Ramolina Script is an elegant calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Ramolina is attractive like a smooth, elegant, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, certificate, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, badges etc. Ramolina Script features 400+ glyphs and 200+ alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program 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 stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "megatype04@gmail.com" Thank you for your purchase & Happy Designing!

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Times New Roman World Version is an extension of the original Times New Roman with several other scripts like with the Helvetica World fonts. It is part of the Windows Vista system. The following code pages are supported:1250 Latin 2: Eastern European 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic Note: The Roman and Bold versions include the arabic scripts but they are not part in the corresponding italic versions. 1257 Windows Baltic 1258 Windows Vietnamese

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

Created by Swedish designer Bo Berndal in 1999, Linotype Dala Text can best be described as a softer, friendlier blackletter. Blackletter refers to typefaces that evolve out of Northern Europe's medieval manuscript tradition. Often called gothic, or Old English, these letters are identified by the traces of the wide-nibbed pen stroke within their forms. Linotype Dala Text most resembles the fraktur type of blackletter. Fraktur types were popular text faces in Northern Europe until the 20th century. Inspired by Swedish folklore, this fraktur is much softer and rounder than most examples. Its connection to the Scandinavian folkloric tradition makes Linotype Dala perfectly suited for such texts as fairy tales, medieval stories, and other things that might appeal to a child's sense of adventure. To strengthen the medieval fairy tale look, use Linotype Dala Text together with other elements of the Linotype Dala family: Library's Linotype Dala Pict and Linotype Dala Border. The characters in these two supplementary fonts were inspired by medieval and renaissance folk art, and were also drawn by Bo Berndal, making them a perfect match. All three styles of the Linotype Dala Family are part of the Take Type 4 collection from Linotype GmbH."

The Catalpa font family is José Scaglione and Veronika Burian’s wood type inspired design for an overwhelming headline presence. It has no regular weights, only four slender and four hulking weights. Catalpa wasn’t made to be normal; it was made to overwhelm, to stand out, to bellow. Catalpa is the first font family within a trilogy that will be released through 2020. Each of the three have a distinct purpose and their own look, but they serve a common goal: to act as a complete family covering an editorial’s wide array of needs. As the first of the three, Catalpa is the bookend font family with a headlining purpose. What requirements are there for a great headline typeface? Distinction, weight, and cohesiveness are a good start. Its distinctiveness must catch attention, it must have a range of weights applicable to its purpose, and its internal consistency and external look must create a cohesive family. Catalpa is a distinct and unified family whose weights are attuned to its single-minded purpose — headlines and large text. Catalpa has only eight styles that are divided into two ranges of weights — four very light weights (Hairline, Thin, Extralight, and Light ) and four very bold ones (Extrabold, Heavy, Black, and Extrablack). The thin and heavy ends of the spectrum also have their own variable fonts, each with one axis of weight so designers can fine-tune their work. The geometric influence of the design is more obvious in the light range, with their line thickness increasing in the classical manner. The bold weights increase more in width and substance to serve well in websites, mobile apps, posters, advertisements, and magazines that aim for impact more than spreading information. As a family, Catalpa gels in big headlines, short sentences, and isolated words. The family has many recognizable features, in the bolder weights especially, like the reversed contrast ‘S, s’ or the angular design of ‘Q, M, W, w, a, f, 2, 3’. Catalpa’s headlining mixture of geometry and quirkiness leaves an impression that is so characteristic of wood type, but designed for substrates and screens.

Have you ever used a handwritten font on your design project? Have you ever felt bored or dissatisfied with its glyphs style that looks stiff and doesn't flow even doesn't really characterize the peculiarities of a handwritten font? Or fonts that don't have alternative glyphs so they look monotonous in a word or even sentence. And in the end, it makes your projects so far from your expectations, even your clients. It's so frustrating, isn't it? Just wake up from your dissatisfaction and this is your time to make a good choice for your design project. So, we have a solution to fix it. We introduce 'Stylish Classy' just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 's' that has a flow sketch with letter 't', you can find it in 'st' ligature glyph. So if you really want a so natural and flowing touch in your project, Stylish Classy Font gives you 210 Natural Ligatures ( combining of two or more letters in a glyph ), Two Alternates, and Slant Version. Stylish Classy is a fashionable handwritten script font and obviously it's so Stylish and Classy :) Stylish Classy Font offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, wedding designs, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image. - Included Languages support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, German, Icelandic, Indonesian, Italian, Norwegian, Malay, Portuguese, Spanish, Swedish, Zulu. - All Natural Ligatures (210 Glyphs): Bh Cl Cr Cs Ct Cy Hy Jh Ji Kh Kl Lo My Mrs Mr Mt Si Sl Sp Sp St St1 St2 St3 Ul1 Un1 Ut1 Ul Un Ut Wh Yo aa ab ab1 ab2 ak1 all ant app arr art ask ast at at2 at3 at4 att af ah aj ak ak1 al al1 an ap ap ar av bb1 bb cc ch ck co ct dd ever ee1 ee2 ent er1 err ett ee ek el en er es et ff1 ff2 ful ff fi gg1 gh gh2 ght gn1 gf gg gh gi gl gn hh ight ill1 ill2 it's itt1 if1 ill ion ism it1 it2 ith itt ity if ii il it jj1 jj kk ll1 ll2 la lh ll most nt oll on2 on1 op1 ops or1 orr oth ous of oh ok ol om on oo op or ot ow ox oz ph pp pt rk1 rta rk rr rt sl1 sl2 sl3 ss1 ss2 st1 st2 st3 st4 st5 st sh si sl sp ss st the tt1 tt2 th to tt tv ty ull ure ut1 ut2 ut3 us ut ve vs wh wt yl1 yl2 yl3 you yr yr2 yl yn yr mm1 mm2 mm3 mm ms nn1 nn -Swash on pictures are not included

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

“Kindah” is a Yemeni ancient tribe with evidence of its existence going back to the second century B.C.E. The kings of Kindah exercised an influence over a number of associated tribes more by personal prestige than by coercive settled authority. The Kindites were polytheistic until the 6th century CE, with evidence of rituals dedicated to the gods Athtar and Kahil found in their ancient capital in south-central Arabia. It is not clear whether they converted to Judaism or remained pagan, but there is a strong archaeological evidence that they were among the tribes in Dhu Nuwas' forces during the Jewish king’s attempt to suppress Christianity in Yemen. They converted to Islam in the mid-7th century CE and played a crucial role during the Muslims' conquests of their surroundings. Among the most famous figures from Kindah known as Kindites are Imru' al-Qays (526-565?), al-Ash'ath ibn Qays (599-661), Hujr ibn 'Adi al-Kindi (?-660), al-Miqdad Ibn Aswad al-Kindi (589-653), and Abu Yusuf Yaíqub ibn Ishaq as-Sabbah al-Kindi (805-873) known as the Philosopher of the Arabs. "Kindah" font is a modern Kufic font comes in three weights (i.e., bold, regular, and thin) which is mainly designed to be used as a display Arabic font. The main feature of this typeface is the mixture of curves and rectangular shapes used in the designed Arabic characters. Kindah font was inspired by the design of the Yemeni modern windows of houses in which only top part of the arc is used for building such windows which reflects the originality of the architecture preserved in this part of the world. "Kindah" font is extremely outstanding when used in printed materials with big sizes especially for headline, titles, signs, and names of brands. Hence, it is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It has also a Latin character set and it also supports several Arabic character sets which makes it proper for composing alphabetical and numerical words in Arabic, Urdu, and Persian.

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.

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.

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!

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Juan Bruce’s Noort is not a type family for wayfinding or mapmaking alone, but for clarifying information and engaging readers along their own journey. The information designer’s role is to bring clarity and style to overwhelming amounts of information, which fortunately is Noort’s purpose as well. Hierarchies submit to its will and layering colour only adds more presence to its active posture. Noort’s design uses the proven editorial text features of a large x-height, ample spacing, and low contrast to check all the boxes for paragraph text use. But it’s the long serifs, wide characters, and overall typographic presence that make it resilient and ease the task of reading in small point sizes. These details mean Noort is able to demonstrate importance not only with its five pitch-perfect weights, but with its brindled colour within a layout. Noort’s roman and italic styles play off each other by transplanting their design features. The roman style’s serifs are transferred in substance but expectedly increased in speed in the italic styles. And the italic’s inktraps and separated strokes are echoed amidst the roman’s upright structure. Where digitisation could have removed the influence of the hand, Noort retains the analogue nature of its creation. This antiphonal seeding of details creates a cohesive family that is as fascinating as it is functional. Noort’s axis and serifs have a slightly varying ductus — the directional flow that aids reading and character clarity. Its latent obviousness in text sizes immediately becomes its signature style when bumped up to subhead sizes. And since Noort’s counters are so wide and welcoming, its heavier weights can expand more within themselves than along their exterior edges. Noort’s ten total fonts cover the Latin A Extended glyph set to bring its unbordered, globetrotting sensibilities to your projects. OpenType features include ligatures, fractions, and several figure styles, along with mature-rather-than-overbearing swashes. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noort family can set digital and printed works with ease, capitalising on the dual needs of clear information and fascinating textual artistry.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

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.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

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.

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

Karl-Heinz Lange presented his first drafts of Rotola during a Typoart® type design competition in 1985 under the name "Boutique". A year later, Norbert du Vinage, former manager of the type design department, integrated "Boutique" in his production plan. Due the Fall of the Wall, it took about 18 years until Lange finished this font family in cooperation with Elsner+Flake. Karl-Heinz Lange was born on July 29, 1929 in Wiesenkirch in West Prussia. He was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. He worked on a variety of assignments, one of which was the design of trick films. From 1969 to 1976 he took the position of Artistic Director of the Henschelverlag, Berlin; from 1976 to 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin; and, until 2004, he taught at various institutes for advanced professional education. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal. Karl-Heinz Lange was awarded the second prize at the "International Type Design Contest 1971" for a headline typeface, and, in 1984, at the XI. Biannual of Graphic Design in Brno, he won a Silver Medal for the design of his typeface family Publica. He created the telephone book typeface Minima and re-designed the Typoart Super Grotesk® (Arno Drescher, 1930) as well as the Newspaper typeface Magna® by Herbert Thannhaeuser for the use on digital typesetting systems. To the day of his death on June 29, 2010, Karl-Heinz Lange lived and worked as a type designer. Among others, he closely followed the designs of the typefaces which were developed under his guidance for Typoart®: "Publica®", "Typoart Super Grotesk®" and "Minima®" which he launched as "Publicala", "Minimala" and "Superla" in 2009. In cooperation with Elsner+Flake, he developed the Typeface family "Rotola" between 2006 and 2009 as well as the script families of the "Viabella®" series. To the end, he followed the development of his first typeface, the "Diplom Antiqua", which he also wanted to bring to market together with Elsner+Flake.