思います。 パステルカラーのカラフルな甘いマシュマロを食べる時みたいに、使ったり見てくださる方がふわふわ幸せな気持ちになれるフォントになればいいなぁ…と思います。 ＜スタイルカテゴリー＞ ファンシー、装飾

Minicomputer is an exceptional typeface that pays homage to the antique look of computer fonts from the mid-20th century. It is a magnetic ink typeface, characterized by a versatile range of seven weights and italics, which is perfect for graphic design themes. Minicomputer also includes OpenType fractions and numeric ordinals, as well as an array of mathematical symbols that can add depth to any design. With its OpenType old-style numerals feature, Minicomputer enables users to evoke the original MICR E-13B numerals, the very numerals that were once used in bank checks. Back in the 1950s, the MICR E-13B numerals were printed in magnetic ink and were associated with the innovative technology of the time. But that didn’t stop Leo Maggs from creating Westminster, a typeface that emulated the look of the MICR E-13B. Soon after, dozens of magnetic typefaces appeared and quickly became fashionable. By the 1980s, home computers emerged, and the once fashionable magnetic typefaces became outdated. They were replaced with pixel fonts and dot matrix typefaces, which gave a fresh look to digital designs. However, designers today are reviving the magnetic typeface trend in a new context. Magnetic typefaces are now associated with a vintage look that has a unique and synthetic feel and an association with 1960s fashion trends. Despite the half-century since the first magnetic typefaces appeared, designers had limited choices when it came to using them, mainly having to rely on digitized versions of analog fonts from the 1990s. Minicomputer offers an exciting and modern take on the magnetic ink typeface and is a must-have for any designer or writer looking to add a touch of the past to their work. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.