Brave Hunter is a meticulously designed modern serif font that aims to elevate the professional and luxurious look of your design projects. Its clean and elegant style makes it a perfect fit for headlines, logos, and branding. This font comes in both regular and italic variants, allowing you to mix and match them to create a consistent and coherent look. With its unique and memorable characters, Brave Hunter strengthens your brand identity and conveys a professional and trustworthy impression. With high quality and comprehensive OpenType features, Brave Hunter offers flexibility in design and ensures consistent quality output across various media. Whether you're looking for a font for web design, print, or social media, Brave Hunter is ready to help you enhance the quality of your design. With Brave Hunter font, you can create elegant, professional, and upscale designs that will enhance your brand image and make it more trustworthy. Don't hesitate to choose Brave Hunter for any of your design projects that require a modern and professional serif font.

A long lost Art Nouveau wood type from the Hamilton Museum Collection evokes the excesses of Victorian design and the equally quirky 1960s Psychedelic era revival of the Victorian type styles. Free flowing organic designs that flourished with Art Nouveau in the late 1800s were directly referenced and further distorted with with phototype in the late 1960s. This design, known as Arabesque, was produced by the Morgans & Wilcox Co. and the Wm. Page Co. as almost identical designs. Both manufacturers were acquired by Hamilton and offered briefly by Hamilton as design #618. This curious wood type defies most of the basic tenets of type design and what comes to mind when one thinks "wood type". Many characters have a lively eccentricity that were all left true to the original design. Additional characters were designed to fill out the standard range of characters found in digital fonts. This font includes over 280 characters for full unicode support of Western and Central European Latin characters.

Trapped home during the Coronavirus outburst of March 2020 the Zetafonts team found some solace from the world-wide anxiety by designing letters for the #36daysoftype challenge. To fight dark thoughts and spread some good karma we decided to add a free font twist, selecting the best glyphs drawn to develop a collection of ten free typefaces for download. We did our best to make this little gift to the community valuable, though developed in record time: although playful and excessive, these typefaces all stem from our current research in contemporary trends and historical design solutions, bridging calligraphy and design. The typefaces have been published daily starting Monday, March 30. You can download and use the typefaces in any way you desire, as they are totally free for commercial and non-commercial use. We are not asking anything back, but feel free to share the good karma and, if you want, please consider a donation for hospitals.

Aptifer Sans and Aptifer Slab are two 21st century typeface families created by Mårten Thavenius. Each family has seven weights, in roman and italic respectively, making 28 font styles in total. A heritage from two design traditions can be seen in Aptifer. One is the robust American gothic typefaces, like M. F. Benton’s, from around 1900. This is combined with the openness and legibility that comes from the humanist tradition. The sans serif part of the family, Aptifer Sans, is designed without excessive details disturbing the reading. Its sibling Aptifer Slab with its wedge slab serifs is more eye-catching but still suited for text settings. The italics fit well into the text flow of the roman. They are a bit narrower than the roman and have cursive characteristics. Both Aptifer Sans and Aptifer Slab are highly legible typefaces and can be used both in print and on screen. Featured in: Best Fonts for PowerPoints

Are you looking for a true cursive sans serif? Stile is a true cursive with moderate inclination. Its cursive character has mainly to do with writing-speed. Therefore it may serve also as copy font and not only for emphasizing purposes. Stile has a good readability and is really flexible and universally applicable. Stile is a sans serif and renounces to an excessive use of ligatures and other explicit calligraphic shapes in order to ensure a contemporary style and a homogenous text color. The whole font family consists of 8 weights (from ultrathin to black) and offers a wide range of Western and Eastern European special characters, typographical ligatures, uppercase, oldstyle and fraction figures. In addition Stile features a very complete and specifically tailored range of numberings and arrows. Bring a personal style into the artwork, with Stile. Download a free trial version of Stile with a reduced character set. Check it out!

In 2002 Matthew Carter was commissioned to create a new design to be cut in wood by the then nascent Hamilton Wood Type Museum. This was significant in that this was the one format for which Carter had not yet designed type. The new design emerged as a two-part chromatic type to be cut specifically in wood. Originally called Carter Latin, the font was renamed Van Lanen after one of the Museum's founders. The first cutting and printing of the type took place in late 2009 and although it has been available through the Museum, contemporary wood-type production is expensive and few have acquired this font in wood. The digital version of the pair of Van Lanen fonts is now available. The design recalls Antique Latin wood type, but with a refined sensibility and intentional quirks (like the sideways ampersand). It is a wonderful addition to Carter's oeuvre, and to the ongoing history of wood type.

The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often , the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts: each character is partly covered by its predecessor creating a three-dimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features (GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg , the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants , a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes.

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

This set of letters and ornaments is loosely based on on a typeface that was offered by the DeVinne Press at the turn of the century. We can speculate from its name that this type was used as a display font to try to equate the look of letters on 15th and ­16th century heraldic cartouches, seals, stamps, medals and other inscriptional lettering. The sample was digitized with an “antiqued” outline to further enhance this ancient inscriptional theme. The letters were then grouped in the font with the more traditional Roman letters as the capitals and the Lombardic forms as the miniscules. The original type sample contained some unusual 15th century inscriptional numbers which have been included as extras in the font so the user the has the option to create an authentic looking design.

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

Hudson NY is a display font that gives you strong and bold typography with three different styles that make up the family, a regular, serif and slab serif. Hudson NY is an adaptation and progression of Roper Font, and like Roper font it comes in regular and a press versions, giving the user some cool options when creating artwork. The golden thread that ties this family together is its American sports and college styling, it gives Hudson NY an authentic look but at the same time there is a modern approach to the character set. I would like to thank the talented Kurt Dee for allowing me to use his awesome pictures of New York City to create this the overall theme for this project, please go check out his instagram @kurtdee.

BLUEROCKS is a rough brush font, created by hand, sketched on paper. This font is designed to make your designs or handwriting look louder and bold with ease. Perfect & Ideal for Logos, Quotes, Packaging, Flyers, Posters, Book Covers, Social Media Banners and Event Merchandise Types. The BLUEROCKS feature comes with Uppercase & Lowercase, Numeral, Punctuation, Swash lines, and also Multi Language Support. Multi Language English, French, Portuguese, Italian, Spanish, Turkish, Dutch, Finnish, Norwegian, Swedish, Danish, Icelandic, Hungarian, Romanian, etc. The BLUEROCKS typeface also comes with a Webfont Kit __________________________________________________________________ If you press a_a (a + underscore + a) (a_a / a_b / a_c / a_d / a_e / a_f / a_g / a_h / a_i / a_j then the line swash will come out. I've included 10 different line swash types. _________________________________________________________________ Feel free to message me if you have any questions. Don't forget the ♥ Like button guys! :)

Introducing Mufferaw—a font that embodies the simple and endearing nature of the Ottawa Valley design. With its woodsy style, Mufferaw is a font that’s sure to charm and delight you. Its well-defined but expressive contours give it a unique personality that’s hard to resist. Mufferaw comes in two different weights and three widths, along with italics for added versatility. And if you’re looking to add a little extra depth to your design, be sure to check out the outline and 3D variations. Whether you’re designing a poster for a local event, a comic book, or anything in between, Mufferaw is the perfect font to add a touch of warmth and character to your work. So why not give it a try and see for yourself just how charming and uncomplicated this font can be? Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

"Fashion Experiment" is an all-caps handwritten display font featuring a funky and expressive gel pen-style that is perfect for creating impactful header text, poster designs, album covers, product designs, and merchandise. The font's unique and playful appearance is crafted to maintain an authentic look, with alternative letters and ligatures adding to its creative potential. The font includes alternative letters and ligatures coded for uppercase letters. The font also features more than 100k kerning pairs, ensuring optimal precision and readability. To maintain the authentic appearance of ligatures, this font was crafted from the handwritten text. However, as ligatures that complement one combination of letters may not work for another, it is essential to have the option of switching to alternate letters or avoiding the use of ligatures altogether. The frequency of use for certain letters varies, resulting in some letters having more alternates than others. For example, letters such as A, E, L, M, S, and T are more commonly used than letters like X, Z, and Q, which explains the difference in alternate options. We recommend using programs that support OpenType features to fully access the font's features. This will allow you to access glyphs directly on the same panel without copying/pasting each glyph. Additionally, the OpenType panel allows you to turn on standard ligatures, which can automatically change letters for available ligatures. Even if you are using a program that does not support OpenType, you can still access the alternates and ligatures of this font through Fontbook or Character Map, as the glyphs are PUA-encoded. However, please note that you will have to copy and paste each ligature or alternate individually, which can be time-consuming and require extra effort. Happy designing, Gulya

While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

Meet AeroBlend Display Font, a modern and futuristic typeface that brings a touch of sleekness to your creative projects. With its clean lines, intersecting curves, and contemporary vibe, AeroBlend is the perfect typography solution for bold and innovative projects. Designed with precision, this font strikes the right balance between style and readability. It offers a single weight/style that effortlessly combines elegance with a touch of technological sophistication. This makes it incredibly versatile and suitable for a wide range of design applications. From attention-grabbing headlines to memorable branding projects, AeroBlend Display Font helps you make an impact. Its strong presence adds a sense of modernity to your designs, ensuring that your message stands out from the crowd. With AeroBlend Display Font, you have access to an extensive character set. It includes lowercase and uppercase letters, numerals, special characters, accented characters, and a variety of symbols. This comprehensive collection gives you the freedom to express your creativity and bring your vision to life with clarity and precision. Crafted with meticulous attention to detail, this font is available in the .OTF (OpenType) file format, ensuring compatibility across various design software and platforms. One of the notable features of it is its set of alternates. Certain letters have carefully designed alternatives, adding even more versatility and creative possibilities to your designs. Whether you’re a graphic designer, web developer, or simply a typography enthusiast, AeroBlend Display Font is a must-have in your toolkit. It’s crafted to meet the demands of modern design, offering versatility, legibility, and a hint of futuristic charm. It’s perfect for branding, headlines, posters, packaging, monogram designs and more. Take your projects to the next level with AeroBlend Display Font and unleash your creative potential. Let AeroBlend add a touch of modern sophistication to your designs and create an unforgettable visual experience.

Aure Declare officiates with dignity and dispassion. These traditional serif forms engage the reader with a no-nonsense subtext of reliability. Declare’s capacity to showcase the message rather than the medium brings a welcome legibility to extended text and a formal assertion to astrological expressions and chartwheels. Declare is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Declare’s versatility as a text font, Declare pairs well as a no-nonsense foil to any decorative design. Aure Sable, for example, will shine all the more beside Declare’s practicality. Aure Declare pairs especially well with its close cousin, Aure Wye. Wye’s decorative forms provide elegant titles and drop-caps for Declare’s extended text. Give Aure Declare a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

Aure Wye wraps a carefree dispassion with the dignity of tradition. The precise engraving and organic finials of these decorative serif forms engage the reader with a subtext of elegance. Wye brings an unpretentious grace to titles and drop-caps and provides dignity to astrological expressions and chartwheels. In Regular, Wye presents a formal presence; in Italic, Wye offers a more romantic feel. Its small-caps add a stately variety to Wye's typographic textures. Wye is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets, now available in regular and italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Wye will stand up as a text font, but for extended text, try pairing Wye with its close cousin, Aure Declare. Used in titles and drop-caps, Wye will provide a striking elegance that will blend well with the serifed forms of Declare. Give Aure Wye a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

It was expected that Joluvian’s third type font would be inspired by the city where he currently resides: Madrid, Spain. His previous creations had originated in Venezuela (Zulia) and The Philippines (Salamat), both, places where he had once lived. Joluvian believes “now is the time to pay tribute and show gratitude towards a city that has bestowed me with so many fortunes.” He considers that Madrid’s people, streets, scents, flavor and sounds are gift enough to awaken the creative urgency in any artist. This time around, it is being expressed through the crafts of the Typographic industry. Since his arrival in Spain, Joluvian has been attached to the city’s central area, specifically to the renowned Atocha Street and its railroad station. It was precisely on that street that Joluvian and Mauco Sosa, his friend and partner, decided to establish the Patera Studio: a charming creative space that birthed the concept for this new font which they proudly named Atocha Script. The artists where still in the final phases of their previous script, Salamat, when the idea for Atocha came about. This dynamic is actually very typical of the artistic process, in which every finished product spawns the need to create its next level offspring. “Working on Atocha and Atocha Caps has been a very pleasant journey. We have given our best efforts, for we wanted to offer a typeface that was both versatile and user-friendly on a number of applications, showing a wide scope of alternatives in our glyphs,” says the artist. The illustrations were created by Mauco, to ensure visual integration that would showcase the work of both members of the Patera Studio and their complementing aesthetic voices.  Atocha, as Salamat and Zulia before, was digitized by Alejandro Paul.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Introducing Enamel Brush—the perfect typeface for adding a touch of vintage charm to your design projects. With its bold and expressive brush strokes, Enamel Brush takes inspiration from Emil Klumpp’s Catalina typeface from 1955, a classic typeface that embodies the spirit of post-war optimism and creativity. Enamel Brush has been designed with the modern designer in mind. Thanks to its OpenType features, certain letter pairings are automatically replaced with ligatures, ensuring that your text has a more natural and authentic feel. Whether you’re creating a logo, poster, or website, Enamel Brush is the ideal choice for adding personality and style to your messages. Its bold, confident strokes are perfect for grabbing attention and making a statement. So why not give your next project a touch of vintage flair with Enamel Brush? Get your copy today and start creating something truly special. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Anteri Signature is a beautifully crafted handwriting font that exudes a cute and feminine charm. With its cursive calligraphy style, this font brings a delightful touch to your creative projects, making them feel personal and inviting. Ideal for personal branding, stationery, greeting cards, and social media posts, Anteri Signature is a versatile font that adds a heartwarming and elegant touch to your designs. The font is characterized by its swash alternates, allowing you to create a truly customized and unique typographical experience. Use underscore _ anywhere in a word to make a swash. Example: Love_letter Features available when downloaded: Use multiple underscores to make longer underlines. Use % at the end of any word to make a swash letter. Example: Scrap__book% Write # before or after any word to make a tail letter. Example: #cuteness# The Anteri Signature font family includes four high-quality styles to suit various design needs: Regular: The perfect balance of elegance and playfulness Bold: A stronger, more assertive presence for impactful designs Italic: Adds a touch of whimsy and flair to your text Bold Italic: Combines the assertiveness of bold with the expressive nature of italic Built with advanced OpenType functionality, Anteri Signature ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

While the Aspire family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Aspire Narrow Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here’s why the Aspire Narrow Family is for you: - You’re in need of a narrow automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design with a narrow font within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.

Introducing Jesaya: the typeface that will elevate your design game. With its unique geometric design, Jesaya will bring a new level of sophistication and style to your creative projects. Its clean shapes and sharp angles give your message a distinctive voice, projecting a sense of precision and attention to detail. And with seven weights and italics, you have the flexibility to experiment with different styles and layouts, ensuring your design stands out from the crowd. But that’s not all—Jesaya is designed with your comfort in mind. Its shaved sharps prevent typographic injury, ensuring a smooth and seamless design process. So whether you’re crafting a bold logo, designing a sleek website, or creating eye-catching marketing materials, Jesaya’s contemporary style and unique geometry will help you express your vision with clarity and impact. Try it today and see the difference for yourself. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

I have a new baby sister! Check her out in her crib: Cinque Donne The Cantoni Font family is a hand lettered font with a variety of standard and alternate characters that play together well. And with a total of 1265 glyphs, you can play for as long as you like. Now Cantoni and Cantoni Pro also come in BOLD! Additional features include: Roman numerals, Fractions, Ordinals, Ornate and Old Style numbers, Greek symbols, a set of Flourishes, Ornaments and DIY Wedding Words and Images. It also includes Western and Central European, Romanian and Turkish language support. Named after my large Italian family, the unique variety of letters based on my own fluid upright style of brush lettering, reminds me of every family I know. There are creative and conservative siblings, crazy in a good way cousins, affable aunts and corny joke telling uncles who somehow come together and form one cohesive unit. In the same way, using the Open Type features to insert a “wild t”, begin a name with a “flashy f” or end a word with a “rambling r”, the font comes to life. The party starts. The fun begins. And soon they're all laughing and dancing up and down the baseline. Like a family gathering to celebrate a special occasion, there is a palpable sense of joy expressed through the letters and images, not unlike the sharing of good food, memorable stories and lots of laughter. While Cantoni Basic gets the party started, the Cantoni Font Family Total Design offers a complete package of options for your unique creations. On behalf of the whole Cantoni family, thanks for joining in the fun. I'll see you on the dance floor. Enjoy! Debi Check out my other script fonts Belluccia and Dom Loves Mary offered through the Correspondence Ink Foundry here at MyFonts!

As good as Nylon is, there’s nothing better than a nice woolly blanket. The smell and coarse, uneven texture are relaxing and feel reassuring. More comfortable. In a world where technology can reach millimetric precision, sometimes it’s good to connect with the imperfect and controlled impurity that is nature. Font design in particular has matured through software that can generate the most perfect letters in the world. But most of them don’t have soul. Landa is a glimpse from the cutting edge into the past. Inspired by Venetian lettering from the 15th century, whilst giving them new meaning, its letters become expressionist and have a modern touch. A rendez-vous between Nicolas Jenson, Oldřich Menhart, and nature itself. In Landa you can feel the texture of trunks and branches, from full fertile splendour to dried-out frailty. It takes the reader for a stroll through the woods on a late autumn evening, or on an adventure through the Amazonian rainforest, depending on the weight chosen. In the lighter and italic options, Landa text is organic and rustic, and very comfortable to read. What’s more, while it’s discreet on smaller screens, when enlarged it reveals brittle and expressive calligraphic shapes. This also makes it ideal for packaging or display elements. Landa provides advanced typographical support in several languages and OpenType features including case-sensitive forms, small caps, contextual alternatives, stylistic alternates, fractions, proportional and tabular figures. In this case it is technology that serves lettering, not the latter being technology dependent. Let’s not forget, as Erik Spiekermann said “we are still analogical beings. Our brains and eyes are analogical.” Perhaps that’s why to disconnect we always need to go back to forests, rivers, nature. Perhaps that’s why we still prefer wood to steel or wool to nylon.

DESCRIPTION With Skill I wanted to create something wild. Something that splashed the letters with life. To do this, I knew I'd have to break the barrier between analog and digital, so I took my best brush and started to play. Throughout the years as a type-designer I've met and become fan of many calligraphers. My belief that only a good calligrapher can make good typography (1) has become even stronger. I'm now absolutely sure that only practice improves the skill, especially in this field. So, with this in mind, I started a font which was a challenge for me because sometimes the gap between paper and screen can be gigantic. Skill is another of my attemps (2) to capture the spirit of the pointed brush, its expressiveness, the passions and fears of the artist. This font is about freedom. Freedom everywhere. Movement, velocity, passion. To achieve this, many alternates and ligatures per glyph were designed. Use it on magazines, posters, book covers, music albums, t-shirts, skates, tattoos. NOTES (1) This is mostly referred to script fonts, though text fonts made by designers with a deep calligraphic background have at least to me, an extra charm. (2) See my fonts Live and Indie. TIPS Thanks to Open-Type, the font gives the user the chance to play and get many wonderful results: In example, using the font with “discretionary ligatures” activated will give more life to the written word. Some letters will jump of the base, while others will ligate or not with the following (typical of gestural calligraphy). Adobe Illustrator is recommended. STYLES Skill is the most complete style. It has all the alternates and ligatures that can be seen in the posters and more! Skill Standard is a variant with no decorative glyphs. It has the basic alphabet and some ligatures for better legibility.

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

The idea for the Generis type system came to Erik Faulhaber while he was traveling in the USA. Seeing typefaces mixed together in a business district motivated him to create a new type system with interrelated forms. The first design scheme came about in 1997, following the space saving model of these American Gothics. Faulhaber then examined the demands of legibility and various communications media before finally developing the plan behind this type system. Generis’s design includes two individually designed styles; each of with is available with and without serifs, giving the type system four separate families. Each includes at least four basic weights: Light, Regular, Medium, and Bold. Further weights, small caps, old style figures, and true italics were added to each family where needed. The Generis type system is designed to meet both optical criteria and the highest possible measure of technical precision. Harmony, rhythm, legibility, and formal restraint make up the foreground. Generis combines aesthetic, technical, and economic advantages, which purposefully and efficiently cover the whole range of corporate communication needs. The unified basic form and the individual peculiarity of the styles lead to Generis’ systematic, total-package concept. The clear formal language of the Generis type system resides beneath the information, bringing appropriate typographic expression to high-level corporate identity systems, both in print and on screen. The condensed and aspiring nature of the letterforms allows for the efficient setting of body copy, and the economic use of the page. A range of accented characters allows text to be set in 48 Latin-based languages, offering maximal typographic free range. This previously unknown level of technical and design execution helps create higher quality typography in all areas of corporate communication. Optimal combinations within the type system: Generis Serif or Generis Slab with Generis Sans or Generis Simple.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Introducing “Funky Choky” Font: A Bubble Dynamic, Modern, and Funky Typeface Funky Choky is a captivating font that combines the essence of bubble dynamics with a modern and funky style. Its unique design exudes energy and playfulness, making it perfect for projects that require a fresh and vibrant look. This typeface features rounded letterforms with soft edges, giving it a friendly and approachable feel. The bubbly contours of each character create a sense of movement and liveliness, capturing attention and adding a touch of whimsy to any design. With its modern twist, Funky Choky brings a contemporary edge to traditional bubble fonts. It embraces clean lines, sleek curves, and a balanced composition, making it versatile for a wide range of applications. Whether you’re designing a logo, branding materials, advertising campaigns, or social media graphics, this font will add a dynamic and eye-catching element to your project. Funky Choky also offers a wide range of glyph variations, including ligatures, alternates, and stylistic sets, allowing you to customize and experiment with different letter combinations. This versatility empowers you to create unique typographic compositions that truly reflect your creative vision. Embrace the spirit of modernity and funk with Funky Choky font. Elevate your designs, stand out from the crowd, and infuse them with a sense of joy and energy. Let this captivating typeface be the perfect tool to express your creativity and make a memorable impact. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn’t have Glyphs panel, you can install additional swashes font files.

A very legible Renaissance Antiqua This typeface is based on the desire to create an Antiqua like those which might have existed at the beginning of the »printing age« — the basic form oriented on the classical Roman and early Middle Ages models, the ductus defined completely by writing with a wide pen and much individual expression in detail. In the spring of 2005 I had the opportunity to closely examine a few pages in the famous book »Hypnerotomachia Poliphili« from 1499. The script used here from Aldus Manutius is exemplary. Most of the book, however, is not very carefully printed. The characters do not stay on the line; the print is at times too strong and at times much too weak. And on these imperfect pages the true character of the letters is recognizable; that is, that they are cut with lively detail which is a result of the patterns provided by full-time writers. After all, around 1499 script was written as a rule and the printed type was oriented on this pattern. I prefer the typeface on the lightly printed pages. The characters are not placed neatly on the line, but the distinct and emerging lively ductus of the individual characters automatically presents harmonious word formations in the eye of the beholder, with the non-perfect line stepping into the background. Also in Charpentier Renaissance, the strokes of the wide pen are still noticeable. The font has very defined softly bent serifs. The forms are powerful and stand solidly on the baseline. Charpentier Renaissance is very legible and yields a solid and yet still lively line formation. The accompanying italic, like its historical models, has almost no inclination. The lower case characters of Charpentier Renaissance Oblique have such idiosyncratic figures that they can also form a font of their own. Please visit www.ingofonts.com

Entropic Brush is a striking fat brush font that boasts a wild and rustic charm. Its decorative display style makes it perfect for logotypes, headlines, and other eye-catching design elements. The font's heavy, oak-like strokes and thick brush texture give it a bold and distinctive character. Ideal for projects that require a strong, natural presence, Entropic Brush is a versatile font that adds a sense of raw energy and untamed beauty to your designs. Its unique aesthetic makes it a great choice for branding materials that need to convey a sense of rugged, organic elegance. With hundreds of swashy and decorative alternates, Entropic brush is sure to give you a customized appearance – like a truly hand-drawn paintbrush design. Use characters _ ¤ # after any word to make a swash. Example: Spline_ Sonic¤ Brush# Use multiple _ ¤ # to make swashes of different lengths. Example: Superhuman______ (Download required.) The Entropic Brush font family includes four high-quality styles to suit various design needs: Regular: A bold statement with a natural, rustic appearance Bold: An even heavier presence for more impactful designs Italic: Adds an expressive, dynamic touch to your text Bold Italic: Combines the assertiveness of bold with the energy of italic Built with advanced OpenType functionality, Entropic Brush ensures top-notch quality and provides you with full control and customizability. It includes stylistic alternates, ligatures, and other features to make your designs truly unique. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Hello Everyone.. Introducing a new Font " El Fonte Angelia " Beautiful Serif Type Family is inspired by the serif typefaces used in editorial media in the 70s and 80s.such as the soft and gentle shapes found in Cooper or the fluid, angled strokes in Windsor— mixed into one single design that features familiar, fresh, modern flavors. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator. El Fonte Angelia variable allows fluid design across 5 weights The font broadens its use by supplying weights all the way from Light to Bold. The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. El Fonte Angelia character set incorporates additional symbols, stylistic alternates, unique ligatures and case sensitive punctuation - producing a stable workhorse family ready to tackle projects of any size.The type family melds organic curves and gentle repetition into powerful and harmonious type. At large point sizes you can appreciate the letter shapes, whilst the same restraint and focus creates an even texture for small point sizes and long reading. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look. Check my other Font here : https://gilarstudio.com/ Thank you Regards, Gilar Studio

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

The coffee made typography. CoffeeBreak is a typefamily designed by Carlos Fabian Camargo G. Its purpose is to communicate similar feelings to the ones you get when you first try the best roasted Colombian coffee early in the morning. That is the reason of the waiting, accompanied, or when you only want to be, nuances your design with its fonts full of flavor, texture and passion. For each time, every time, it gives you hints of flavor to design your day. It unleashes your artistic streak mixing possibilities as you wish, to your taste or the taste of your friends or that special someone. From handwriting to every warm drop of your first mug of the morning, we've always got something for you. Eye catching, modern, beautiful, cool and adventurous styles in the CoffeeBrwak shop ready for you to purchase. - CoffeeBreak A & B: 2 typographic tools with countless swashes and ligatures ideal for use at the beginning, in the middle or end of words that need italics, flavored dancers and rhythm masterfully expressed in gestural strokes for his calligraphic experimental logic. - Coffee Break Script 1 & 2: write them you can easily with decorative letters advocating a return to the artisan product ingenuity of the primacy of man over machine so your upper and lower case letters travel in a single line. - CoffeeBreak Words & WordsBold: It contains words specially designed to attract attention. - CoffeeBreak Dingbats: They are figurative silhouettes with textures that add warmth and a highly communicative environment. All are easily activated glyphs using the Glyphs panel in Illustrator, InDesign and Photoshop. Special thanks: Ilustrations: Eduardo Gomes. Photos: Karen Salvatierra. Texts: Javier Lineares- Description: Ernesto Googolplex. French translation: Marta Cano

LFT Arnoldo began as an all-caps book cover typeface created during the rebranding of Oscar Mondadori, the most important Italian publisher, with over 4,500 titles from ancient classics to contemporary works, and spanning academic essays to children’s and self-help books. For such a diverse catalogue, it was necessary to find a coherent and flexible paradigm which took into account genre and readership differences and ensured harmony among its works. The main idea was to create a typeface suitable for the branding element and which could be used for each title of the immense catalogue. So what makes LFT Arnoldo a companion to the centuries? Starting with the design of the capital letters, it is first a rational typeface with contemporary proportions. But rationality without style wasn’t enough, so its glyphic nature carries an engraved feeling to resemble letters when chisel is put to stone. Once these two traits were settled, the entire character set was developed as a flared humanist sans in order to complete the family and extend its usage, from titles and display settings to texts. LFT Arnoldo sets titles with dignified authority to appear digitally carved and more arresting than the usual sans or flared sans designs of the past. It is calm and dependable in paragraph use and a captivating vehicle of aesthetic expression in title and display use. At once rugged and syncopated, the slight hourglass stems and incised details make each letter come alive and engrave each paragraph upon our emotions. LFT Arnoldo intends to be a resilient type family for centuries to come. Its seven roman weights have italic counterparts and the entire family is loaded with OpenType features: alternates, ligatures, small caps, oldstyle and lining numerals, and science and math capabilities. In the battle of charisma, where the right voice must project intelligence, influence, and refinement, LFT Arnoldo is the victor.