Antypica is a soft and friendly slab-serif font that draws inspiration from typewriter styles. This font is designed to be easily legible in both small and large sizes, making it a great option for various applications. Its simple yet timeless design with a modern twist makes it perfect for use in a wide range of design projects. This includes package design, ad campaigns, brand identities, movie titles, poster art, booklets, and even classified documents. With an impressive 790 glyph count, Antypica supports Basic Latin and Latin Extended-A. OpenType features further enhance typography by providing Small Caps and Small Numbers, Lining Figures, Oldstyle Figures, Superscripts, and Subscripts, Fractions, Tabular Lining Figures, Tabular Oldstyle Figures, Ligatures, and Contextual Alternates to prevent some unwanted letter pair collisions. Additionally, Stylistic Sets offer Stylistic Alternate Lowercase a, Alternate Cap T, Alternate Dollar Sign, and Slanted Hyphen to add calligraphic quality to text blocks, while the Special Set offers unique glyphs like Bitcoin and Interrobang. Antypica is highly versatile and can be used in many design applications. Small Caps and Small Numbers can be used creatively to create more visually engaging typography, and the optimized underline effect can be used to enhance the design. To access the Special Set in OpenType features, select it from the OpenType menu. To add special additional marks, type following in your text field. • For the Exclam-Comma mark, type ” ,! ” (comma+exclam) • For the Question-Comma mark, type ” ,? ” (comma+question) • For the Bitcoin mark, simply type " bitcoin " (not case sensitive). • For the alternate (Cap Height) Registered mark, type " registered " (not case sensitive). • For the Published mark, type " published " (not case sensitive). The font also has a small caps version of the Published Mark. • For the Numero mark, type " N° " (N + degree) (case sensitive). • For the Interrobang, type " bang " (not case sensitive). • For Price marking, type ” ,– ” (comma + one of these: hyphen, en dash, em dash). • For Dot(s) Pattern glyph, type " dots " (not case sensitive). • For Line(s) Pattern glyph, type " lines " (not case sensitive).

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

Imagine America in the 1930s. A gangster flick with Al Capone, a crime novel featuring Philip Marlowe. Our hero in a fedora sits in a classy bar, orders a double bourbon, lights a cigar and eyes the evening paper. He turns the pages, reading about a bank heist over on Third Avenue, a scandal involving a baseball player, a small ad for a general practitioner and a large spread about a famous law firm. What do the bottle of booze and the majestic facade of the bank have in common? The elegant baseball uniform and trustworthy attorneys? - Copperplate Gothic - When Frederick William Goudy created his legendary typeface in 1901, it went on to literally become the symbol of early 20th century America. Tiny serifs, characteristically broad letterforms, and particularly bold titles decorated calling cards at 6-point size, enormous bronze-cast logos, newspaper headlines, restaurant menus and more. This was the golden age of Copperplate, lasting up until the arrival of die neue Typografie and monospaced grotesques in the 1960s. Then the typeface almost completely disappeared. It made a partial comeback with the advent of the personal computer; digitizations of varying quality appeared, and one version even became a standard font in Adobe programs. This may have played a role in Copperplate later being used in DIY projects and amateur designs, which harmed its reputation. Copperplate New has been created to revive the faded glory of the original design. Formally, the new typeface expands the existing weight and proportional extremes. The slight serifs are reduced even further, making the typeface sans-like at smaller point sizes and improving readability. In contrast, at large point sizes it retains all of its original character. Decorative inline & shadow styles have been added and both have been created in all five proportions, making it easy to adapt the typesetting to the format you need. Despite these changes and innovations, Copperplate New remains true to Goudy’s original design and represents a snazzy way to evoke a golden era in American culture. Specimen: http://carontwice.com/files/specimen_Copperplate_New.pdf

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

A creative context 2003. Fontsmith was sharing a small, cold, whitewashed studio space in Northburgh Street, Clerkenwell. But things were on the up following prestigious custom type commissions for The Post Office and E4. “Slab serifs were on the brink of another revival, we could feel it,” says Jason Smith. “All we wanted to do was have a play with these slabs, go as far as we could within what was acceptable and readable.” “It wasn’t initially clear what was happening,” recalls Phil Garnham. “We were becoming very influenced by our surroundings, outside the studio space. We absorbed the essence and the designer grime of where we were.” Process Jason began by drawing stems on-screen. “The key aspect of the font is the upward bend of the leading shoulder serif, the way it kind of ramps up and then plummets back down the stem. “The regular and light characters are quite narrow – great for text but the bold is quite wide and chunky – better for headlines. I think ‘y’ is quite different for a slab design. We call it the Fontsmith ‘y’.” Promotion Fontsmith were determined to get FS Clerkenwell noticed. To launch the font, Ian Whalley, a designer friend of Fontsmith, captured words heard on the streets of Clerkenwell, set them in the new font and crafted a small book of typographic conversations. It was a first for Fontsmith. “I think that’s part of why this font has been so successful,” says Phil. “It really does embody the spirit of the area, as a special place for design, arts and crafts. And designers love that.” Contemporary twist FS Clerkenwell, based on influences in and around this part of London with a rich tradition of printing and design, mixes tradition with creation. Old-fashioned values meet new-school trends. Its quirky, contemporary character lends an edge to headlines, logotypes and any large-size text.

Hey there! Are you on the hunt for a new typeface that’s cool and laid-back? Well, look no further because Soap is here to sweep you off your feet! This typeface is the epitome of chill, taking the classic Cooper Black and smoothing it out even more. Soap’s unicase letterforms are so soft and inviting, you’ll feel like you’re sinking into a warm bath. And let’s talk about the spacing—it’s so tight you could bounce a quarter off of it. And here’s the best part: Soap is versatile enough to use for both headlines and body copy. That’s right, this typeface can do it all! Plus, with an alternate lowercase-style T available in OpenType adept applications, you’ll have even more creative freedom. But wait, there’s more! Soap comes in not just one, but three unique styles: Clean, Soap Stamp, and Soap Spraypaint. The latter two are perfect for adding a touch of grime and edginess to your designs, with straggly letter variations that prevent any boring repetition. So if you want to add some laid-back coolness to your next project, give Soap a try. It’s the perfect blend of classic and contemporary, and it’s sure to make a splash! 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.

Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society's usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design. To those adventurous types (pun intended), Canada Type presents this new face called Go. It is very much a child of the new millennium, inspired by the unmistakable minimalist style of modern 21st century corporate logos, recent design shifts in electronic music and club-marketing collateral, and disc jockeys who have enthusiasm, energy, precision and total control of each and every vibration traveling from mixer to speakers. Go is an original modern techno-lounge face that offers the eyes pleasing collages of friendly minimal forms that give the words an impression of simplicity and depth at once. This is a font that prides itself on its precise grouping of elements and just enough original creativity in combining those elements. The precision builds the sharp edge sought for modern statements, while the creativity keeps the message rejuvenated, clear and interesting. Go's character set consists of a versatile and unexpected, yet mild mix of the uppercase and lowercase forms, with multiple variations on the majority of the letters. The e being a vertical mirror of G is only the first of the pleasant surprises. More than 30 alternates are inside the font. All the accented characters in Go have been meticulously (perhaps obsessively) drawn to be unusual for logos and short statements. Take a look at the character map and be ready for a space-age surprise. To borrow a Star Trek cliché, this font can Go where no font has gone before.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

Introducing Expressway, a sleek sans-serif typeface that draws inspiration from the iconic FHWA Series of Standard Alphabets, also known as Highway Gothic. As the most widely-used typeface on road signs in numerous countries since the mid-twentieth century, Expressway’s freeway-themed aesthetic exudes both technicality and industrial charm. With 28 unique styles to choose from, including seven weights, two widths, and italics, Expressway’s practical design perfectly captures the original road sign feel. This family also offers both lowercase (old-style) numerals and monospaced (tabular) numerals, as well as currency, mathematical, and fraction symbols, all of which are monospaced, making it a breeze to create price lists and other tabular numeric data. Whether you’re a designer, engineer, or simply a lover of all things technical, Expressway’s warm and inviting style is sure to stand the test of time. So why not hit the road with Expressway and take your designs to the next level? 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.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Le Typorium présente une nouvelle famille de caractères calligraphiques basés sur une écriture étudiée à travers les manuscrits et autographes de Georges Brassens, poète et musicien (1921-1981). Son tracé, rigoureux et appliqué, souvent minutieux, est à l’image d’une œuvre unique et singulière, immédiatement reconnaissable. Le script Brassens offre des fonctionnalités OpenType telles que des caractères alternatifs pour les majuscules et les minuscules afin de renforcer la fluidité d’une écriture manuelle, des chiffres alternatifs, des fractions et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues étrangères. Trois graisses ont été créées afin d’offrir une large palette de possibilités graphiques. 60 images d’un poète qui a cassé sa pipe à l’âge de 60 ans., classées en trois séries de vignettes (pictogrammes, symboles, portraits), elles illustrent l’univers imagé et la richesse symbolique de la poésie de Georges Brassens où les représentations mythologiques et allégoriques y tiennent une part importante. Georges Brassens est un poète, auteur-compositeur-interprète né à Sète le 22 octobre 1921, mort à Saint-Gély-du-Fesc le 29 octobre 1981 et enterré au cimetière Le Py de Sète. Auteur de plus de deux cents chansons populaires, il met en musique et interprète ses poèmes en s’accompagnant à la guitare. Outre ses propres textes, il met également en musique des poèmes de François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, ou encore Louis Aragon. Il reçoit le Grand Prix de Poésie de l’Académie Française e 1967. Un grand nombre d’écoles, salles de spectacle, voies, parcs et jardins portent également son nom, dont à Paris le parc Georges-Brassens, tout proche de l’impasse Florimont où il vécut ses premières années parisiennes, de sa maison de la rue Santos-Dumont et du café Les Sportifs Réunis – Chez Walczak – rue Brancion qui lui inspira « Le Bistrot ». À Sète, l’Espace Georges Brassens ainsi que de nombreux festivals et associations redonnent vie au poète et à son œuvre. The Typorium presents a new calligraphic typeface family based on a writing studied through the manuscripts and autographs of Georges Brassens, poet and musician (1921-1981). Its layout, rigorous and applied, often meticulous, is in the image of a unique and singular work, immediately recognizable. Brassens script offers OpenType features such as alternate characters for upper and lower case to enhance the fluency of handwriting, alternate numbers, fractions and an extended accented character set to support many foreign languages. Three weights have been created to offer a wide range of graphic possibilities. 60 images of a poet who broke his pipe (French expression for passing away) at the age of 60, classified into three series of vignettes (pictograms, symbols, portraits), they illustrate the imagery world and the symbolic richness of Georges Brassens poetry where mythological and allegorical representations hold an important part. Georges Brassens is a poet, singer-songwriter born in Sète on October 22, 1921, died in Saint-Gély-du-Fesc on October 29, 1981 and buried in Le Py cemetery of Sète. Author of more than two hundred popular songs, he sets to music and performs his poems, accompanying himself on the guitar. In addition to his own texts, he also sets to music poems by François Villon, Victor Hugo, Paul Verlaine, Paul Fort, Antoine Pol, or Louis Aragon. He received the Grand Prix of Poetry from the Académie Française in 1967. A large number of schools, theaters, streets, parks and gardens also bear his name, including in Paris the Georges-Brassens park, very close to the impasse Florimont where he lived his first years in Paris, his house in the rue Santos-Dumont and the café Les Sportifs Réunis - Chez Walczak - rue Brancion which inspired "Le Bistrot". In Sète, the Espace Georges Brassens as well as numerous festivals and associations bring the poet and his work back to life.

Rev up your design game with Expressway Soft, the sans-serif font family that brings a touch of automotive style to your projects. Inspired by the U.S. Department of Transportation’s FHWA Series of Standard Alphabets, this font has been the go-to choice for road signs across the world, from the sweeping highways of Australia to the bustling streets of India. With its soft, rounded corners, Expressway Soft captures the feeling of cruising down an open road, while its twelve styles—including six weights and italics—offer versatility and flexibility for any design project. Old-style and monospaced numerals make it easy to create eye-catching price lists and other tabular data, while the font’s focus on design over regulation allows you to truly unleash your creativity. Whether you’re designing a bold, attention-grabbing billboard or a sleek, modern website, Expressway Soft has the style and functionality you need. So why settle for a font that’s strictly by the book when you can hit the road in style with Expressway Soft? And if you’re looking for a more angular variant, be sure to check out Typodermic Fonts’ Expressway with squared-off corners. 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.

Introducing Fragilità, a captivating serif font that embodies the delicate balance of classic elegance and modern innovation. With its exquisitely crafted characters, high contrast, and subtle ligatures, Fragilità seamlessly blends the charm of yesterday with the spirit of today. Fragilità's unique design harmoniously blends elements of both retro and modern aesthetics. Its condensed letterforms evoke a touch of nostalgia, reminiscent of classic serif fonts from the past. Yet, the font's modern sensibilities shine through in its circular O, Q, and C characters, which retain their full circularity, adding a touch of contemporary sophistication. Fragilità's high contrast between the thick and thin strokes of its characters ensures exceptional readability across various mediums. Whether gracing the pages of a book, adorning a website, or captivating viewers on a digital screen, Fragilità remains effortlessly legible. Fragilità's extensive library of ligatures adds a touch of refinement and sophistication to your text. These intricate pairings of letters flow seamlessly together, creating a sense of continuity and elegance that elevates your written expression. Fragilità's comprehensive support for over 92 languages makes it an invaluable tool for anyone seeking a versatile font that can transcend cultural boundaries. With its adaptability to a wide range of languages, Fragilità ensures that your message resonates with audiences worldwide. We understand that quality fonts shouldn't be a luxury reserved for a select few. That's why Fragilità is available for an incredibly affordable price of just $24, making it accessible to designers and creative professionals of all levels. With its exquisite design, exceptional readability, and ligature-rich character, Fragilità is a font that will elevate your creative projects to new heights. Whether you're crafting elegant body text, designing eye-catching headlines, or creating captivating marketing materials, Fragilità will add a touch of timeless elegance and modern sophistication to your work. Embrace the delicate balance of classic charm and modern innovation with Fragilità, your new go-to serif font for all your creative endeavors. Would you like to get 5 completely free fonts worth over $75? No tricks, no hidden words, terms or anything. Just subscribe to my newsletter, make sure to check your email to approve the subscription, add me to your contacts so that the emails don't end up in spam folder and you will get 5 fonts for free. The fonts are packed with alternates, ligatures and some even come with extra goodies. https://view.flodesk.com/pages/63594052b967a943dd6cc528 Happy creating everyone!

Looking for a typeface that brings retro flair to your designs? Look no further than Pricedown! This typeface is a modern interpretation of Pinto Flare, a display typeface from the early 1970s. Pricedown has a boxy, retro design that’s perfect for adding a touch of nostalgia to your work. It’s been used in a variety of applications over the years, including as the logotype for the US game show, The Price is Right, and Technos Japan’s Tag Team Wrestling video game in 1986. In addition to its eye-catching design, Pricedown also features some fun interlocking character combinations when used in OpenType savvy applications. For example, when the letter “H” is followed by the letter “I”, a swash tail will tuck under the “I”, adding an extra flourish to your text. And if you prefer a more streamlined look, you can easily turn off this feature in your application. With nine different weights to choose from, Pricedown is a versatile typeface that allows you to skillfully attenuate its impact, making it perfect for a wide range of graphic design projects. So whether you’re designing a logo, a poster, or anything in between, Pricedown is sure to add a touch of retro style to your work. 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.

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.

From the heart of the Blue Ridge Mountains, by way of Toronto, comes Martie's handwriting. Martie Byrd is a school teacher in Roanoke, Virginia, and a friend of Canada Type's Rebecca Alaccari. After years of admiring the cheer and clarity of Martie's handwriting, we asked her to write out full alphabets for some cool font treatment. The intent was to do three different versions of her writing in two different pens, then use the auto-magic of OpenType to determine letter sequences and rotate character sets on the fly when the fonts are in use. A successful endeavor it was. Take a look at the images in the MyFonts gallery to see the character rotation in action, along with a visual explanation of why Martie is not just another handwriting font. Unlike other available felt tip and ballpoint handwriting fonts, the regular and bold variations are style-based, not weight-based. They are the handwritten expressions of two different Sharpie pens: The fine point one (Martie Bold), and the ultrafine one (Martie Regular). The style-based variation considerably helps the realism needed in design pieces that take advantage of the contrast of two different handwriting fonts. Weight thickening in handwriting is an obvious mechanical effect that only happens with computers. Weight changing by replacing pens is what happens in the real world. Martie Pro and Martie Pro Bold each contain three different character sets in a single font. Language support includes Western, Central and Eastern European languages for all three sets. This translates into each Pro font containing over 750 characters. Add OpenType code and stir, and you have true handwriting fonts with versatility unavailable out there in anything else of the genre. A software program that supports OpenType features is needed to use the randomization coded in Martie Pro and Martie Pro Bold. Current versions of QuarkXpress and Adobe applications (Photoshop, Illlustrator, InDesign) do contain support for the randomization feature. But if you don't have one of these apps, you can still use the interchangeable Type 1 or True Type fonts and change the characters manually to achieve the appearance of true handwriting. The Martie fonts come in a variety of price packages, from the affordable single fonts to value-laden complete sets. All the proceeds from these fonts received by Canada Type will be donated 50/50 to two primary schools: One in Roanoke (where Martie teaches), and one in Toronto (where the 10-year old, real Canada Type boss goes). So next time a design project needs a handwriting font, do the write thing and use Martie to keep it real.

Inspired by various shapes such as leaves, flowers, hearts etc., Apresia Script is harmonically crafted. My first intention is only for standard design, but, later added simpler characters for normal(standard) typings. Apresia Script is rich with capital letter variants and ornaments. There are also lowercase variants in lesser numbers. I assume that many or perhaps most people want to have their name or the other of their important designs to be written with some letters that are in various shapes harmoniously. Apresia Script with more then 4000 glyphs support this aim, also support many latin based languages. However, because of many variations, except the standard characters, the full marked capitals are only set in two variants; in ss01 and ss02, which is also some marked lowercases included here. Swash variants (swsh) consist only one variant of every uppercase and lowercase characters, but no marked characters. All the others capital and lowercase variants are put in stlystic alternatives (salt). There are tens of unmarked caps and fewer for unmarked lowercase in salt (see Apresia Script opentype features(1) poster for some). The ornaments can be accessed via opentype ornaments(ornm), using less() characters for easier access. There are also beginning small letter(lowercase) ornaments, end word(lowercase) ornaments and insertion ornaments to make your typing/design more flourish, using ornm via “[“ (bracketleft), “]” (bracketright) and “\” (backslash), respectively. For marks; marks via combining marks and mkmk was set for many characters variants, however, it seem most applications not yet support this features. Alternatively, you can add non standard unicode combining marks via ornaments for the language supported: asterisk “*” list for uppercase marks above letters; ASCIIcircum “^” list for lowercase marks above letters; underscore “_” for uppercase and lowercase marks below the letters; numbersign “#” for slashing characters, horn, caron alternate and reversed comma for g, (see Apresia Script opentype features(2) poster and save it if you download the font). Thus, it is recommended to have the application which are support these opentype features such as: Adobe in Design, Adobe Illustrator, CorelDRAW or others for easier accessing the glyphs. Still, for non supported applications, you can insert these glyphs via Character maps, insert symbols or other similar tools. Apresia Script will go for most typing/design such as invitation, wedding card, greeting card, banners, logos and many others. Use it for whatever you intended to, Apresia script will give an amazing end design, though you are not a designer. As intended to be able to be used by many, this font is set in an affordable price. Thank you very much for downloading this font.