Say hi to “Metalsmith” font family, a stylish custom culture typeface. Started from the enthusiasm of custom motorcycles, artsy looks of hand made typefaces & illustrations, along with the freedom vibes that came with it, become the first motivation in making this Metalsmith typeface. Packed up with three styles font; regular Clean, Ink Paint & Vintage textured. Italic version on each styles are included. There are 655 glyphs on each styles font including Stylistic sets, Discretionary Ligatures, Standard Ligatures, Contextual Alternates etc. Powered with OpenType features that allows you to mix and match pairs of letters to fit into your design.

Taio Handwritten Greek Font is a handwritten display font. 100% handcrafted with a marker, digitized, and turned into a font. Of course, the font supports a full set of Greek characters and an extended Latin character set with diacritics. Τhis typeface can be your next typeface for your graphic design needs. From “hand-written” quotes to product packaging, merchandise, and branding projects, this font is so easy to use that it can cover them all. Also, it can be used on social media content, for branding, poster design, for “hand-written” quotes and any other kind of product packaging.

SK Fushimi is an accidental experimental font inspired by modern Japanese culture and aesthetics. Its futuristic geometric shapes, on the one hand, follow the spirit of the time of the land of the rising sun, and on the other hand, they make homage to technology. Like Japanese culture, the SK Fushimi font plastic fits perfectly into many areas of graphic design, supporting and complementing any graphic solutions. In addition, this font supports a multilingual set of more than fifty characters, including Cyrillic and Latin alphabets. Unusual in all respects, the font is perfect for the same unusual design or will make it so!

British designer Jeremy Tankard began Blue Island in 1996 with the idea of creating a completely ligature-based roman typeface, an original but complex task that took years to realize. Individually, Blue Island's letters can appear a bit dismembered, but when set together, they are clearly transformed into words which fall in waves down the page. Successfully balancing readability with intriguing decorative forms, Blue Island is especially effective for titling. As for its romantic name, Blue Island is the title of a poem, also by Tankard, which evokes notions of freedom, escape, intrigue, and the undulating beauty of the sea.

Ds Hand Font Family is a handwritten font designed by Tom Nikosey, based on Danielle Nikosey’s printing style. Tom is an American Graphic Designer specializing in Typographic Design and Illustration. Ds Hand is available in Regular & Bold weights CozyFonts Foundry is Tom's intro into the world of font design. Ds Hand Family is a tribute and gift to his daughter. Ds Hand, at first glance, gives a hand drawn aesthetic feel but on closer inspection, when set as text, this font gives off a cool, organized, legibly organic read. Also available in Bold. This is the 5th Hand Drawn Font Family from CozyFonts!

You're trapped in an endless now... seconds seem to be stretching out interminably... There’s an eternity between every tick, every tock of the clock... Your consciousness is stretched to the limit as time is expanded to fill the void between each microsecond. There’s a signpost up ahead... the letters appear to stretch into infinity. Anyone know the name of the font it’s set in? See the families related to Temporal Shift & Gap Expanded: Temporal Shift & Gap & Temporal Shift & Gap Compressed Features Four fonts (Shift Regular, Shift Bold, Gap Regular & Gap Bold) with upper and lowercase characters.

Jantan is a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more. The alternative characters were divided into several OpenType features such as Stylistic Alternates, and Ligatures. The OpenType features can be accessed by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer.

Be Bright is a sweet elegant handbrushed calligraphy font. It has a varying baseline with separate swashes that can be applied to the beginning and ends of all lowercase letters. Painted on paper, then scanned, vectorized and carefully made into a font. Be Bright includes several ligatures and international support for most western languages. For the separate swashes font, type lowercase a-z for the beginning swashes and end swashes (access to the glyphs panel is not available, just add swashes manually). The font is perfect for branding, logos, greeting cards, wedding stationery, quotes and more.

Agfolan is a layered script font with autumn or Fall theme, use it to create spectacular designs. Combine it with Agfolan - Extrude to make an amazing 3D effect on your letter! Agfolan perfect for Autumn or Fall promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Multilingual Support - Made it into separated file to make it easier to use by beginner & separated file user can use the font with software which doesn't accept open type features. --- Hope you enjoy with our font! Attype Studio

Introducing "Dirty Seven" - A Retro Serif Font. Step into the nostalgia of yesteryear with "Dirty Seven," a retro serif font that pays homage to the timeless charm of vintage typography. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes, etc. This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like "M" and "l"; the former seemed to be squeezed into the same width of all letters and the second one appeared way too stretched. Despite - or perhaps because of - the impression of the typewriter it is still popular with Graphic Designers. The Ingrid Mono font family with a high range of glyphs and symbols has that special appearance.

Worn Gothic, a typeface from the Grit History™ B family, creates rock solid text-- characters that are weathered, defined and strong, like the body of a gargoyle. Worn Gothic is rugged but legible, whose words stay firmly liquid, like dates stamped in concrete. Disjointed K legs create an unnerving look that makes you stare into the structure of the type. Oddities like this complement the integrity of its fluctuating strokes and consistent X-Height. It offers a few stylistic alternates to maintain readability at any size, in many languages. Worn Gothic offers full Greek character support as well as all punctuation.

Disco lives on in the alphabet stylings of Reardon AOE. From its uber-fat letterforms to its hole punched counters, Reardon AOE started as a digitization of a film typeface called Joyce Black by LetterGraphics. This flashback typestyle was taken from its limited A-Z and numerals set and fleshed out to include an expanded language glyph set. Reardon AOE finds itself thrown into a late 70’s-early 80’s flashback frame of mind, appealing to all of the disco and video game typography of that time, ready to throw down the vibe for your designs.

Inspired by vintage books and the pages within, Appareo is an imperfect, worn serif font that comes in three weights. Each weight has a varying degree of distress, from Black, in which the press and ink fully set into the page, to Medium, Light and Extralight, where the texture is heaviest. Each weight also has a custom italics version of each character. To fully give the authentic feel of worn pages of dusty books, Appareo has 5 character variations. Appareo also has a set of graphic elements, including frame, banners, borders, arrows, etc in the same style and texture.

Hand-hewn along the banks of the mighty River Raisin in Southeast Michigan, this heavy block typeface is the perfect addition to any design project in need of a stout, yet fun typographical treatment. Before this font made its journey into the outside world, it began its life as a 4B pencil sketch on cheap inkjet printer paper, as many of my projects do. This typeface, not unlike me, doesn't waste its time with finesse, or convention, and truly doesn't mind being a little bit on the thick side. There is a time for refinement and propriety, but this ain't it.

Introducing "Ilyra" - A Modern Calligraphy Script Font. Step into the world of modern elegance with "Ilyra," a sophisticated calligraphy script font that seamlessly blends classic charm with contemporary flair. There's some connected letters and some alternates that suitable for any graphic designs such as branding materials, t-shirt, print, business cards, logo, poster, t-shirt, photography, quotes .etc This font support for some multilingual. Also contains uppercase A-Z and lowercase a-z, alternate character, numbers 0-9, and some punctuation. If you need help, just write me! Thanks so much for checking out my shop!

Philip Bouwsma makes use of his extensive calligraphy and type design experience by reaching into his vault and completing one of his unfinished projects from the mid-1990s. The result is Styx, a four-font connected-script family, with rough and smooth variations, each containing two sets of majuscules and plenty of alternates sprinkled throughout the character map. The Styx family comes in all popular font formats, and includes an extended range of language support covering Western and Central/Eastern European languages, Turkish, Baltic, Esperanto and Celtic/Welsh. The OpenType fonts contain both flat and class-based kerning.

Sarthane is a layered script font with swash style perfect for wedding designs. Combine it with Sarthane - Extrude & special Character "{" & "}" to make an amazing 3D effect on your letter! Sarthane perfect for wedding promotion, branding, logo, invitation, stationery, social media post, product packaging, merchandise, blog design, game titles, cute style design, Book/Cover Title and more. What's Included : - Sarthane Family Font - Layered Font - Ligatures - Multilingual Support - Made it into separated file to make it easier to use by beginner & separated file user can use the font with software which doesn't accept open type features. --- Hope you enjoy with our font! Attype Studio

Malmö Sans was born from the preconception that geometry is neutral, and neutral fonts have a wide application window. No ornaments, no quirks – just clean. Design process: establishing the main proportions, grids and library of geometric shapes. However, people are not math, people are not built from grids. We are irregular, not always logical, and, foremost, we are human. So: humanisation – define parts and areas, and make the needed adjustments to shapes and forms, although being mathematically correct. Basically, changing it into something that pleases the eye. Much effort has been made to achieve equal parts minimalism, aesthetics and legibility.

Xaver Nature is inspired by nature. Thus, it is characterized by curves and dynamic thickness of the stroke. At the same time, all letters are anchored on the baseline, which makes the font look calm despite its organic appearance. The Schrit contains two weights: a basic weight that guarantees great legibility even in small sizes. A decorative cut that integrates plants into the typeface as decorative elements. This is particularly suitable for headlines and titles. Furthermore, it offers language support for the entire European region, the North American region, as well as for South America and Oceania.

Ranille is a modern, classy, bold serif and display font. It includes a great number of of alternates and ligatures. Ranille is inspired by retro curves style from the 50-60s era and brings it into modern design with bold weight. Ranille comes with over 200+ alternative characters (PUA Encoded) that give you a wide range of typographic design results. Ranille is a versatile font that ready to make your designs more stand out such as posters, magazines, branding, logos, label, merchandise, presentation, advertising, cards, quotes and so much more! Check out Novante which is a great pair for Ranille.

Each character of Dog Eared began its life as a half-inch wide strip of paper, folded and Scotch-taped into formation, and then scanned and recreated digitally. Dog Eared is distinguished from other folded paper style typefaces by its robustness and versatility: each numeral and upper- and lowercase letter has a stylistic alternate. Dog Eared Striped is a traditional single color font, while Dog Eared Solid is a chromatic variant that can be used for a two-toned effect. Layer and multiply Dog Eared Striped and Dog Eared Solid together to achieve even more color variety.

According to Wikipedia, a "clip joint" is an establishment, usually a strip club or night club (often claiming to offer adult entertainment or bottle service) in which customers are tricked into paying excessive amounts of money, for surprisingly low-grade goods or services - or sometimes, nothing - in return. These establishments were rampant during the prohibition years. However, the inspiration for Clip Joint JNL comes from a more positive source - a WPA (Works Progress Administration) poster advertising "The Lure of the National Parks". A bold, classic Art Deco design, it typifies the modern and streamlined approach to lettering in the 1930s and 1940s.

Sheet music at the beginning of the 20th Century reflects both the musical and artistic tastes of the times in often colorful ways. It seemed to be a favorite thing amongst songwriters of that era to come up with very wordy song titles. The cover of the sheet music for 1907’s “Every Little Bit Added to What You’ve Got Makes Just A Little Bit More” checks in at fourteen words, but the hand lettered title (done in an Art Nouveau style) made it worthy of transposition into a digital type face. Nouveau Years JNL is available in both regular and oblique versions.

Grimmig draws inspiration from solid and angular blackletter shapes and the idea of cutting letters out of paper. The interaction between curves, sharp edges, and partially unconventional serif placement makes it an excellent typeface for impactful headlines. The vivid details fade into the background in smaller sizes and provide an enjoyable reading experience for continuous text. Open counters and a large x-height contribute to Grimmig’s legibility in text sizes. It was developed as part of the MA Typeface Design in the University of Reading but had started before as a graduation project for Tamara Pilz.

Surpassing traditional Antiqua, our new collaborative font family Audela emerges after overcoming time, national borders, language differences, cultural gaps, and professional challenges. Starting off as an exercise project of our very first intern Léa Bruneau in 2018, Audela slowly shaped into a full-fledged elegant serif typeface of 14 styles under the watchful eye of Plamen Motev, Fontfabric’s Type Director. Three years later, Audela is internally regarded as a breaker of limits earning its name from the French “au-delà,” meaning “beyond.” This new rising star features sharp serifs, flowing letterforms, advanced OpenType features, Extended Latin and Cyrillic support, to name a few.

Mix Basic is just your basic everyday handwriting. This was written initially on a post-it using a fine tip Frixion pen. The font was then digitized, cleaned up, and converted into a font. Since this is basically your everyday handwriting, it has a multitude of creative applications. Think label design, greeting cards, social media quotes, handwritten notes replication, and more. Use as you please! Mix Basic includes the following characters: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@$#%^&*()`~•· ÷×+−±≈=≠≥≤[]<>:;’”,.\|/?{}“”‘’-–—_…©®‹›«»°¹²³¡¿₱¢€£¥§† ÁÀÂÄÃÅĂĀĄÆĆĈČÇÐĐÉÈÊËĖĒĘĜĤIÍÌÎÏĪĮĴŁŃÑŇ ÓÒÔÖÕŌŐØŒŔŘŚŜŠȘŤȚÚÙÛÜŮŰŬŪŲẂẀŴÝŶŸŹẐŽŻÞ áàâäãåăāąæćĉčçðđéèêëėēęĝĥıíìîïīįĵłńñň óòôöõōőøœŕřśŝšșťțúùûüůűŭūųẃẁŵýŷÿźẑžżþ Alternates/Ligatures for: & R a e i m o u y ee mm nn oo rr tt

Billowed is a typeface family inspired by a simple shape that tessellates in three different ways: in a single orientation, in two orientations, and in four orientations. The shape resembles a billowing sail, with two concave edges that are adjacent and two convex edges, also adjacent. Forcing letters into this template shape results in some oddly shaped letters, but the result should not be judged by individual letters but by how the words and strings of words appear. Billowed was designed as an alternating-letter font in which two sets of characters alternate. The alternating is done automatically in applications that support the OpenType feature contextual alternatives (calt). To get the ripple pattern not just horizontally but also vertically, lines should alternate between the right and left styles and leading set to the same value as the font size. Billowed is monospaced with tight letter spacing to accentuate the ripple pattern. The family includes outline styles that can be used in a layer above the solid style to add color. Undulate was not designed for any particular use but as a challenge to fit letters into a particular geometric shape. The unusual patterns that result are eye-catching and may be useful for advertising or signage and in other places where one wants attention-grabbing lettering.

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

Ciseaux Matisse was inspired by the exhibition Drawing With Scissors, which I visited at the Kunsthalle Schirn in my hometown of Frankfurt am Main in 2003 and the book Jazz published in 1947 by Henri Matisse. Admittedly, before that time I wasn’t a fan of Matisse’s work, neither his late nor the early work. That definitely changed after the exhibition. While his motifs have been overused on postcards and mouspads, in front of the originals you forget those tiny pictures. Some of the works were massive—larger than 24ft. By cutting directly into the color Matisse created shapes with strong dynamics. Years later, in 2007, I used that inspiration to cut an exclusive font for a newspaper that I designed at that time (see Gallery Pictures). Later I developed that font into the four styles featured here. The cut-out style is a paper cutout; boxed is the paper background. Both linear and boxed linear have no curved outlines, so they are more aggressive. As drawing with scissors implies, all characters are cut by hand. With only uppercase letters, this font is designed for editorial use: headlines, slogans in ads, or musical usage in posters and flyers that need the little touch of the jazz scissors. In special cases the lowercase letters contain alternate shapes to the uppercase forms.

Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century. Although Celtic lettering evolved on its own and prompted different calligraphic styles after the crusades, elements of the Arabic influence survived with it, its appeal remaining evident to this very day. For instance, this kind of lettering is very similar to the one Louis Tiffany used to make the most recognizable athletic insignia in North America - the New York Yankees logo, which is now over 110 years old, and has inspired hundreds of spin-offs in many athletic and non-athletic fields all over the world. The original character set made by Kausche was quite minimal, consisting of only numerals and uppercase letters along with a few alternates. But in this digital version the set has been considerably expanded into uppercase, lowercase, numerals, punctuation, a complete set of accented characters, and more than 15 alternate letters built into the font. Sultan is a great font choice particularly for design contexts of fantasy, middle ages legend, mystical and new age content, pirate literature, and Irish history. But it is also an excellent all-purpose display and poster font in general.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set with full support for three language scripts. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Nova Quinta is a breathtaking, enchanting formal script font that weaves an air of magic and sophistication into your designs. With its delightful swirls and exquisite swashes, this font radiates a lovely charm, perfect for adorning wine labels, farm produce packaging, and luxury branding. Imagine your design coming to life with the genuine elegance of Nova Quinta, transforming your work into an enchanting piece of art. The font's irresistible beauty and decorative allure make it a dreamy choice for projects that require a touch of refinement and grace. The Nova Quinta font family includes four mesmerizing styles to suit various design needs: Regular: A gracefully balanced, enchanting style Bold: A more assertive and captivating presence Italic: A whimsical dance of flourishes and movement Bold Italic: The perfect blend of boldness and flair Unleash your creativity with the advanced OpenType functionality of Nova Quinta. This font family ensures top-notch quality and provides you with full control and customizability. It includes stylistic and contextual alternates, ligatures, and other features to make your designs a vibrant, one-of-a-kind masterpiece. Nova Quinta embraces an extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all the characters and symbols you'll ever need, including all punctuation and numbers.

The idea of Limes emerged at the seashore last year in late summer. Getting ready in advance for a dark winter, we've decided to design a special fontfamily which would bring a bit of vitamins and summer sun into the rough everyday routine and help us survive the cold winter. Limes is both a dream of the sun while it’s gone and a refreshing breeze for the time when it finally gets warm! Limes is a completely handwritten fontfamily and consists of 23 typefaces. To create Limes Sans and Limes Slab families, we've used regular watercolor brushes, and to create monolinear Limes Script, as well as for Catchwords and Dingbats, we've used a felt-tip pen with circular section. Limes Sans and Limes Slabs fonts work perfectly together with Limes Script due to the general handwritten idea, as well as due to the widths contrast – despite its width, Limes Script mixes well with narrower opponents and adds a bit of human spontaneity into the general handwritten concept. The Limes collection includes: Limes Sans (Thin, Light, Regular, Bold, Black & italics), Limes Slab (Thin, Light, Regular, Bold, Black & italics), Limes Script, Catchwords and Dingbats. Limes Sans and Limes Slab widely support OT features: tnum, ordn, frac, case, numr, dnom, subs, sups, and Limes Script uses a large number of context alternatives.

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

Embark on a journey of refined typography with the Elio & Oliver Font Family v2, an exquisite upgrade that seamlessly integrates italics into its nine meticulously crafted weights, so you will get 18 fonts, 9 weights - from Thin to Black, and an italics version for each of them. Inspired by the timeless elegance and undeniable allure of Italy, this sans serif typeface captures the essence of sophistication and refinement, now enhanced with a touch of expressive flair. Italic Magnificence - A Symphony of Style The new italics bring a captivating dimension to the Elio & Oliver family, adding a graceful fluidity and dynamic rhythm to your designs. Each italic weight complements its corresponding roman counterpart, creating a cohesive and harmonious visual aesthetic. Unveiling the Full Spectrum of Elegance From the delicate Ultra Light to the bold intensity of Black, Elio & Oliver v2 offers an expansive range of weights, allowing you to tailor your designs to any project or mood. Whether you're crafting elegant editorial layouts, crafting impactful branding materials, or crafting sophisticated digital interfaces, this font family seamlessly adapts to your creative vision. Language Versatility for Global Impact Recognizing the power of language diversity, Elio & Oliver v2 boasts full language support, enabling you to communicate your message effectively to a global audience. With seamless compatibility across English, Italian, French, Spanish, and beyond, this font embraces the richness and cultural nuances of diverse languages. Captivate Attention, Leave a Lasting Impression Elio & Oliver v2 elevates your creative projects to new heights of sophistication, infusing them with an aura of refined elegance. Its graceful curves, captivating italics, and versatile weights will effortlessly capture attention and leave a lasting impression on viewers. Step into the Realm of Timeless Design Immerse yourself in the world of Elio & Oliver v2, where every letter narrates a story and every curve embodies the essence of impeccable design. Let the spirit of Italian chicness and timeless elegance guide your creative endeavors. Unleash the Power of Elio & Oliver v2 and Elevate Your Designs Discover Elio & Oliver v2 and transform your creative projects into masterpieces of timeless elegance. Join the ranks of designers who elevate their work with this exquisite typeface and unleash the power of sophisticated typography. Happy creating everyone!

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.