A rounded slab in 4 styles In our age, since the arrival of microcomputing, the majority of professional letters have been composed in quality typefaces. Typewriters & the typestyles they used have become antiques. A letter set in Times or Helvetica & printed with a laser printer at 600 dpi or more are of such quality that one can no longer distinguish it with a document produced by offset printing. But letters composed in this way appear overly institutional when a bit of informality is needed. Le Monde Courrier, designed by Jean François Porchez, attempts to re-establish a style halfway between writing and printing. Informal neo-tech style This rounded slab serif returns the informal character of “typewritten” fonts to letters and suit well all bad conditions, from inkjet printed memos to webfonts use. With a unique typographic colour, it integrate itself with the rest of the Le Monde family with effective contrast. The verticals metrics and proportions of Le Monde Courrier are calibrated to match perfectly others Typofonderie families. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

Publica Sans Rounded is the rounded version of Publica Sans. A clean geometric typeface, equipped with a variety of OpenType features to give you all you need for great typography: Alternates, arrows, rare currency symbols, case sensitive forms, various sets of figures and discretionary ligatures. Publica Sans Rounded has two other sisters: Publica Play and Publica Slab Take a close look at our gallery (especially ‘OpenType Features 1–6’) to discover the versatility of Publica Sans. Alternates Give your typography a certain spin with the variety of alternate letters provided. Currency You need to set prices in exotic countries? No problem: Publica Sans gives you loads of rare currency symbols. Case Sensitive Forms Sometimes you write in all caps and there are some symbols (e.g. brackets) that need some extra treatment to make it look perfect – that’s what case sensitive forms are for. Figures Publica Sans provides 6 sets of figures, like lining, tabular, oldstyle, numerators ... Discretionary Ligatures Ligatures can make your logo or headline look spicy. So there are plenty of them.

TA Fabricans graphic presentation at Behance TA Fabricans font is based on Film Fiction Semi Expanded font. The font also supports the Hebrew alphabet. The Display version comes only in the Latin alphabet. I tried to prepare the font carefully. I specifically searched for the Hebrew alphabet. I benefited from my Israeli colleagues. I believe that my font will be successful. Please check and if you have any additional requests or complaints, please write to me. t@taft.work TA Fabricans works great for branding, magazines, headers, logos, TV, UI, web, badge, packaging, headlines, posters, t-shirt/apparel etc. TA Fabricans offers you options to explore a whole host of applications and gives a real modern feel to any project. Family overview: 36 fonts, 9 weights (from Thin to ExtraBlack) + Condensed, Expanded, Display Latin, Hebrew Display font without Hebrew Multilingual 4 free font Localized Forms with NLD, PLK OpenType Features: Localized Forms Contextual Alternates Tabular Figures Subscript Scientific inferiors Superscript (Superiors) Numerators Case Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Kern Ordinals

Hey guys! Meet our new font "Luxe Atelier" which is inspired by a bit quirky but still lovely handwriting. When we launched our font "Lolita" in 2019 many liked the way we replaced some uppercase letters with lowercase ones. The response was overwhelmingly positive. The feedback we received inspired us to refine the idea of the lowercase signature style and we created "Luxe Atelier" with a lot more lowercase letters that give an uppercase look. However, some uppercase letters simply cannot be written as lowercase due to their nature: they would just lose their primary sound. For example, when we tried writing lowercase 'e' in the uppercase style it more resembled lowercase 'l' and affected the legibility of the font. Therefore some letters in this font remained as is. When it comes to other letters, we tried maximally to keep the lowercase style. This playful, non-standard signature font with slightly rough edges includes 37 ligatures which will definitely add realistic handwritten character to your designs. It is perfect for branding, signatures, weddings and so much more.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

Grafema LC was designed by Jacklina Jekova & Todor Georgiev and published by Letter Collective. Grafema LC contains 16 styles and family package options. This Font Family Features: • 578 glyphs in 7 variants – upright, italic, textured, filled, rough, traditional contrast and inverted; • Handwritten with a calligraphic flat brush in 2 brush angles – 35° and 85°; • Extended Latin and Extended Cyrillic; • Coverage of multiple OpenType features – ligatures, stylistic alternates, and contextual alternates; • Suitable for web, print, motion graphics, etc; • Perfect for headlines, posters, packaging and greeting cards, etc. Grafema LC is a system of display typefaces consisting of 7 variants – upright, italic, textured, filled, rough, traditional contrast and inverted. Grafema LC started off as handwritten calligraphic works using a flat brush and variable angles of writing – 35° and 85°. It supports Extended Latin and Extended Cyrillic – more than 120 languages all together. The balanced natural texture of Grafema LC with unique details makes it perfect for headlines, but also suitable for long text. It is perfect for graphic design projects, like packaging, posters, events, blogs, social media and greeting cards. Grafema LC comes with a range of OpenType features – including old-style numerals, typographic features such as ligatures, stylistic and contextual alternates. The typeface is suitable for web, print and motion graphics.

Nuit, a delightfully handwritten family font with strong character designed by Carine de Wandeleer. Its slight bounce and intentional irregularity, gives your words a wonderful flow. The fatness and thinness of their strokes give an impressive harmony. This new font family includes Regular, Italic, Bold and Bold Italic. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to four Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Nuit it is possible to write all in capitals. Nuit looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Nuit was made to make your project more beautiful and attractive.

Take a deep dive into the Sybilla Multiverse with this unique 294 style multi-versatile type family – a further creative exploration of the capabilities offered by our original warm and friendly slab design. Encompassing one body and six display sub-families, Sybilla Multiverse is a unique attempt to create a never before seen symphony of text and decorative type that spans in multiple usable widths and weights. Each sub-style consists of seven weights in three widths with complimentary true italics. Sybilla Multiverse is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text and signage as well as web and screen design. Every one of the styles offered (body or display) provides a broad range of advanced typographical features such as small caps, case-sensitive forms, fractions, scientific inferiors, super- and subscript characters. It comes with a complete figure range set of oldstyle and lining figures, each in tabular and proportional widths. Sybilla Multiverse has extensive multilingual support, covering more than 70 Latin-based languages and specially designed Cyrillic that works harmoniously with its Latin counterparts – a perfect choice for projects that need both writing systems running side by side.

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Wholecar is a train graffiti typeface. The letters are fun and friendly, with a happy personality and cartoonish quirkiness. A street style, Wholecar is drawn and created by Mans Greback, and is the perfect combination of cool and childish typography. This hip-hop styled comic typeface family comes in eight styles: Black, Inline, Invert, Regular and White. Additionally, the Wholecar Color, consisting of Noir, Pink and Silver, specifically created for Photoshop and Illustrator. Use characters [ ] { } ¤ # _ for train parts fitting the letters. Examples: [¤#¤_¤_¤#¤] [¤Graffiti¤] 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 North 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.

At first glance, »Angulosa M.8« is one of those fonts that a technician or engineer would probably draw. And yet it differs fundamentally from typefaces constructed in this way. The right angle forms the basic element of the »Angulosa M.8«, but that's about it with the pure mathematics. Serif-like upstrokes and downstrokes on some letters improve readability, and carefully used slants makes the appearance a little friendlier. The proportions are not based on any mathematical principle, but are derived from freehand writing of the letterforms with a broad quill. In terms of style, »Angulosa M.8« belongs most closely to the modernist, constructivist typeface attempts, such as those undertaken at the Bauhaus in the 1930s. The styles of »Angulosa M.8« range from "Condensed" to "Expanded", from "Light" to "Black", plus the respective oblique form, which in this font is slanted to the left. All variants can be adjusted continuously in the variable font: the font width ranges from 50 to 150, font weight from 300 to 900, upright [0] and italic [1]. The »Angulosa M.8« supports all European languages including Eastern and Central European, Turkish, Greek and Cyrillic.

Decora Arabic is a new creation of Naghi Naghashian. Decora Arabic's design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Decora Arabic's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Decora Arabic was developed for multiple languages and writing conventions. Decora Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Introducing the new font Automobile Contest - Handbrush, the new version of Qillsey Einstein Font, a type of script that has a natural scratch texture. I made by using a brush pen that makes the impression seem natural. My font is complete with two StylisticSet which will make the writing more beautiful and charming. This typeface is suitable for use in a variety of design fields, such as event advertisements, product promotions, book titles, activity titles, logos, adventure, and others. This font can when paired with serif font types will make your design project more beautiful and perfect. I highly recommend using a program that supports OpenType featuresand Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. This font is encoded with Unicode PUA, which allows full access toall additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. I hope you enjoy the font, thank you.

Parvin is a new creation of Naghi Naghashian. Parvin design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used, and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parvin's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Parvin was developed for multiple languages and writing conventions. Parvin supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Be yourself; everyone else is already taken -- Oscar Wilde Being a human being often means fulfilling who you really are. It’s about fulfilling your potential and living to the best of your abilities. And the Ratilla Script will help you show the world who you are! The Ratilla Script paves the way for you to write the information you need to send out to your audience. Make your projects to works of art, conveying your intentions clearly with the font! Maximize your designs with this urban and wavy font. It surely fits anywhere you want them to, giving them a place perfectly tucked in between your designs. Connect with your audience and stand out in the crowd as these fonts will show you that you and your works deserve their attention. Show your boldness as you make the world see of the elegant details put together in your projects! The Ratilla Script will be the perfect addition to aid you in your journey to be who you really are. Let the world see your beauty, bring it out through your handiwork and give your viewers a new perspective!

Debut Studio Presents The Retromax.... This Script is a special script or typeface in which the emphasis is reversed from the norm: instead of the vertical lines being wider or thicker than the horizontal lines, which is normal in Latin alphabet writing and especially printing, horizontal lines are the thickest. It's quirky and fun, you can use for any project. Retromax is also a Layered Fonts, Layered fonts have letters that appear raised, or stacked in multiple layers of different shades or colors. Some layered fonts actually include multiple files for each layer. With layered font families, we can create novel combinations of 3D with Shade. Features: Uppercase & Lowercase Number & Punctuation Multiple Language & Stylistic Alternate Files Included: Retromax Regular Retromax Offset Retromax 3D Retromax Shade I hope you like my latest product, This collection will be perfect for creating posters, art prints, apparel and t-shirt designs, Instagram and other social media posts, and many more. if you have questions and problems when using it, please leave a message in the comments or via direct message, I will be very happy to reply, Happy Designing!

Fontoddler Font Family, This font was created with the personality, in mind, of my two-and-a-half-year-old granddaughter Chloe Bella. I believe strongly that fonts have personalities that’s why we refer to their members as ‘characters’ or to be more accurate, ‘glyphs’. This font is playful, bold, colorful in form and design, a bit irregular, a bit informal, a bit irreverent, a bit humorous, a bit sassy, and a bit independent just like my little one. When used in color Fontoddler sings. She’ll be writing and creating visual words in just the nick of time. At 2 she started recognizing many colors and identifying people, places, animals, and objects and now she’s recognizing letters. I can’t wait for her to understand that this font was designed and named after her. Fontoddler currently exists in 3 styles, Medium, Heavy, and Heavy Outline. Naturally Heavy and Heavy Outline are congruous, ie. They are fitting together. I hope you enjoy and use this 24th font family from Cozyfonts Foundry. It will fit well with greeting cards, signage, birthday parties, holiday occasions, invites, stationary, headlines, logos, posters, cartoons, animation titles, movie titles and even sports events and sports logos. Have fun with this one. Tom Nikosey

As a late work the “Meier Kapitalis” forms an arch within the typographic creations of the Swiss type designer Hans Meier who died in 2014. The first sketches of this typeface can be found in the teaching manual “The Development of Script and Type” (German: “Die Schriftentwicklung”; French “Le développement des caractères”) which was published in 1994, however, under the title “Roman Lapidary, 1st Century”. The booklet was first published by the Syntax Press, Cham, Switzerland and contains an introduction by Max Caflisch in which he writes: „The present work, „The Development of Script and Type“ is a concise, authoritative textbook, concentrating on the essentials in a wide survey from ancient Greek inscriptions to the printer’s typefaces of the present day. His (Meier’s) 72 varieties of letterforms enable the student or general reader to understand the history of script and type, while more than 60 of his own calligraphic specimens provide excellent models for all who practice this art.“ Unfortunately, the “Meier Kapitalis” is one of the few typeface families in this publication which has been digitized. It was to be the last type project fully realized by Meier. In cooperation with Elsner+Flake, the typeface family was developed and expanded and now contains the four cuts: Roman, Medium, Demi Bold and Bold with either a complement of characters for 78 Latin-based languages (EL=EuropaPlus) or in West-Layout.

The Farfa fonts were designed for institutional use, commissioned by the City of Fara in Sabina, Italy. This project started from the study of the manuscripts found in the Abbey of Farfa, penned in a variant of the lower case of “Carolingian” typical style of that area. The Capital, ligatures and Small Caps, however, are based on the uncial writing that often appears in those codes and manuscripts. Farfa Abbey is a territorial abbey in northern Lazio, central Italy. It is one of the most famous abbeys of Europe. It belongs to the Benedictine Order and is located about 60 km from Rome, in the commune of Fara Sabina The origin of the Abbey is still unknown. Archaeological discoveries seem to prove that the first monastic establishment was built on the ruins of a pagan temple. The Vandals destroyed the first monastery in the fifth century. Only a few documents from the sixth-century prove the early presence of the monastic community. It had the heritage of Charlemagne (S VIII), the Lombard chiefs, and later the Carolingians, succeeded in withdrawing Farfa from obedience to the Bishops of Rieti, and in securing many immunities and privileges for the monastery. Farfa was at this period the most important monastery in Italy both from the point of view of worldly possession and ecclesiastical dignity.

Presenting 🕌Mastolleh Ramadan Typeface🕌 by alitdesign. “Mastolleh” is an Arabic font with a blackletter style and beautiful swashes. It is a highly versatile font that can be used for a variety of design projects. This font is designed specifically for users who require a font that can handle various writing systems and special characters. It comes with support for multiple languages. Mastolleh font includes PUA (Private Use Area) Unicode, making it compatible with various software and applications that support OpenType features. It also features 847 glyphs, including uppercase and lowercase letters, numerals, and punctuation marks. Additionally, there is a special version of Mastolleh font called “Mastolleh Dingbats,” which includes 304 bonus dingbat characters related to Ramadan and Islamic themes. These bonus characters include crescent moons, lanterns, and mosque silhouettes. Overall, Mastolleh and Mastolleh Dingbats are highly versatile fonts that can be used in a wide range of projects. Their unique style, multilingual support, PUA Unicode, extensive glyph set, and beautiful swashes make them a great choice for designers and users who need a font that is both beautiful and functional. 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 Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Picture it: a bustling city street in the 1920s, when the world was changing and women were fighting for their place in it. Billboards line the road, but one catches your eye—it’s Skygirls, a typeface that takes you back to a time when advertising was an art form. This typeface is no ordinary script. It’s a tightly wound, joined design that exudes elegance and urgency. Its steep angle draws the eye up, making your message impossible to miss. Skygirls is inspired by classic metal scripts like Herald, Signal, Hauser, Penflow, Veltro, Kurier, and Bison, so it’s no wonder it feels so timeless. With Skygirls, you’re not just writing a message—you’re making a statement. It’s the perfect typeface to convey the frantic, fast-paced style of the roaring twenties. Your words will flow seamlessly together, creating a sense of movement and momentum. And when you set it on an upward slope, it’s like your message is soaring to new heights. If you want to make an impression that lasts, Skygirls is the typeface for you. It’s a perfect fit for any project that requires a touch of vintage charm, and it will leave your audience with a lasting sense of style. So why settle for the ordinary when you can have something truly extraordinary? Choose Skygirls and let your message take flight. 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.

Introducing Kinesthesia, the hypermodern typeface that channels the sleek, futuristic aesthetic of liquid crystal displays. With its sharp diamond points and hi-tech letterforms, Kinesthesia is the perfect choice for anyone looking to communicate their message with a cool, technical tone. Whether you’re designing a cutting-edge website, a high-tech advertisement, or a bold logo, Kinesthesia will give your work an unmistakable edge. But what sets Kinesthesia apart from other typefaces on the market? For starters, it offers a wide range of monetary symbols, as well as numeric ordinals, primes, and OpenType fractions. So whether you’re writing a report for work or creating a digital design for a client, you can be confident that Kinesthesia has all the symbols and characters you need to convey your message with precision. And of course, let’s not forget Kinesthesia’s angular design. With its sharp, diamond-shaped points, this typeface is the perfect choice for anyone looking to add a contemporary edge to their work. Available in Ultra-Light, Extra-Light, Light, Regular, Semi-Bold, Bold, and Heavy with obliques, Kinesthesia offers a wide range of weights and styles to suit any design need. So if you’re ready to take your design game to the next level, look no further than Kinesthesia. With its technical aesthetic and wide range of features, this typeface is the perfect choice for anyone looking to make a bold, unforgettable statement. 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.

The Fluze Fonts This is the 21st font release from CozyFonts Foundry, a California Font Foundry established in 2011 with it’s first Official Release in 2012 with the Aladdin Bold Family. Inspirations for the design of this font family, by California Graphic Designer/Illustrator/Font Designer Tom Nikosey, is based on the wacky, weird & quirky films that have graced the screen with their offbeat styles and characters. Movies that come to mind are Mary Poppins, Beetlejuice, Wizard of Oz, Edward Scissorhands, Alice in Wonderland, Little Shop of Horrors, Addams Family, Labyrinth, Ghostbusters, etc. The absurd, the sublime, the animated, the scary, and the illustrated are all descriptors to define the possibilities Of the many uses and applications of Fluze and Flute Outline as presented in a sampling of the posters here. The intentional crooked hand drawn’ glyphs and extras lend their personalities to create this effect. Whether in black, white & grays or psychedelic color combos, Fluze can be comical, frightening and Downright irreverent. This font works as main titles, end titles, branding, signage, numeric displays and even logotypes and monograms. Have fun and let your inner cartoonist inspire.

Patrilya Script A New Romantic Script Calligraphy made with a touch of lovely and charming attraction that adds to the impression of a beautiful and elegant. a charming typeface and So beautiful on invitation like greeting cards, wedding invitation, branding materials, business cards, quotes, posters, headings, signature, logos, t-shirt, letterhead, signage, label, news, posters, badges and more Patrilya Script has a script typeface and extra letters and included floral ornaments that allows you to be more fancy and more extraordinary in designing. Patrilya Script requires no special software to use or access the alternate letters. You can even use Patrilya Script in basic writing apps like Word For those with Opentype capable software ( Photoshop CC or any version of Illustrator/ Indesign), Patrilya Script also comes with Opentype features such as access to all the alternate letters and double letter ligatures. 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. Don't forget to check out other cool fonts on our store and wait for new fonts. Follow our shop for upcoming updates including additional glyphs and language support. feel free to send me a message, comment, like and share. Thanks

Lotter blackletter with Drop caps One fine day I found a vintage book, it called “A treatise by the Dominican friar-writer Marcus von Weida on the Brotherhood of the Holy Rosary”. It was printed in 1515 by Melchior Lotter in Leipzig. The text was illustrated by hand-colored engravings on religious and liturgical themes and beautiful initials I like. Lotter was the last name of a family of German printers, intimately connected with the Reformation. An innovation by the elder Lotter was his use of Roman types for Latin, reserving the Gothic types for German. I'm happy to present to you my new font family. Lotter font family has Drop cap and Regular styles. It's all you need to precisely imitate medieval style text. Use Drop cap style as a decorative element at the beginning of a paragraph or section, other part of the paragraph should be in Regular style. You’ll get: * Drop cap & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Whiteblack is a slab serif with a soft touch, designed for contemporary typography and comes up with 6 weights for positive and negative settings plus handslanted obliques. In dark backgrounds, especially for signage and on screen, negative settings glow and appear heavier than positive settings. To avoid the „glow-effect“ the typeface contains special weights for an optimal balance between white and black. A large x-height and open apertures not only creates space for smaller sizes, but also lends Whiteblack a solid balanced and generous character for print and screen. Many OpenType features including 324 ligatures, contextuel alternates, and stylistic set built into all cuts. The font contains 1.076 glyphs with a wide range of flexibility for Latin language support for every typographical needs. Whiteblack brings elegance and a certain warmth wherever a contemporary slab serif typeface is needed, special for signage, brands, magazines and corporate design.

Torbjörn Olsson's experimental type One Night Stand deserves a longer relation. Use it for drop caps or quotes, to add drama in dull surroundings and to spice up bland editorial content. One Night stand is also the perfect way to seduce readers of advertisments, as well as delivering contrast in headlines. Do you want to show the world in stark black and white? The One Night Stand is for you! One Night Stand is an OpenType typeface for both PC and Mac. Swedish type foundry T4 releases new fonts every month. One Night Stand is our twelfth introduction. Note: The underlying sans-serif font for One Night Stand is Esans Bold, also designed by Torbjörn Olsson. Esans is a fine sans, excellent for headline use, inspired by Granby, Tempo, Gill and others.

Fimfarum is a word that the Czech actor and writer Jan Werich created for one of his magical fairy tales for children and adults. Fimfarum is also the name of this playful typeface equipped with various styles simulating the randomness of handwriting. You can choose to select and combine different styles either using an all-in-one pro font in an OpenType-savvy application, or with a 10 fonts family pack. Fimfarum Pro also offers an automatic random effect. The OpenType contextual alternates feature can randomly mix narrow, wide and bold characters. You can specify how through various stylistic sets. For more details, check the Fimfarum Typeface Manual. With this versatile tool your designing possibilities are immense. Well, this is Fimfarum. You can download the instruction PDF here.

Bombay is serif type family by ManVsType. It is ideal to use at larger sizes as a display font. The family comes in 5 weights in 2 styles (normal stem height and low stem height). This font is variable in its weight and "connection" heights in the letters a, b, d, h, m, n, p, q, r and u. The typeface has a number of ligature including an R+s ligature that automatically turns into the ₹ (rupee symbol) to solve a major problem in the Indian subcontinent where people don't know how to type it. Bombay is inspired by the colonial version of the city. The city being a melting pot of all kinds of people. Poets, writers, filmmakers enjoyed the city and it quickly became the cultural hub of the entire country.

This typeface finds a perfect balance between technical excellence, careful design of letter forms for extended reading, and a measured dose of charm and personality. Its informal feel allows for successfully typesetting a wide range of applications, from magazines and fiction books to advertising and websites. Calligraphy, be it done with the broad-edge pen, brush, or other tools, has been fundamental in the development of Pollen. Its influence is clearly visible in the construction of the top serifs contrasting the curved bottom serifs and the fluid aspect of terminals and tails, such as on “g” and “r”. The shapes of the diagonal letters are based on a less formal calligraphic model, but still uses the broad edge pen. ­The letters were then subject to a further process of pencil drawing and digital re-interpretation, which gave them the final shape. The designs of “e” and “c” are derived from drawings made with only one continuous line, with the pencil always touching the paper. The letters “g” and “y” express the intention to bring informal elements to a typeface intended for long text reading, usually characteristic of casual writing. Pollen consists of 3 basic styles with an extended OpenType Pro character set and large language support, perfectly serving the most common typographic needs.

Fourth Reign is a royal medieval typeface. With diamonds, borders and ornaments, this decorative typeface brings us to glorious worlds in the golden times of epic knight sagas. Fourth Reign is the typeface of queens and kings. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. Use [ ] for side borders. Example: [Magic⚔Thrones] The Fourth Reign family consists of four styles: The regular Plain style, and the beautiful Borders, Diamonds and Combo styles. 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 Greek and Cyrillic, as well as all Latin-based languages, from North 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.

Fifth Reign is a decorative medieval typeface. This wonderful typeface of brings us to the golden times of epic knight sagas. Fifth Reign is the typeface of a Royal House, of vikings, kings and queens. Use it for a Middle Ages game, a fantasy headline, or as a logotype for anything of historical theme. With usage in any modern software, the letters will automatically overlap and embrace in an elegant way. To make heraldic symbols, copy these icons: 🐉 🐎 👑 🗡 🦁 🦅 🦌 + ♖ × ✝ ⚓ ＊ ⚔ † ‡ Alternatively write %A %B %C ... etc to create the heraldry. (Download required.) Dragon, Horse, Crown, Sword, Eagle, Deer, Cross, Anchor are some of the logos. The Fifth Reign family consists of three styles: The weights Thin, Bold and Medium, made to balance against each other and allow for usage in any scale. 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 Greek and Cyrillic, as well as all Latin-based languages, from North 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.

Some words from the designer, Frantisek Storm... Designed by Josef Tyfa in 1959, digitalized by F. Storm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices - "rulers" for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 288 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters "a", "n", "p", the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

The signs of the Bosnian pyramids The pyramid researcher, Semir Osmanagic, began excavations in 2005 in Visoko, Bosnia, 30 km North from Sarajevo. Mr. Senad Hodocic, the curator at the local museum, pointed out at the pyramidal shape of the Visocica Mountain, which grabbed Osmanagic's attention. It is also suspected that the four adjacent hills, covered by plants and greenery, also hide the pyramids. The main sites of the excavations are called the Pyramid of the Sun and the Pyramid of the Moon, and the results achieved so far have already proved that those structures are man-made and artificial. The Pyramid of the Sun is bigger and older than the pyramid in Giza, which was built by Pharaoh Cheops 4600 years ago. Gábor Szakács, who went to the site in June 2006 for the first time, found the symbols on the megalithic blocks inside the tunnel of the Pyramid of the Sun, which correspond to the ancient Hungarian runic writings. Further information about the Bosnian Pyramids is available at the website http://www.piramidasunca.ba/. There are also researchers who do not accept the subject of the Bosnian pyramids. Time will tell the truth.

My affection for Slab Serifs began in the early 1960s in Kansas City when Rob Roy Kelly was at the Kansas City Art Institute, teaching and writing his book on American Wood Type. I got to know him just well enough to gain access to his fabulous collection of wood type and wood type catalogs. Later, in the1970s, I tried to re-create a Nebiolo Egiziano for Roger Black at New West magazine. And again for Roger, in the 1980s, I designed a Slab Serif logo for Newsweek Magazine. Finally, in 2003, designed the Sutro Family. There were things I didn't like about it, so, over time, I’ve been adding some things and dressing it up a little. Sutro Shaded has existed for a few years as a one color, outlined, drop-shadowed display font. It seemed like it was just dying for a little color. I added five more fonts: Fill, Gradient, Hatching, Rules and HiLite. These fonts can be used in different combinations to achieve various effects. There is a downloadable SUTRO SHADED USER MANUAL PDF in the Gallery section for this family.

Start good day for new font! present to you, Aminah! Aminah is a retro serif font that brings a classic and charming vintage touch to your designs. This font combines elegant serif elements with a stylish retro feel, creating a unique and eye-catching combination. Aminah is suitable for use in a variety of retro design projects, such as posters, greeting cards, logo designs, and brand displays that want to convey a vintage, classic yet modern feel. With Aminah, you'll have an elegant, stylish, and full of character retro serif font with a large selection of ligatures to bring that special touch to each of your designs. This font will be the perfect choice for designers who want to explore design inspiration from the classic retro era but still trendy. What did you get? Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Aminah font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Shakira Studio