Introducing Heater Bellamore, a stunning Script Signature Handwriting Font that adds a touch of elegance to your designs. With its graceful curves and fluid strokes, this font captures the beauty of handwritten script. Whether you're creating a signature, logo, or any other project that requires a personalized touch, Heater Bellamore is here to impress. It features both uppercase and lowercase letters, numbers, and punctuations, offering versatility in your designs. This multilingual font ensures your message can reach a global audience, while ligatures and PUA encoding make accessing unique glyphs a breeze. Explore the full character set of Heater Bellamore and infuse your projects with a touch of sophistication.

Altone was created in a pursue of regularity and conventional geometric sans serif typeface which tend to be easy to receive by it's reader, broad usage possibility, shown a simple, bold and strong personality. The letterforms are more likely associated with Grotesk rather than the original classical Bauhaus style, formed in moderate and proportional width, flat apex, closed aperture with straight cuts stroke ends. Consist of 9 weight from Thin to Heavy with each matching Obliques. Contain several OpenType features: Stylistic Alternates, Figures Variation (fraction, tabular lining, numerator, denominator), and also covered broad latin languages. Provided also variable fonts in two styles; Upright and Oblique

Emil Bertell's Bayamo is a contemporary, digital take on the brush script tradition. It echoes the loose forms and energetic personality of sign painted letters, tapping into the current nostalgia for hand-drawn type. “I think most script fonts nowadays are either some kind of modern calligraphy, or synthetic/mechanical scripts,” says Bertell. “This one leans more towards a classic American sign painting tradition.” Contextual alternates ensure that lowercase characters change depending what's next to them, mimicking the more varied word shapes created by sign writers. Well suited for branding projects, packaging and headlines, Bayamo also pairs well with strong sans serif, and other typefaces with angular forms.

There's something about the endless variations of handwriting, the tactile process of pen, pencil or brush to paper, and the personal and ephemeral quality as a whole. I recently came across some old handwritten letters from when my younger sister was going to college, and as soon as I saw them, a flood of memories came back to me. All just from seeing her handwriting. That's just one thing handwriting can do. I hope you find enjoyment in my sister's handwriting as much as I still do. This font is complete with alternates that will auto-typeset via the ligature feature to give a more handwritten feel.

Nofela is a Handwritten Brush Script font. This another collection of script is perfect for your next personal branding project, excellent for your business. Nofela have a smooth edges, so this font gives an authentic handcrafted feel style. Nofela is perfect choice for people looking for clean, modern, minimalist, elegant, beauty design styles. Suitable for almost any graphic designs such as logo, branding materials, business cards, gift cards, t-shirt, cover, thumbnail, print, poster, photography, quotes .etc sans-serif, legible, geometric, clean, sans, modern, display, grotesque, corporate, branding, magazine, contemporary, text, headline, elegant, sans serif, grotesk, advertising, classic, swiss, poster, logo, editorial, technical, logotype

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Introducing my new fingerprint typeface OldStamp. In addition to the Regular style, I added two more color styles. Typeface for casino labels, nightlife headlines, bright posters, detective cards, biometric access etc. What's included? * Regular, Violet and Green styles * Only uppercase * Numbers * Symbols * Punctuation I hope you enjoy this font. Follow my shop to receive updates of products and the very hottest news! If you have any question or issue, please contact me: kaer.pro@gmail.com Please request to add additional characters and glyphs if you need! Thank you!

A ‘Leaden Sky’ is a dark grey sky without clouds. We don’t see too many of them here in Holland, as we usually have lots of clouds. Yesterday, however, the sky turned a sinister greyish green and it spewed out an an enormous amount of hailstones the size of walnuts. Leaden Skies is a handmade, all caps display font. I made it with a brush and Chinese ink. It comes with extensive language support and a set of alternates for the lower case glyphs.

New month means new font. Let us introduce our latest (another) sans serif; Tawakkal Sans. This font is a mix of modern and classic style, its cleanliness and irregular shapes represent the future, while its elegant curve mimicking old style typography. Tawakkal Sans is highly versatile, you can use it on many designing fields, ex: headline, editorial, quote-writing, tees/poster design, logo, etc. Packed with lots of glyphs (including OpenType chars), this font is a must have weapon on your designing arsenal. Enjoy!

Revaux is elegant display serif designed with ball terminals and back-slanted counters which is uncommon in type design. Modern, Stylish and Elegant were the main keywords to keep when designing the typeface. Revaux is a family of 14 fonts, consisting of 7 weights from Extra Light to Extra Bold for both upright and italic styles. Each font has 230+ glyphs including alternates & ligatures which support Major Western European languages - 61 languages supported! Revaux is unique, different, and a must have item to complete your font arsenal!

Picture if you will, a balmy autumn evening in Manhattan during the 1930s and a well-dressed couple out on the town. They hail one of the hansom cabs located near Central Park and climb in for an old-fashioned romantic ride around the green. Such are the type of images the stylized Art Deco hand-lettering comprising Horse Drawn Carriage JNL evokes. The inspiration for this font was the title card for a 1935 Bette Davis feature entitled "The Girl from 10th Avenue".

Albion Signature is a value packed font of exceptional character, with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project, big or small. It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles, that can be used in endless combinations. It’s like several fonts in one. Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index, so you will be able to find exactly the glyph you are looking for fast. This font can only enhance the fonts that you already own, making them more versatile and useful. On its own, it is a very elegant calligraphy script, that will make every project you create look great. The capital letters overlap and intertwine just like in days gone by, for a unique style. Also included are tools that can give you very precise spacing, right inside a word processor. Usage: Photoshop styles, InDesign, personal promotion logos, monograms & signatures.... That’s where it shines, yet it’s still great for art, cards, fancy documents, really fancy labels & even notes to Mom. Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.

ENGLISH: By installing or using this font, you are agreeing to the Product Usage Agreement: 1. This font is ONLY for PERSONAL USE || PROMOTIONAL & COMMERCIAL USE NOT ALLOWED! 2. FOR COMMERCIAL USE : https://creativefabrica.com/designer/tinyhandletter/ref/438703/ 3. Please contact us before using for any Promotional or Commercial Use! (Email: nasrunifajarita.project@gmail.com) 4. Follow our soscial media for update more great fonts and informations : Instagram: @tinyhandletter Please, let me know if you have any questions! :) Thank you :) ................................................................................................................... INDONESIA: Mengunduh dan menggunakan font ini berarti andan dianggap mengerti dan menyetujui semua syarat dan ketentuan penggunaan font dibawah ini: 1. Font ini hanya dapat digunakan untuk keperluan pribadi "Personal Use", yang berarti keperluannya tidak untuk "promosi" maupun "komersil" . Menghasilkan profit atau keuntungan baik dalam materi maupun efek promosi TIDAK DI IJINKAN! || Berlaku untuk Individu, Agensi Desain Grafis, Percetakan, atau Perusahaan/Korporasi. 2. TIDAK DIPERBOLEHKAN dalam menggunakan dan/atau memanfaatkan font ini untuk kepeluan Komersial, baik itu untuk Iklan, Buku, Promosi (social media), TV, Film, Video, Motion Graphics, Youtube, atau untuk Kemasan Produk (baik Fisik ataupun Digital) atau Media apapun dengan tujuan menghasilkan efek promosi maupun profit/keuntungan. 3. Menggunakan font ini untuk kepentingan Promosi dan/atau Komersial apapun bentuknya TANPA IZIN dari saya, akan dikenakan biaya EXTENDED LICENSE atau MINIMAL 100 kali lipat dari Lisensi Standard (biaya lebih besar berlaku untuk anda yang tidak kooperatif). 4. Hubungi kami untuk mendapatkan Informasi tentang Lisensi apa yang akan anda perlukan (Email: nasrunifajarita.project@gmail.com) Terima kasih.

Digital designs seldom show personal touches to make them stand out and to give unique displays. Generic fonts are no longer enough to do so. You need something special to make great impacts on your work. Therefore, a handwritten font can be the perfect solution to such a necessity. This is the Mightiest Autograph. Mightiest Autograph is a handwritten font in a signature looking style to add elegant, personal nuances on your designs. The curves and wipes in the swinging ends of the letters are the main characters. Like the other cursive fonts, each letter is connected to one another to make the font legible. The letters’ proportions are made different for a more artistic looking style applicable for such romantic texts. You can apply this font for any text sizes due to its great legibility. Additionally, you can enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Mightiest Autograph fits best for various design projects, such as brandings, posters, banners, invitations, greeting cards, magazine covers, quotes, printed products, merchandise, logos, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Fibra One looks like a “soft” version of the Fibra font, but it is actually more than that—the second part of its name suggests that it is a reinterpretation of the original typeface. While this new version maintains the overall structure of Fibra and influence of the Avant Garde font, its shapes are different from those found in its predecessor—Fibra One features both soft corners and smooth transition between curved and straight sections. This gives the font a more dynamic and playful personality. Fibra One keeps the original contrast between curves and straight lines in glyphs such as ’n’ and ‘h’ (not found in rounded glyphs such as ‘a’ and ‘d’); details of display characters (e.g. three upper terminals in ‘W’ and projection off the stem in ‘A’); and exaggerated terminal in ‘R’. All these features give Fibra One a strong personality—a typeface that ‘gives you the chills’. Fibra One was specially designed for display use. The font has a very generous x-height that allows for use in corporate text, thanks to its good readability. Fibra One comes with 2 subfamilies—a more ’normal’ Basic family, with a smaller amount of stylistic features, for use in subheadings or any other type of text that requires formality, and an Alt family that shows off the true potential of the font, making it the perfect choice for magazine headlines, posters and logotypes.

It’s spring and the Cherry Blossoms are in bloom… and so is the new typeface by Neil Summerour and Positype. Cherry Blossoms is the new relaxed script family in the same vein as Good Karma. Produced from hand and sumi brush of Neil Summerour, Cherry Blossoms is a natural brush textured font family. Cherry Blossoms is blooming with personality, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. Each typeface comes with an expansive set of stylistic alternates (upper AND lowercase), that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter smart ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulnesss of this bright script, a separate Caps/Lowercase font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to compliment the original Regular… Wide and Tight as well as the afforementioned Simple’ fonts are included in hopes of helping you find the perfect variation needed for your composition. Cherry Blossoms is the second release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Ghost Sign JNL is a spurred serif type design based on the faded lettering of an antique brick wall sign for Homer Hardware [located in Homer, NY] and is available in both regular and oblique versions. From Wikipedia: “A ghost sign is an old hand-painted advertising sign that has been preserved on a building for an extended period of time. The sign may be kept for its nostalgic appeal, or simply indifference by the owner. Ghost signs are found across the world with the United States, the United Kingdom, France and Canada having many surviving examples. Ghost signs are also called fading ads or brickads. In many cases these are advertisements painted on brick that remained over time. Old painted advertisements are occasionally discovered upon demolition of later-built adjoining structures. Throughout rural areas, old barn advertisements continue to promote defunct brands and quaint roadside attractions. Many ghost signs from the 1890s to 1960s are still visible. Such signs were most commonly used in the decades before the Great Depression. Ghost signs were originally painted with oil-based house paints. The paint that has survived the test of time most likely contains lead, which keeps it strongly adhered to the masonry surface. Ghost signs were often preserved through repainting the entire sign since the colors often fade over time. When ownership changed, a new sign would be painted over the old one.”

Introducing Akahe, a font that blends traditional elegance with modern sophistication. With its thick strokes and serif edges, Akahe adds a touch of classic style to any design. And with its stylistic set options for upper and lowercase letters, you can personalize the font to suit your unique style. Whether you’re working on a website, a brochure, or a branding project, Akahe is the perfect font to elevate your designs. Its thick strokes and serif edges make it highly legible, so your designs will always be easy to read and understand. But Akahe isn’t just beautiful, it’s also versatile and functional. You can use its stylistic set options to customize the font to your specific needs, making it perfect for a wide range of design projects. And with its comprehensive character set, you can create designs in multiple languages. So why settle for a standard font when you can have Akahe? Download it today and start creating designs that are both classic and modern, sophisticated and stylish. Whether you’re working on a large-scale project or just looking for a new font for your personal designs, Akahe is a perfect choice. What’s Included : - File fon - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like - many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

Hollywood Stars (Volume 1) is a unique collection of signatures of 92 famous Hollywood stars in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of the arts, history, movie buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Hollywood celebrities. This font includes signatures from the following Hollywood personalities: Michael Jackson, Farrah Fawcett, Elvis Presley, Marilyn Monroe, Ben Stiller, Kate Beckinsale, Steve Buscemi, Mel Gibson, Helen Hunt, Paul Reiser, Angelina Jolie, George Kennedy, Larry King, Edward Norton, Mira Sorvino, Steven Spielberg, Kate Winslet, Daniel Day Lewis, Laura San Giacomo, Holly Hunter, Jane Fonda, Alan Alda, Robbin, Williams, Alan Rickman, Al Pacino, Drew Barrymore, Bob Newhart, Brooke Shields, Burt Reynolds, Keira Knightley, Cheryl Ladd, Basil Rathbone, Minnie Driver, Debra Messing, David Schwimmer, Clint Eastwood, David Hyde Pierce, Burgess Meredith, Donald Trump, Linda Evans, Tony Danza, Gene Wilder, Cameron Diaz, Judi Dench, George Clooney, Nicolas Cage, Timothy Hutton, Jennifer Garner, Jay Leno, Tony Curtis, Suzanne Somers, Connie Selleca, Donald Sutherland, Jack Klugman, Tony Randall, Matthew Perry, Jenna Elfman, Morgan Fairchild, Jack Nicholson, Chazz Palminteri, Dustin Hoffman, Anthony Hopkins, Walter Matthau, Larry Hagman, Lisa Kudrow, Bill Cosby, John Mahoney, Ray Liotta, Jon Voight, Christian Slater, Chris Cooper, Dwayne "The Rock" Johnson, Drew Carey, Eli Wallach, Douglas Fairbanks Jr., Amanda Seyfried, Danny DeVito, Gary Sinise, Mary Tyler Moore, Edward Asner, Will Rogers, Cuba Gooding Jr., Bela Lugosi, Charles Grodin, Victoria Principal, Winona Ryder, Tea Leoni, Matt Damon, Loni Anderson, Emma Thompson, Ed O'Neill, Karl Malden. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

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

Are you searching for a typeface that’s out of this world? Look no further than Akazan. This compact sans-serif font has a voice that’s unlike anything you’ve ever seen before. Drawing inspiration from early twentieth-century grotesque, mid-century technical, and 1990s reductionist styles, Akazan combines the best of the past and present to create a truly unique typeface. When you use Akazan, you’ll be able to convey a ghostly sense of another time without being stuck in the past. This font is perfect for anyone who wants to add a touch of intrigue and mystery to their design projects. With styles ranging from Light to Bold, and including italics, you’ll have everything you need to make your designs stand out from the crowd. So why settle for a boring, run-of-the-mill font when you can have Akazan? Try it out today and see for yourself just how much of an impact it can make on your designs. With its otherworldly voice, Akazan is sure to become a go-to font in your design arsenal. Most Latin-based European, Greek, and some Cyrillic-based 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, Bulgarian, 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, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Paverify is an all-caps geometric slab serif display face inspired by a particular pavement tile component which is evoking a blocky “I” letter. All other characters were interpreted based on its look and drawn accordingly. There are three uppercase Roman fonts in different weights and widths substantially. With the additional versions, type family consisting of 7 fonts in total. Over 220 Latin, Cyrillic and Greek script languages supported. Each font contains an extensive multilingual support with more than 1600 glyphs and OpenType features, including number forms, fractions, and stylistic alternate sets those provide different looks by the typographic preferences. For the lowercase letters there are small caps variants, i.e., shorter caps. These also have identical glyphs and matching marks to enable “Small Capitals From Capitals” feature. Narrower Medium and Bold styles was produced to accompany the Black first design. Paverify comes with an ornaments font named as “Extras”, which contains geometric graphical elements, i.e., paver stone patterns, banner/sticker background sets, star comps and a collection of catchwords to simplify creating feature rich layouts. As is known as interlocking paver in certain regions — a rectangular shape with the distinctive diagonal tabs — transcribing the simplest letter to draw into the whole alphabet was a challenging task. Not only it was the single thing that can be used as a source, considering its thick form in roughly 1.2:1 proportions compared to the sophistication of letterforms was the challenge. Starting point was keeping design consistent while both avoiding and preserving a particular appearance to achieve a similar texture, basically a repeating pattern on the streets. In contrary of a traditional approach, Paverify tend to have more contrast than the other slab serifs which helps to reduce massive stem weight of the source form. This look contributes to its hand painted sign effect achieved in a certain degree, which may otherwise impractical to transform because the source material is an inorganic, static form by definition. Tight and even spacing of the pavement tiles was inspirational for the kerning balance of the letters. Although the lighter weights have more space between the letter pairs, black weight adjusted as to be close to each other as the original grid. Tight spacing can be ignored by using Capital Spacing OpenType feature for the Outline versions as layer fonts. In one stroke, this gives an extra space between the letters to avoid diagonal armed letter terminals overlap. Black typographic colour and texture gives a sturdy appearance to the lines, it is useful for the projects where a robust display faces preferred for the titling, strong headlines, letter stacks, dropcaps, initials, short names on materials such as advertisements, book covers, posters, logotypes, wordmarks, package designs, and more in print or digital. Paverify can be paired as a complimentary face in a combination with broader type systems, where vintage look compositions and woodcut style fusions requiring an extra stunning texture.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

MVB Peccadillo is an interpreted revival of a metal typeface popular in the 19th Century, then known as Skeleton Antique. Highly condensed with extra short descenders, the face makes a big impact in a narrow space. Holly Goldsmith worked from letterpress-printed specimens of 96-point, antique metal type, deliberately retaining subtle distortions due to type wear and letterpress impression. Alan Dague-Greene, referring to printed samples of Skeleton Antique, adapted the design to create two additional optical sizes: “Eight” for smaller text and “Twenty-four” for subheads.

Almoni is a precise, neutral multi-lingual sans typeface and is one of the most popular fonts in Israel. It contains many glyphs and fully supports 230 Latin and Cyrillic languages - which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. Many fonts are characterized by their unique character and language, and yet Almoni sheds almost all elements of uniqueness; as such, it will not overshadow your entire design. Every designer needs this functional font in their arsenal. Cyrillic design by Anna Khorash.

Klagia is a font inspired by the advertising media back in 1970. The glory of printing and handpainted signs and visuals. Emphasizing the bold, loud, yet poppin' and modern retro vibes that will be stylish in any era. It makes Klagia a font that you need to have in your design arsenal. Contains a bunch of Ligatures and Stylistic Alternates to give a distinctive vibe in every message conveyed using Klagia font. Perfectly fit for logo, branding, advertising, poster, food and beverages, restaurant, book cover, album artwork, decoration, sign painting, and many more.

Introducing our new font Killarney. A bold and heavy display font that inspired by the vintage/classic letterforms used in old-advertisements. Mouse-crafted with high attention to details; clean lines, sharp edges and tempting curves. Its square and blocky letterforms make Killarney a great for headlines and space killer. Packed with 500+ glyphs, Killarney composed of slanted version, standard upper/lower case characters, numerals, punctuations, some multilingual letters, alternate characters, stylistic sets, ligatures, etc. This font is a must have item for your designing arsenal. Go get yours now while it's hot. :D

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

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

Introducing Sweater School, a typeface that feels like the friendly embrace of a warm sweater on a chilly day. With its casual pen strokes and relaxed letterforms, this inviting teacher’s typeface is perfect for anyone who wants to convey a sense of approachability and warmth. Sweater School is a unique typeface that draws inspiration from the print style preferred by elementary school teachers, but with significant improvements that make it easier to read and more pleasant to look at. We know how important it is to get your message across clearly, and that’s why we’ve created Sweater School with readability in mind. One of the standout features of Sweater School is its alternate characters, including a charming “J”, “I”, and “q”, as well as nut fractions (vertical fractions). These variations can be easily accessed through your application’s OpenType “stylistic alternates” capability, allowing you to add a touch of whimsy to your designs and make them stand out from the crowd. Sweater School is available in four weights and italics, making it a versatile choice for a variety of projects. Whether you’re designing a logo, creating a presentation, or crafting a social media post, Sweater School is sure to help you make a statement with its friendly, approachable style. So why not cozy up to Sweater School today? Let its inviting warmth and casual charm elevate your designs and connect with your audience in a whole new way. 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.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Introducing Wheaton, the bold and striking headline typeface that brings together the best of retro and techno aesthetics. With its softened letterforms and classic electronic vibe, Wheaton will transport your message into the future while invoking a sense of nostalgia for the past. At first glance, Wheaton’s design may seem like a throwback to the 1980s, with its clean lines and futuristic curves. But upon closer inspection, you’ll notice the subtle details that give it a contemporary edge. Its softened edges and fluid curves evoke a sense of modernity and sophistication, while its retro digital gloss adds a touch of nostalgia to your message. But Wheaton isn’t just about looks. Its scientific elegance and industrial wonder make it the perfect typeface for conveying a sense of technological progress and innovation. Whether you’re designing a website, creating an advertisement, or crafting a presentation, Wheaton is the perfect choice for making a bold statement. In the world of graphic design, standing out is key. With Wheaton, you can be sure that your message will be noticed and remembered. Its unique blend of retro and techno aesthetics gives it a distinct personality that will set your work apart from the rest. So why settle for a boring, generic typeface when you can have Wheaton? Let its futuristic assurance and industrial wonder take your message to the next level, and discover a new world of creative possibilities. 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.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."