Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison. When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained. The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge. I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Harmonique is an incised serif typeface designed for both text and display purposes. It’s a type family of two styles that work in harmony together to add distinction and personality to your own typographic compositions. Harmonique’s low contrast forms have the appeal of a humanist sans serif typeface. Its subtly flared terminals evoke the craft and skill of a signwriter’s steady hand, creating an authentic and pleasing aesthetic. Harmonique Display is more calligraphic in its structure – as if drawn by a wide-nibbed pen. This style is accentuated by aggressively barbed serifs and chiselled arcs in its counters and bowls. These strong characteristics help to define a flamboyant, confident style that will provide impact and flair to your headlines, titles and identity designs. Practical features include 48 ligatures that will enhance titling possibilities with their all-capital pairings – these are accesssed by turning on Discretionary Ligatures and then selecting either Sylistic Set 1 or 2. There are also a number of alternate caps that will subtly enhance your titles and headlines – access these via Stylistc Sets 3 and 4. Small Caps are included too (along with their matching diacritics) – adding another layer of versatility to this typeface. Proportional Lining figures are available as an option if you prefer them to the default Old Style figures. There are 32 fonts altogether, with 8 weights in roman and italic from Light to Ultra in both text (low contrast) and display (high contrast) styles. Harmonique has an extensive character set (650+ glyphs) that covers every Latin European language. Key features: 8 weights across two styles in both roman and italic 48 Ligatures 11 Alternates Small Caps Full European character set (Latin only) 650+ glyphs per font.

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

The Cholla typeface family was designed by Sibylle Hagmann in 1998-99 and named after a species of cactus she encountered in the Mojave Desert. Cholla was originally developed for the Art Center College of Design in Pasadena, California. There, art director Denise Gonzales Crisp and associate designer, Carla Figueroa, collaborated with Hagmann to create a series of fonts that would offer a great deal of variation. The variety was needed to echo the school's nine different departments, yet together the fonts had to exude a unified feel. It was first used in the radically designed 1999/2000 Art Center catalog which won a honorable mention in I.D. magazine and was featured in Eye No. 31. Originally Hagmann set out to design a typeface that, as she recalls, "I could feel comfortable making, first of all, and one that would serve a purpose and had a clear idea behind it, and something that I would want to use myself." Stylistically Hagmann set out to create "12 cuts with slightly different personalities, with different ideas applied. For example the bold weight isn't simply the Regular with weight gain, but has bold letterforms with their own peculiar details. What all weights share and what is the necessary unifying detail is the tapered curve - marked out, for example, in the lowercase b's left top and bottom of the bowl." Gonzales adds: "The forms seemed classical as well. This combination could have a long life, and be timely. I also saw - at least in the beginnings of Cholla - forms that connoted hybrid, of inter-connection, of human and machine growing together. These notions seem appropriate for a school that teaches design and art." Greek version by Panos Haratzopoulos.

"At last, something beautiful you can truly own!" This is the first Persian Arabic & Latin COLOR font ever designed! Chromatic or Color fonts are fairly new. And Persian Arabic color fonts are extremely rare. Here, you get a font that supports both Arabic and Latin! Rangarang [means colorful] font comes in with a wonderful color set and variety in forms. Every single glyph has a unique palette of colors. If you look closely at the glyphs, you'll see complex paths and connections in every single one of them. Each glyph could be seen as a typographic artwork! Rangarang font is great for entertainment design, posters, business cards, website titles, magazine illustrations, logotypes, book covers, banners, billboards,... There are countless options! Notes: - SVG fonts contain vector letters with gradients and transparency. - These fonts will show up in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts and their support in third-party apps on: www.colorfonts.wtf - Don't worry about what you see here in the preview section in your browser. You may see the glyphs in black here, but this font is working EXACTLY how you can see it in the font pictures I put here. So if you use it in apps that support colored fonts, you can be sure that after installing the font on the system you will be able to use it like every other font. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh and Hezareh text and headline fonts, Yaddasht and Yadgar handwriting fonts,... already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Persian Arabic communities.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Are you ready to take your designs to new heights? Look no further than Alepholon, the revolutionary industrial typeface with its own unique flair. With its unconventional curves and resilient, mechanized structure, Alepholon is the perfect choice for futuristic lunar road signs, as well as any design that needs to make a bold and impactful statement. By incorporating Alepholon into your work, you’ll be adding a sense of excitement and wonder that’s sure to captivate your audience. This typeface is more than just a font – it’s a symbol of progress and innovation that’s sure to elevate any message to new heights. So why settle for ordinary fonts when you can make a bold statement with Alepholon? Try it out today and experience the future of typography for yourself! 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.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Inject some irresistible fun into your designs with the Mellow Morning Font Duo! This playful font duo consists of a fast flowing signature script, and a charming small caps font as the perfect companion. But that's not all - also included is a bonus doodle font containing 45 hand-drawn doodles - designed to add an eye catching, hand-made appeal to your Mellow Morning fonts. The Mellow Morning Family includes; Mellow Morning Script • A clean, free-flowing handwritten signature font containing upper & lowercase characters, numerals, and a large range of punctuation. Mellow Morning Script Alt • This is a second version of Mellow Morning Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Mellow Morning Small Caps • A clean, charming handwritten all-caps font. Contains 2 sets of a-z letters, simply switch between upper and lowercase to toggle between both sets. Also includes 8 stylised letters for extra flair, accessible via a Glyphs panel or by switching on Stylistic Alternates. Mellow Morning Small Caps Italic • An italicised version of Mellow Morning Small Caps, which can be used for a more fast-hand flow to your text. Mellow Morning Doodles • A set of 45 doodles designed to pair with the Script & Small Caps fonts. Simply install this as it's own font, and type any A-Z or a-s character to generate each doodle. Language Support • All Mellow Morning fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

💥Introducing "Electrone" – Unleash the Power of Typography with a Superhero Flair! Unleash the electrifying energy of "Electrone," a dynamic font that embodies the essence of superheroes with lightning speed, unmatched strength, and a dash of style. This font is not just a typeface; it's a superpower for your design projects! Key Features: Electrifying Glyphs: With 890 meticulously crafted glyphs, "Electrone" offers a vast array of characters that will add a powerful punch to your designs. Every glyph is a superhero in its own right. Sided Ligature: Seamlessly blend characters with our specially designed sided ligatures, creating a visual impact that resonates with strength and unity. Alternate Characters: Customize your text with alternate characters to give your designs a unique and personalized touch. The alternates are carefully curated to ensure versatility without compromising the superhero aesthetic. Lightning Swash: Add a bolt of energy to your typography with lightning swashes that strike through your text. Watch your words come to life with the electrifying force of "Electrone." Wings of Typography: Elevate your designs to new heights with the winged elements included in "Electrone." These wings symbolize the freedom and power associated with superheroes, making your text soar above the ordinary. Suit Up Your Designs: "Electrone" is not just a font; it's a complete superhero costume for your words. Whether you're working on comic book titles, posters, logos, or any design that demands a bold statement, "Electrone" is here to save the day. Perfect for: Comic Books and Graphic Novels Superhero Movie Posters Action-packed Logos Gaming Graphics Apparel Design and more! Embrace the electrifying power of "Electrone" and turn your designs into epic adventures. Download now and witness the transformation of ordinary into extraordinary!

The ITC Pino™ typeface family is Slobodan Jelesijevic’s second suite of commercial fonts. Although a small family of three weights, it is remarkably versatile. Like many typefaces, Pino grew out of a desire for a particular kind of design. Jelesijevic was creating a series of illustrations for a children’s magazine and needed a typeface that was lighthearted, legible and would complement his illustrative style. Unable to find exactly what he needed, he decided to make his own font. “I spent the better part of a day looking for just the right typeface,” he recalls. “Of course, the hard part was finding something that would harmonize perfectly with my drawings. A custom font was not part of the project brief or budget, but I thought that perhaps I could use it again.” The regular weight of Pino became the solution to Jelesijevic’s problem. Jelesijevic did use the font again, but quickly realized that the single weight needed companion designs. Pino Bold and Black followed in quick succession. Before licensing the designs to ITC, the three-weight family provided headlines, book cover titles and even short blocks of text copy in several of Jelesijevic’s design projects. Born in Gornji Milanovac, Serbia, in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in the University of Arts in Belgrade. Currently, in addition to typeface design, he is sought out as a graphic designer and illustrator. When not working on design projects, he teaches graphic communications at the Faculty of Art in the University of Niš, Serbia. Pino is a stressed sans of slightly condensed proportions. Pino’s generous x-height, clearly defined counters and distinctive character shapes enable it to fulfill a wide variety of typographic applications. Friendly without being sanguine, the Pino type family will communicate with charm and vitality.

You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Introducing color Retro font family. Modern retro design dictates its own rules and graphic techniques - one of which is fonts with outlines. Retroline font family embodies this. 4 fonts with black stroke and white fill, and 4 fonts with only black stroke are perfect for retro illustrations. Color scheme of colored fonts is convenient and easy to recolor in graphics programs. Retroline fits comic illustrations or designs from the 90s Features: 8 fonts in family: - 4 color fonts with fill & outline - 4 fonts with outline only 2 weights of fonts 2 weight of outline Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Hey, cats and kittens! Dig this groovy font we got for ya—Burpology! It’s the perfect typeface for all your cartoon headline needs. With its heavy weight, small counters, and tight spacing, you’ll be making a visual footprint that’ll knock ’em out! And that’s not all, daddy-o! Burpology comes equipped with automatic shuffling of three letter and numeric variations in OpenType-savvy apps, giving your words that cool, hand-drawn vibe. It’s like having your very own in-house cartoonist! So, if you want to add some serious pow and pizzazz to your headlines, just hit up your application’s contextual alternates or standard ligatures option and watch the magic happen. Don’t be a square, man—get Burpology and let your words do the talkin’! 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, Maori, 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.

HWT Konop is a monospaced (fixed-width) typeface that is also square! Designed by Mark Simonson (Proxima Nova) as square characters that can be arranged vertically or horizontally and in any orientation. To a traditional letterpress job printer, a font like this wouldn’t make much sense. But to a modern letterpress printer it is an unusual and creative design toolkit. The bold gothic style is reminiscent of gothic wood types but more geometric. Since the characters are meant to be used in any orientation, the usual optical adjustments, such as making verticals thicker than horizontals and making tops smaller than bottoms are set aside. This results in a quirky but charming design. To provide more design options, Simonson came up with a modular system consisting of three sizes: 12-line, 8-line, and 6-line. These three sizes can be used together like Lego® bricks, with endless arrangements possible. And the sidebearing match so that characters always align when different sizes are used together. The digital version of Konop replicates the wood type version as much as possible, including the three different size designs. It includes OpenType stylistic sets that allow most characters to be rotated in place, 90° left, 90° right, or 180°, just like the wood type version. Extra characters not available in the wood type version are included with the digital fonts. The set of 3 is priced just $5 more than one single font, so order via "Package Options" HWT Konop is named for Don Konop, a retired Hamilton Manufacturing employee, who worked from 1959 to 2003. In addition to serving on the Two Rivers Historical Society Board from 2004 to present-day, he was also instrumental as a volunteer in helping with the museum’s move to its current home in 2013.

Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear. Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own. And so now, here it is. Cabrito Inverto, which features the reversed stress of the strokes from a font’s “normal” traits. Inverted stress fonts are most often associated with cowboys and the Old West. The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms. Whew, that’s a mouthful! Inverto’s bundle of alternates is accessible in any OpenType-enabled program. It contains a workforce of alternates, swashes, and alternate titling caps to embellish the font. Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates. This font family also includes the glyphs for 72 different languages. Cabrito Inverto does pair well with Cabrito. There is even an extra font weight, Black, for when you want to punch it up a bit. Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party. Buy Cabrito Inverto to give a boost to your designs every day of the week.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

Aure Zeritha emotes the unassuming charm of fairytale romance. The modestly adorned forms of this decorative serif font engage the reader with a subtext of innocence. Zeritha brings an ingenuous romance to text and titles and a guileless promise of adventure to astrological expressions and chartwheels. The breadth of typographic textures revealed in its bold and italic forms is given depth by the charm of its small-caps and the delight of its curly alternates. Zeritha is an original design developed by Aurora Isaac, first released in the LP glyphset in 2011. After more than a decade in development, 2018 marks the release of the CJ and KB glyphsets, available in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Zeritha stands its own as a text font, but for extended text, try pairing Zeritha with its distant cousin, Aure Declare. Use Zeritha where the fairytale romance is needed; use Declare for tight text and practical contrast. Give Aure Zeritha a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

After doing this for so many years, one would think my fascination with the old history of writing would have mellowed out by now. The truth is that alongside being a calligraphy history buff, I'm a pop technology freak. Maybe even keener on the tech thing, since I just can't seem to get enough new gadgets. And after working with type technologies for so many years, I'm starting to think that writing and design technologies as we now know them, being about 2.5 post-computer generations, keep becoming more and more detached from what the very old humanity arts/tasks they essentially want to facilitate. In a world where command-z is a frequently used key combination, it’s difficult to justify expecting a Morris-made book or a Zaner-drawn sentence, but accidental artistic “mutations” become welcome, marketable features. When fluid pens were introduced, their liquid saturation influenced type design to a great extent almost overnight an influence professional designers tend to play down. Now round stroke endings are a common sight, and the saturation is so clean and measured, unlike any liquid-paper relationship possible in reality. Some designers even illustrate their work by overlaying perfect circles at stroke ends, in order to illustrate how “geometric” their work was. Because if it’s measured with precise geometry, it’s got to be meaningful design. And once in a while, by a total freak accident, the now-cherished mutations prove to have existed long before the technology that caused them. Rolling Pen was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century seemingly one of those experimental takes on what inspired Business Penmanship, another font of mine. Looking at it now it certainly seems to be friendlier, more legible, and maybe even more practical and easier to execute than the standard business penmanship of those days, but I guess friendliness and simplicity were at odds with the stiff manner business liked to present itself back then, so that kind of thing remained buried in the professional penman’s oddities drawer. It would be quite a few years before all this curviness and rounding were thought of as symbolic of graceful movement, which brought such a flow closer to the idea of fine art. Even though in this case the accidental mutation just happens to not be a mutation after all, the whole technology-transforms-application argument still applies here. I'm almost sure “business” will be the last thing on people’s minds when they use this font today. One extreme example of that level of disconnect between origin and current application is shown here, with the so-called business penmanship strutting around in gloss and neon. Rolling Pen is another cup of mine that runneth over with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program that supports OpenType features for advanced typography. Enjoy the new Rolling Pen designed by Ale Paul with Neon’s visual poetry by Tomás García.