Veteran designer Bo Berndal has created Cartesius, an oldstyle serif typeface with roots in the 16th and 17th centuries, France and Venice. Bo Berndal: "Rene Decartes, the great French philosopher, was invited to Sweden in the 17th century, when the country was at the height of its power. In the university city of Uppsala he used the Latin name form Cartesius. The typeface that carries his name is inspired by letterforms from the 1600s, but upper case letters are of pure Roman type". Cartesius holds up well even under less than perfect circumstances, and is suitable for magazine and book design. It comes with a full range of styles, including small caps. Swedish type foundry T4 premiere new fonts every month. Cartesius is our fifth introduction.

Rostyle Script - is a pretty and lovely font, fresh, interesting, cute with little heart at the end of the letter. Great for greeting cards, branding materials, business cards, quotes, posters and more! Rostyle Script- includes many alternative characters. Coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book. Windows users can use the Character Map to view and copy one of the additional characters to paste into your favorite text editor. For people who have opentype-capable software: Alternatives can be accessed by turning on the "Alternative Style" and "Ligature" buttons on the Photoshop Character panel, or through any software with the glyph panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape.

Pentagram TwoLetter Monogram Logo Font Family with OpenType magic that can adjust to front and back letters, there are 10 frame variations that you can access at numbers 0-9 how to activate it simply by adding a number in front of your initials, typing something (0AB - 9AB) it will automatically compose . you can use it on any Logo project it is perfect to add to your collection. Pentagram TwoLetter font FAMILY – includes 9 weights (Thin, Extra light, Light, Regular, Medium, Semi Bold, Bold, Extra Bold, Black) : Pentagram TwoLetter Thin Pentagram TwoLetter Extralight Pentagram TwoLetter Light Pentagram TwoLetter Regular Pentagram TwoLetter Medium Pentagram TwoLetter Semibold Pentagram TwoLetter Bold Pentagram TwoLetter Extra Bold Pentagram TwoLetter Black Hope you enjoy. Intuisi Creative

The inspiration source for Distinto Borders are the Black & White and Running Borders from the 1906 Abridged Keystone Type Foundry Specimen Book. Nine Black & White Borders and Thirteen Running Borders are compiled within this font, all of which can be formatted in various manners to allow maximum versatility. While we've adjusted the metrics in this font, your program of choice may override and use their own settings. Make certain that the point size and the leading size are the same so that the borders connect properly. For instance, the font set at 12 points, should also be set to have 12 points of leading. It's that easy! Download and view the Distinto Borders Guidebook if you would like to learn a little more.

The better your font, the better the result of your design will be. That’s a fact. Renneal is an uppercase font that comes in duo (serif and display) version. The unique strokes/curves at the particular part of the character give the serif style artistic vibes. On the other hand, the display version expresses more simple and clean looks than the serif. Overall, Renneal designed to be easy to read and works best in header/title text. Features: Alternates Swashes Multilingual Supports Numerals and Punctuations It is suitable for branding, logos, social media quotes, stickers, posters, vintage designs, wall art, merchandise, social media, and many more. Get more inspiration by seeing the preview. Thank you for purchasing our premium fonts! Happy Designing!

Linotype Sangue is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This prize-winning font was designed by the German artist Gabriele Laubinger. The most distinguishing characteristic of Linotype Sangue is the contrast between the wide, rounded capital letters and the tall, narrow and pointed lower case. Another factor which makes this font so unique is the way Laubinger worked with stroke contrasts, using heavy strokes in the top third of the characters and diminishing to extremely light strokes at the bottom. Linotype Sangue makes a mysterious, secretive impression. It is best used for headlines and displays and shorters texts with point sizes of 12 and larger.

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones. Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

Peaches blessed is a great paired font because it has organic characteristics and is luxurious to look at. With the additional characters in these two fonts, it makes your display more enjoyable. Great for branding, logos, wedding invitations, quotes and more. Features: Uppercase, Lowercase, Numeral, Punctuation, Multilingual Ligatures & Alternates. Multilingual contained: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu. Thanks!

One of the earliest Monotype faces, issued about 1906 in two weights, normal and semibold. Based on Schelter & Giesecke's School Fraktur which was in turn based on type favored by early 16th century printers in Wittenberg. It was the door of the Schlosskirche in Wittenberg on which Luther nailed his 95 theses. For this reason, types similar to Wittenberger Fraktur are particularly associated with Lutheran theology. There are two s versions in the DFR-layout. They enable you to typeset the old way, where the long s with the form like an f is used in the beginning and middle of a syllable or word and the typical round s, also called final s, is used at the end of syllable and end of words.

Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ Averta (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) is a new geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta an EXCELLENT tool for a range of uses, from signage to branding and editorial design. Take advantage of Averta’s extended OpenType features including alternate glyphs, small caps, fractions, case sensitive forms, contextual alternates, oldstyle and lining (proportional and tabular) numerals, small cap numerals, numerators/denominators, superiors/inferiors, and a variety of symbols. Averta comes in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta PE (Pan-European: Latin, Cyrillic, Greek), Averta CY (Latin and Cyrillic), and Averta (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino, Fino, and Fino Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino perform a range of roles far broader than your typical Bodoni or Didot.

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

Step into the beauty of Belda’s elegant form and discover the richness flowing from both its historic influence and its strong elements. At its heart, Belda's graceful style embodies the classical calligraphy of the Roman capital, best known from such Roman monuments as Trajan's Column. To lessen the possibility for error, the builders of these defining structures brushed their templates onto the marble before taking their first cuts from the expensive stone. These simple strokes now mark a simple but wonderful path full of life and mystery. Beyond a copy of the past, Belda has grown from its roots to offer a brave, new world of potential through its still-simple structure. The new design strongly contrasts thickness and stroke. Its delicate shape, curves and sharp serifs provide a unique style of harmony and beauty. The resulting balance? The lighter weight design remains subtle and elegant, while the combination in its bolder counterparts provides an intense luster and sparkle, pulling the reader’s eye to the font’s captivating features. A quick look beyond its surface of standard forms also reveals Belda has more layers to discover with OpenType small capitals, titling capitals and more. With a wealth of weights and many widths beside, the font is capable of serving as both text and titling. While especially strong as a movie title or poster font, it’s also great for book jackets, advertising, and packaging. So start your journey with Belda. The possibilities to explore on this path are practically endless. Production assistance from Lucas Azevedo and ikern.

Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Sans is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Sans, Fino Sans, and Fino Sans Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Sans to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Sans family, along with our entire catalogue, has been optimised for today’s varied screen uses. All these talents let Fino Sans perform a range of roles far broader than your typical Bodoni or Didot.

Tall, stately, and refined, with a showy contrast between thick and thin, a certain kind of titling Didone has become synonymous with fashion. Ermin Međedović’s latest type system amplifies the most theatrical aspects of this genre while bringing an uncommon flexibility of style and variation to any type palette — particularly those required for editorial design. Fino Stencil is a Rational (or Modern) display serif with sharp details. Its fairly Title proportions produce a regular beat of bold stems at frequent intervals. One can add an unexpected twist to this plot line by introducing the alternate ‘C, D, G, O, and Q’ (found in the uppercase); these replace the standard, Title oval shapes with big, full, show-stopping round ones. Other alternate forms, along with a grand ensemble cast of ligatures, lets the director continually flip the script. This stage is set in three acts: Fino Stencil, Fino Stencil, and Fino Stencil Stencil. Each of these offer six weights and italics, and each actor is comfortable speaking any Latin-based language, from standard Hollywood English to the many accents of Eastern Europe. Finally, every style comes in two optical sizes, with Title having the finest hairlines for the biggest parts. This lets you put Fino Stencil to work in a variety of productions, from short texts (24pt–48pt settings) to epic titles. The complete Fino Stencil family, along with our entire catalogue, has been optimized for today’s varied screen uses. All these talents let Fino Stencil perform a range of roles far broader than your typical Bodoni or Didot.

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

Description Chordette for Guitar Chord Fonts are tuned EADGBE. Create a guitar chord chart or chord sheets quickly and easily. Guitar Chord Fonts Chordette contains high quality guitar chord fonts. Each guitar chord is mapped to a specific key on the keyboard, so you can type out chords. It’s a lot easier than dealing with images to create a guitar chord chart or song sheet. It’s a favorite tool for teachers, music therapists, and musicians. What instruments are supported? Chordette for Guitar is tuned EADGBE and supports Guitar. Chordette is available in multiple tunings for most stringed instruments. Most versions of Chordette support multiple instruments. App / Instruments Supported / Tuning Chordette for Guitalele / Guitalele, Baritone Guitar / ADGCEA Chordette for Ukulele / Concert Ukulele, Banjolele / GCEA Chordette for Soprano Uke Soprano Ukulele ADF#B Chordette for Baritone Uke / Baritone Ukulele / DGBE Chordette for Mandolin / Mandolin, Irish Tenor Banjo, Irish Bouzouki / GDAE Chordette for Banjo / Banjo /gDGBD Chordette for Tenor Banjo / Tenor Banjo, Tenor Guitar, Mandola / CGDA Chordette for Guitar / Guitar / EADGBE Each version of the Chordette font uses the same chord sets and keyboard mappings. If you play multiple instruments, you can create a chord sheet for one, then use another Chordette font to transpose the song to another. For example, you can create a song for Mandolin, then instantly transpose it for Guitar and Ukulele - just by changing fonts! Chordette for Guitar is priced at $10, which includes the guitar chord font sets for both Mac and Windows. For help and support, please visit http://ukefarm.com/chordette/help.html

Well suited for headlines, packaging and display applications, AE Prosperity will be a robust and versatile addition to your script library. It’s purposefully designed to infer the visual connections of letters for a hand-lettered feel. Some characters will connect, and others will guide your eye to the next letter from, making it highly legible. In 1779, the schooner Prosperity sailed the high seas. Commissioned by a young continental congress, with 6 guns & at twenty tons, she sailed under a Letter of Marque for patriotism and profit. Look lively, because with contextual and alternate glyph sets (contextual glyphs, alternate lower case glyphs and an extended set of alternate capitals), this robust typeface is as inspiring as her namesake and adapts to whatever winds may blow. Prosperity is designed as a free-flowing script, for a spontaneous and historic aesthetic. Contextual glyphs include variations on tt (short and longbar), t longbar, ll, cc and other characters. Contextual features change ascender heights and descender styles. Alternate glyphs (set 1) include variations on b,d,f,g,h,l,o,p,r,s,t,y. Alternate capitals (set 2) include a complete set of alternate upper case letters. Most useful with Adobe® InDesign®, multiple variations of letter combinations can be achieved by selecting Contextual glyphs, and/or set 1 and set 2 from the Character Palette: OpenType: Stylistic Sets menu. Alternate glyphs and contextual characters will be available based on the OpenType support of your application. AE Prosperity™ is available exclusively in OpenType format.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles. Award-winning type designer Rod McDonald was attracted to the simple, decisive forms of the original, but he felt the design needed to be refined and updated. ?One of my goals was to bring a modern typographic discipline to what was really an old phototypesetting font.? To achieve his goal, McDonald re-proportioned every character and balanced the delicate relationship between the curves and the straight strokes. He also added a number of alternate characters to extend the range of the design. ?I wanted to give designers a large enough character set so they wouldn't feel constrained in what they could do. I want them to be able to play with the fonts, not just set words.? McDonald enlarged the family from the single-weight original to five weights, each with a full suite of alternate characters.In 2015 Nadine Chahine designed matching arabic weights to this family.

Mantika Book was originally conceived and drawn parallel to the first Agilita drawings. *[images: pencil drawings] It took several years before having a chance looking at these designs again. But then, my first impulse was to turn this alphabet into a new sanserif, which was to become Mantika Sans. This was the starting point to conceive a super family consisting of different design styles and corresponding weights. The initial drawings of Mantika Book were refined and an Italic was developed to go with it. The aim was to create a modern serif typeface which is reminiscent of humanistic Renaissance typefaces, yet without following a particular historic model. Its large x-height for one is far away from original Renaissance models. Mantika Book was designed as a companion serif typeface to Mantika Sans that can be set for lengthy texts as in books, hence its name. It shares the same x-height with Mantika Sans but has longer ascenders and descenders, making for better word shapes in long, continuous reading. The approach of an ›old-style‹ looking typeface with large minuscules makes Mantika Book also a choice for magazine text settings where one often needs smaller point sizes to fit in a multiple columns layout. The unique details of Mantika Book are the asymetric bracketed serifs in the upright font and its higher stroke contrast than usual in a Renaissance style. The stems are slightly curved inwards. Also, the Italics have a low degree of inclination, which makes longer passages of text set in Italic rather pleasing to read. Another feature Mantika Book shares with Mantika Sans is that all four weights take up the same line length. It covers all European languages plus Cyrillic and Greek, is equipped with lots of useful scientific symbols [double square brackets, angle brackets, empty set, arrows] and the regular weight has small caps. There is a kind of an old-style feeling to Mantika Book, yet these citations were turned into a contemporary serif typeface with a soft but sturdy character.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Lievin is an exceptional slab serif font that stands out for its simplicity, clean lines, and captivating elegance. What sets it apart is its unique ability to effortlessly adapt to diverse design needs, making it a versatile choice for any project. With an impressive range of 50 variable styles, ranging from delicate thin to bold and massive black, Lievin caters to a wide array of typographic demands. Its versatility makes it perfect for various applications such as posters, marketing materials, logotypes, headlines, books, magazines, and more. One of the defining features of Lievin is its impeccable balance of classic charm and contemporary appeal. Its sleek and refined aesthetic adds a touch of sophistication to any design. The font's exceptional legibility ensures that the message is conveyed with clarity and impact. Lievin pairs harmoniously with a range of typefaces, making it an ideal choice for combination and layering. It complements sans-serif fonts, such as Helvetica or Futura, creating a visually dynamic and engaging typographic composition. Beyond its visual appeal, Lievin boasts an extensive character set, providing support for multiple languages and typographic features. This allows designers to express their creativity and accommodate different linguistic requirements. The design concept of Lievin is rooted in the desire to create a timeless and versatile slab serif font that would seamlessly integrate into modern design practices. Its clean lines and balanced proportions ensure legibility across various media and sizes, while its elegant charm adds a touch of sophistication. Lievin is the result of a meticulous creative process aimed at delivering a font that captures attention and makes a lasting impression. It combines the best of traditional and contemporary design elements, offering a fresh take on slab serif typography. As a modern typeface, Lievin is an original creation, not based on any historical design or revival. It embodies a contemporary interpretation of slab serif fonts while incorporating functional aspects that cater to the needs of today's designers.

Get ready to groove with the Okezone Chamoon Groovy Display Serif Font! This font is the perfect blend of retro 80s style, funky cartoon vibes, and a dash of modern flair. With its wavy lines, extensive ligature options, and a whopping 758 characters, Okezone Chamoon is the ultimate choice for designers looking to infuse a playful and nostalgic touch into their projects. Key Features: Groovy 80s Aesthetics: Okezone Chamoon takes you on a trip back to the 1980s with its groovy and wavy design. It's like stepping into a time machine and bringing the funky, vibrant spirit of the 80s into your designs.Funky Cartoon Vibe: This font exudes a playful and fun-loving attitude that's perfect for creating eye-catching headlines, posters, and logos with a whimsical twist. Versatile Ligatures: Okezone Chamoon offers an extensive range of ligatures that seamlessly connect characters, enhancing the flow and style of your text. Experiment with ligatures to create custom and captivating typography. 758 Characters: With a whopping 758 characters at your disposal, you have a wide variety of options to make your text truly unique. Add special characters, symbols, and emojis to express your creativity. Multilingual Support: Don't let language barriers hold you back. Okezone Chamoon supports multiple languages, making it a font that can connect with audiences worldwide. Digital and Print-Ready: Whether you're designing for the web or print, Okezone Chamoon is optimized for both mediums. Your designs will look stunning on screens and in physical publications. Unique Branding: If you want your brand to stand out and be remembered, Okezone Chamoon is the font to make it happen. Its distinct style is sure to leave a lasting impression. Endless Possibilities: Whether you're working on advertising campaigns, retro-themed projects, or simply want to add a touch of nostalgia to your designs, Okezone Chamoon empowers you with endless creative possibilities. With Okezone Chamoon Groovy Display Serif Font, your designs will turn heads, evoke nostalgia, and radiate a playful spirit. Embrace the funky 80s vibe and let your creativity run wild!

This classified version of Monkton, with its expanded proportions and extended serifs can be used at small sizes for classified advertising, newspaper text or larger displays. Its semi-medium weight (heavier than Book weight) makes it robust to be legible when smaller and cope with various printing methods. The inspiration for this typeface family came from my childhood experiences at Monkton, amidst an historic part of the South West of England. Studies of the original incised capitals of the Trajan column in Rome were analysed and polished for this modern version. The lower case letterforms and numerals were then created in sympathy, taking their proportions from the incised letters of local gravestones. Its name honours not only the area where the original alphabet was conceived and drawn, but also the people responsible for fostering my initial interest in letters.

Blue Goblet is a series of fonts and ornaments by Cory Godbey and Jeremy Dooley. This best selling series has now been extended to include a new member, Blue Goblet Serif. Blue Goblet Serif comes with a variety of weights and also an outline version. Blue Goblet is hand-lettered by the artist, Cory Godbey, and is organic, spontaneous and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Serif a excellent choice, it also is a member of a wide family of different fonts. You can use it side by side with the original Blue Goblet, and there are a wide range of ornaments available, totaling over 350 illustrations! These illustrations include frames, florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system that works very well together for a very unique and consistent look. The Blue Goblet series continues to grow and be expanded, making it a valuable investment. Blue Goblet Serif also includes auto replacing ligatures that make it appear that the script was drawn by the artists own hand, just for you! Blue Goblet Serif also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 150 OpenType glyphs, and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Serif is great choice for display and short blocks of display text, children's books, packaging, or other unique applications. Fill in the counter spaces with color for a unique look, or alternate the different weights. Use Blue Goblet whenever you want to inject a sense of fun and whimsy to your designs. Give the Blue Goblet series a try today!

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

Introducing Steelfish, a typeface that will take your designs to a whole new level. This condensed typeface is inspired by newspaper headlines from the turn of the twentieth century, and it is designed to be compact and efficient. Unlike other typefaces that try to emulate specific metal types, Steelfish is a unique blend of various headline fonts that gives it a one-of-a-kind character. Steelfish doesn’t rely on modern-day embellishments or antique ornamentation, which means it can be used seamlessly in both historical and contemporary themes. With its seven weights, including oblique styles, Steelfish is a versatile typeface that can be used for a wide range of design projects. Whether you’re working on a website, a brochure, or a poster, Steelfish is the perfect choice to add a touch of sophistication to your work. In addition to the classic Steelfish, there are other variations to choose from as well. The Steelfish Rounded is perfect for designs that require a softer touch, while the Steelfish Hammer is ideal for bold and impactful designs. Steelfish Steeled adds an industrial edge to your designs, and the Steelfish Unleaded is a stripped-down version for when you need a more minimalist look. Overall, Steelfish is the typeface you need to make a statement in your designs. Its compact letterforms and unique blend of headline fonts give it a character that is both historical and contemporary, making it a versatile and timeless choice for all your design needs. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

“Hand Stamp Play Rough Serif” is a rough and dirty serif Font with authentic & real stamp look. Original Hand Stamped. A–Z, a–z, and 0–9 are each 3× different forms (every letter/glyph has two additional alternate characters) and is intended to show the hand-made nature and the vibrancy of the display font. The different pressure (velocity) of the stamp on paper creates a liveliness in the typeface. Ligatures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffj, ffi, and additional logotypes like and, the, by, tel fax, web, www … and a Versal Eszett (Capital Letter Double S) give the Font more life and shows that despite their retro-looks works with modern OpenType technology (from ❤ love is, from luck will ✤ … ). Replacing the glyphs “E” instead of “3” to convey that typeface invites you to play. It is the desire to experiment and promote uninhibited experimentation. A variety of alternative letters and a few glyphs follow her own head @, &, ₤, £, “,”, * … The typeface has its quirks and downright human characteristics to “just love.” Have fun with this font – Just Stamp It. Application Area The serif font works best for head­line size. Logo, Poster, Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, party flyer, movie pos­ter, music pos­ter, music covers … How To Use – awesome magic OpenType-Features in your layout application ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Technical Specifications ■ Font Name: Hand Stamp Play Rough Serif ■ Font Weights: Regular, Bold ■ Fonts Category: Display for Headline Size ■ Desktop-Font: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph coverage: 617 ■ Language Support: Albanian, Alsatian, Aragonese, Arapaho, Aromanian, Arrernte, Asturian, Aymara, Basque, Bislama, Bosnian, Breton, Cebuano, Chamorro, Cheyenne, Chichewa (Nyanja), Cimbrian, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Fijian, Finnish, French, French Creole (Saint Lucia), Frisian, Friulian, Galician, Genoese, German, Gilbertese (Kiribati), Greenlandic, Guarani, Haitian Creole, Hawaiian, Hiligaynon, Hmong, Hopi, Hungarian, Ibanag, Iloko (Ilokano), Indonesian, Interglossa (Glosa), Interlingua, Irish (Gaelic), Islandic, Istro-Romanian, Italian, Jèrriais, Kashubian, Kurdish (Kurmanji), Ladin, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgian, Malagasy, Maltese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Northern Sotho (Pedi), Norwegian, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Rhaeto-Romance, Romanian, Romansh (Rumantsch), Rotokas, Sami (Inari), Sami (Lule), Samoan, Sardinian (Sardu), Scots (Gaelic), Seychellois Creole (Seselwa), Shona, Sicilian, Slovak, Slovenian (Slovene), Somali, Southern Ndebele, Southern Sotho (Sesotho), Spanish, Swahili, Swati/Swazi, Swedish, Tagalog (Filipino/Pilipino), Tahitian, Tausug, Tetum (Tetun), Tok Pisin, Tongan (Faka-Tonga), Tswana, Turkish, Turkmen, Turkmen (Latinized), Tuvaluan, Uyghur (Latinized), Veps, Volapük, Votic (Latinized), Walloon, Warlpiri, Welsh, Xhosa, Yapese, Zulu ■ Specials: Alter­na­tive let­ters, Ver­sal Eszett (Ger­man Capi­tal Sharp S), symbols, dingbats, digits, accents & €, incl. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Nume­ra­tors (numr), Ordi­nals (ordn), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Super­script (sups), Slashed Zero (zero) ■ Design Date: 2014 ■ Type Designer: Manuel Viergutz

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders Company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, Old style Figures, and italics. Caslon Open Face first appeared in 1915 from the Barnhart Bros & Spindler Foundry, and is not anything like the true Caslon types despite the name. It is intended exclusively for titles, headlines and initials, and looks elegant whether used with the more authentic Caslon types or by itself.

ITC Tactile is a puzzle of subtle typographic contradictions. Capitals have traditional epigraphic proportions, but the lowercase has a uniform optical width. Light weights are stately and elegant, but bold designs are almost jolly. This paradoxical alphabet even combines two distinctively different serif designs. Designer Joe Stitzlein says, “I wanted to create a modern and dynamic serif face that draws its forms from antiquity. I also wanted to have as much fun as possible with the drawing and architecture of each letter. Hopefully I've created a very legible typeface that grabs the reader's eye in a nice, 'tactile' way.” The apparent inconsistencies of the design are the result of careful consideration. Of the seemingly odd serif design, Stitzlein explains, “The transitional serif is an entry point for the eye into the letterform, and the long slab is an exit, leading to the next letter.” The result is a typeface that's easy to read at text sizes but offers surprising details when enlarged to display sizes, setting ITC Tactile apart from more traditional designs. While this is his first commercial typeface design, Stitzlein has ample experience creating custom typefaces for corporate branding, including companies such as Silicon Graphics and Sempra Energy. His graphic design business has served a wide range of clients, including Apple Computer and the 2002 Salt Lake City Olympics. The ITC Tactile family is available in three weights, with complementary italic designs and a suite of small caps for each of the roman designs. Stitzlein drew the small caps to match the height of the lowercase x-height, which enables “bi-form” or “unicase” setting in display copy.

Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper ink-traps and round punctuation, while slightly correcting the curves for a more contemporary look. Born as an exercise in subtlety and love for lost letterforms, Cairoli stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

A family of fonts with rhythm. Natom Pro is a modern and geometric font family adapted to the professional requirements of graphic designers, web designers and mobile application developers. Comprised of 19 styles including 8 styles designed especially for the design of headlines, Natom Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This font, with a resolutely contemporary aspect, also hides a unique typographic design since it has 2 distinct styles (Title and Roman) which have 2 different typographic rhythms in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of rhythmically differentiated glyphs according to the styles, the headlines have a very graphic aspect while the long texts have a more classic aspect in order to keep optimal readability in all scenarios. Its architecture is also very modern since it was designed and drawn with particular attention to the geometry of the forms with clear and open endings cut at 90 degrees. The number of styles has also been simplified with the most used thicknesses (Extra Light, Light, Regular, Medium, Bold and Black) in order to speed up your graphic design process. For the more experienced designers, Natom Pro is also available in a variable version. Natom Pro is also equipped with powerful OpenType features like case sensitivity, true small caps, full ligature set, tabular figures for tables, « old styles figures » to elegantly insert figures into your sentences, numbers circled or even alternative characters to satisfy the most demanding professionals.

Conceived specifically for intensive editorial use, whether it is in newspapers, magazines or digital media, Abril is a font family of two worlds. The titling weights, based on a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page, attracting the reader’s attention with measured tension in its curves, good color and high contrast. It also features typographic niceties such as ornaments, borders, special dingbats and alternate letters and numbers that propose a broad palette of tools to the designer. The text weights are more closely inspired by both, 19th century slab serifs and scotch roman types. They maintain consistency with the headline styles, and at first glance may appear to have the same shapes only with lower contrast. However, in reality the letter forms of Abril Text were engineered from scratch to achieve a color, texture and overall width that allow using the font comfortably in the most challenging environments for continuous reading, such as newspapers. This also makes it a great font family for pocketbooks and magazines. Abril competes, in terms of economy of space, head to head with some newspaper classics such as Utopia or Nimrod, but featuring a more contemporary look and feel; and unlike them, includes a full set of small caps with numbers and punctuation. The four main text weights of Abril Text were also manually hinted which grants the possibility of a smooth transition from printed media to web platform. Abril consists of 8 text styles and 12 display styles, all of them containing the standard TypeTogether character set that supports over 50 languages including those from Central and Northern Europe.