Y’all, have you met Caryn? She’s a typeface that’s as friendly as a front porch conversation on a sunny day. With her short brush strokes and swooping flourishes, she’ll make your words sing with genuine warmth and charm. Caryn is like a cozy quilt or a hot apple pie, bringing a homemade touch to everything she touches. Whether you’re crafting a wedding invitation, designing a logo for your farm stand, or just writing a letter to a friend, she’ll help you express your message with a down-to-earth grace. And here’s the best part: Caryn doesn’t put on airs. She’s unassuming and approachable, like a neighbor who always has a smile and a kind word. You don’t need fancy design skills or a big budget to make Caryn work for you. She’ll fit right in with your homespun style and make you look like a pro. So if you want to add a touch of warmth and hospitality to your next project, give Caryn a try. She’s the perfect typeface to welcome your readers, customers, or loved ones with open arms. 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.

Layered font set 3D Bulb lamp Bulblamp is a 12 component font system that can be layered in different ways to create endless classic titling effects used commonly in signage by skilled sign painters and sign makers and any who interested in simple and flexible ways to make graphic design. Examples of how to use this you can see on the images. Moreover, You can start fast in Figma, Illustrator and Photoshop with predefined downloadable package. ! Download free predesigned Figma, Illustrator and Photoshop sets for this fonts here: https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs Each file is named according to its purpose. The number indicates the recommended order of the layers. 1 below, 5 on top. 1 means you should place it first. Of course, you do not have to use all the fonts, and vice versa - you can repeatedly use the same font style with different styles. What is Layered font? In fact, these are common fonts located in a stack strictly one above the other. This allows quickly create unique text effects using ordinary fonts. Where can you use this? These fonts can be used in any program that allows you to stack fonts as objects strictly one above the other, however it is recommended to work in professional programs such as Illustrator, Photoshop, Figma and so on ... How to use this font set quickly? For quick use, I recommend using ready designs for Figma, Photoshop or Illustrator. Download fonts and Install all fonts. Go to the link https://drive.google.com/open?id=17ogdSIjPuLA5-CUaAO1TlqJGbRPWy5iA&authuser=popov_av%40koriphey.ru&usp=drive_fs which has contained pre-made solutions for this font applicable in Figma, Photoshop or Illustrator and download presets. Follow the recommendations on the pages. Basically, you will need to replace the words in the template with your own, then edit colors and transfer the result to your design. In that’s all, it's easy.

Cinema Macabre: Horror Fonts Torn from the Pages of Giallo A Hand-drawn Display Font for Creating the Most Diabolical Horror Titles This loose and inky brush font takes its inspiration from the classic Giallo film posters of the 1960s to 1980s - a cult cinematic subgenre beloved for its stylish visuals, haunting soundtracks and exploitation led marketing. It's a devilishly drawn design that aims to capture the feeling of vintage horror, preserving analogue details of old print while remaining versatile enough to work across a variety of digital designs. The Cinema Macabre font family boasts six fonts, each containing a unique set of uppercase and lowercase characters, as well as numerals, punctuation and language support. Add to this a host of custom ligatures, underlines and graphic elements and you have an essential toolbox for creating truly hand-made looking title designs. Cinema Macabre if a font that rewards experimentation by mixing all the various upper and lowercase alternatives, with interesting combinations waiting to be found and inspire terror across your own movie posters, book covers, albums and editorials. Few other fonts offer the versatility to create such diabolical designs! A Brief Introduction to Giallo: In popular cinema, Giallo is a genre of mystery fiction and thrillers often containing slasher, psychological horror, exploitation, supernatural and erotic elements. The term giallo (meaning yellow) derives from a series of pulp novels published by Mondadori from 1929 taking the name from its trademark yellow covers. The series consisted of Italian translations of mystery novels by well-known authors such as Agatha Christie, Edgar Allan Poe and Raymond Chandler. The popularity of these cheap paperbacks eventually established the word Giallo as a synonym in Italian for a mystery novel. The cinematic Giallo subgenre developed during the 1960-80s and are noted for their vivid cinematography, memorable soundtracks and inventive gore-filled scenarios. Key examples include Dario Argento's Suspiria, Tenebrae and Deep Red - stylish films that at once influenced the American slasher (see Black Christmas and Friday 13th) up to todays horror in Censor and Last Night In Soho.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

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

LiebeRuth is your 100 percent hand-made organic type. She absolutely loves to be typeset in large *and* small sizes, because Legibility is her middle name. (Yes, we know it’s not a typical girl’s name.) She is friendly and polite, but she also has a few quirks. Her friends are impressed with how natural she manages to look every day. Her four weights ensure that Ruth has the right boldness for any context: birthday invitation, personal correspondence, photo album, or billboard ad. During the creation of this font, her designer ate plenty of healthy, organic foods. We think this is the reason why Ruth looks so fresh and lively. And of course Ruth has been designed with lots of Liebe (which is German for “love”—and she speaks many other languages, too). One more thing Ruth is marvelous at: showing off her curly-swirly swashed alternative letterforms that can be activated via OpenType. (Please make sure your software supports OpenType if you wish to use the advanced features.) Each style contains more than 560 gluten-free glyphs—now that is great value! If you like this font, you may want to look at LiebeRuth’s bolder sister LiebeDoni and our best-sellers LiebeErika and LiebeKlara. Or add in some LiebeOrnaments to prepare a curly-licious feast. By the way: LiebeRuth also gets along great with our wide range of illustrative fonts, including LiebeCook, LiebeFish, and LiebeTweet.

Lust Didone’s character set was expanded as well during the redraw and update, the Italics were separated and reimagined anew from the universal italics in the original offering. Lust Didone also includes the new Fine optical size with complementing Italics for each size as well. And, yes, more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Introducing Galderglynn 1884, a font family that transports you back to the nineteenth century. With its refined expansion from the intentionally rustic Galderglynn Esquire, this typeface oozes old-world charm and sophistication. The condensed fonts are expertly squared off, paying homage to the typical condensed newspaper headline type of the era. Their weight and spacing are deliberately unrefined, just like the pre-twentieth century grotesques that inspired Galderglynn Esquire. Meanwhile, the extra-condensed “squeeze” fonts are completely flat-sided, reminiscent of the old wooden poster types and tight metal newspaper headline fonts. If you’re looking for a practical workhorse font family, Galderglynn 1884 is the perfect choice. It combines the pastoral design of Galderglynn Esquire with a polished finish that makes it easy to read and use. And if you’re after something extra special, you’ll love the three special effect fonts: all-capitals shadow, and engraved regular and condensed styles. Access tabular and lowercase (old-style) numerals with ease, thanks to the OpenType features available in this font family. Galderglynn 1884 is the perfect way to add a touch of old-fashioned charm to your designs. Try it today and transport your audience to a bygone era! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A 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, 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

The Comic Sans® typeface, one of Microsoft's most popular designs, has received a makeover courtesy of Monotype Imaging. The company has introduced the four-font Comic Sans Pro family of typefaces. Featuring elements such as speech bubbles and cartoon dingbats, Comic Sans Pro extends the versatility of the original Comic Sans, designed by Vincent Connare for Microsoft in 1994. Hats off to Monotype Imaging for enlivening Comic Sans and getting it back to its roots as a comic book lettering face. Now everyone can write with more panache - and look even more like a pro using swashes, small caps and other typographic embellishments," said Connare. "Every day, millions of people rely on Comic Sans for countless applications ranging from scrapbooking to school projects," said Allan Haley, director of words and letters at Monotype Imaging. "Comic Sans is also a favorite in professional environments, used in medical information, instructions, ambulance signage, college exams, corporate mission statements and executive reprimands - even public letters from sports team owners to their fans. Breaking up with your spouse? Why not write a letter in Comic Sans Pro, embellished with a typographic whack!, pow! or bam! Comic Sans is everywhere, and now it's even better." The Comic Sans Pro family includes regular and bold fonts, in addition to two new italic and bold italic fonts drawn by Monotype Imaging's Terrance Weinzierl. "Our aim is to put the 'fun' back in 'functional.' We can't wait to see Comic Sans Pro used in everything from second wedding announcements to warning labels," said Weinzierl. "Long live Comic Sans!" Comic Sans Pro contains a versatile range of typographic features including swashes, small caps, ornaments, old style figures and stylistic alternates - all supported by the OpenType® font format. OpenType-savvy applications, such as Adobe® Creative Suite®, QuarkXPress® or Mellel™ software are required to access these features. Comic Sans Pro can also be used in new versions of Microsoft® Office including Microsoft Word 2010 and Microsoft Publisher 2010. In addition, Comic Sans Pro includes a set of ornaments and symbols, including speech bubbles, onomatopoeia and dingbats, pre-sized to work well as bullets."

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

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

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 2 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 2 contains 144 fonts. Families included in Volume 2: Hype 0200, Hype 0500, Hype 0800, Hype 1100, Hype 1400, and Hype 1700. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 3 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 3 contains 144 fonts. Families included in Volume 3: Hype 0300, Hype 0600, Hype 0900, Hype 1200, Hype 1500, and Hype 1800. If you would like to complete your collection be sure to view and purchase Hype vol 1 and Hype vol 2. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

Here in the heart of Santa Monica, in the disused 1940s aircraft hangar we like to call the Comicraft Studios, we know that times are tough. As we were driving to “work” in the back of our chauffeur driven Humvee limo, sipping martinis out of the navels of Playboy bunnies and wondering what font we should release next, we decided it was time to reach out to the poor people. Yes, we felt it was time to create a font for the huddled masses yearning to breathe free, for the wretched refuse of our teeming shores. A font, if you will, for the tempest-tossed. It’s a little skinny and might be described as pinched and starved, but it’s guaranteed to see you through this current economic crisis as only the 26 letters of the alphabet can. It was a tall order, but Jazzy JG Roshell created this one while he was in line at the bank, waiting for his personal bailout. Meticulously crafted using one of those ballpoint pens attached to the cashier’s station by elastic, Credit Crunch is the Hamburger Helper of comic book fonts. It’s kind of a hybrid -- just like the Priuses our trophy wives drive to their personal plastic surgeons -- and it’s solar powered and also comes with a tank full of good old fashioned Biro ink. The Recession, Climate Change AND Global Hunger will probably end mere minutes after you crack open your life’s savings to buy this font. How can you afford NOT to...? See the families related to Credit Crunch: Credit Extension.

Hype lives up to its name. An energetic attempt to blow past previous sans’ descriptive words of massive, large, extensive, super and others. Hype transcends the everyday marketing terms and rests solely atop them all with a jaw-dropping current offering of 432 fonts that spans 18 widths and 12 weights. Insert a long pause and mic drop here, because nothing compares. Hype Volume 1 includes 6 of the 18 subfamilies that comprise the full Hype Collection. Each of these subfamilies represent 1 of the 18 available widths and each width contains 12 weights and matching italics. Volume 1 contains 144 fonts. Families included in Volume 1: Hype 0100, Hype 0400, Hype 0700, Hype 1000, Hype 1300, and Hype 1600. If you would like to complete your collection be sure to view and purchase Hype vol 2 and Hype vol 3. Hype’s bombastic approach meant supplying everything it could within each typeface: including small caps, yes small caps, a full numeral set that includes inferiors and superiors, super- and subscripts, full fraction support, case-sensitive forms, stylistic alternate letterforms, and more while touting a full Western, Central and South Eastern European character support. Embracing a Univers-esque bravado and a willingness to push the envelope, Hype leaves even more room to grow. No corners were cut, no shortcuts taken with a focus on sensible, efficient letter construction and functional reliability that ignores any one classification and instead looks to form an amalgam of classic sans styles influenced by wood type, movie showcards, and urban industrial letterforms.

An unadorned Grotesque with a refreshingly personal touch. If “Grotesque” mainly means “industrial, mechanical, anonymous typeface” to you, Klainy might redefine your image of the genre. Yes, it’s a Grotesque—but with a contemporary look and a lot of personality. Klainy’s apertures are more closed at the top and more open at the bottom, creating an informal rhythm that sets Klainy apart: a confident, optimistic voice with a clean appearance. Terminals are subtly back-bent: these quaint “hooks” make Klainy a bit more personal, a bit friendlier. (You can find them in the a, c, f, and r.) Just like its old-style Grotesque ancestors, Klainy is optimized for display sizes and short texts. There, its unobtrusive quirks can be wholly appreciated. However, the familiar Grotesque appearance makes sure that the typeface is comfortable to read in smaller sizes, as well. Use Klainy whenever a basically classic sans-serif typeface with a modern and individual twist is called for. This font family comes in eight weights ranging from Thin to Black, each with a matching italic style. More than 500 glyphs and a bunch of Open Type Features make it a reliable companion for all of your projects. You can fine-tune the flavor of Klainy with Stylistic Alternates such as a one-story a and a two-story g. Their simple construction blends perfectly with the design concept of this typeface. Klainy is a seasoned blue-collar worker that surprises you with wit and team spirit. It’ll be a great addition to your font library.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Introducing Warugaki: a typeface that defies convention and eschews predictability. With a bold, untamed energy that is deeply rooted in mid-century Japanese style, Warugaki captures the essence of a bygone era while remaining firmly anchored in the present. But don’t be fooled by its seemingly disorganized appearance—this headline typeface is the result of a meticulous subtractive process that imbues each letterform with a sense of organic authenticity. The edge technique used is reminiscent of a handcrafted silk screen or wax dye resist, resulting in compact letterforms that exude a sense of raw, unbridled energy. But Warugaki is more than just a typeface—it’s an experience. With bespoke letter combinations and alternate letters in the lowercase position, each word you create with Warugaki is a unique expression of your own creative vision. No two designs will ever be the same, and that’s exactly the way it should be. So if you’re looking to break free from the constraints of traditional typography and embrace a more spontaneous, expressive approach to design, look no further than Warugaki. This is a typeface that will take your work to new heights, and leave a lasting impression on anyone who sees it. 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.

Sassoon fonts package for handwriting starters The three upright "infant" fonts developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Letters have extended ascenders and descenders ideal on screen and print. They facilitate word recognition. The exit strokes link words together visually, also crucially, they space the letters for improved legibility. The "joined" font puts the skills gained into practice producing joined-up handwriting. Together these typefaces provide a valuable resource for Teachers to create consistent material across the curriculum. Sassoon Infant Tracker B font: This font with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow font can be dropped and the Dotted font used. Sassoon Infant Dotted B font: Writing over the dots of this font refines motor skills. The aim here is to give confidence by reinforcing starting points, exits and to now encourage fluidity. Sassoon Infant font: With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and exit strokes to write freely along the baseline - still unjoined. Once learned, this leads to spontaneous joins along the baseline leading logically to a joined-up hand. Sassoon Joined font: Having learned to write letters with correct starts and exits, this is when the joined font for teaching handwriting can be used. With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and simply extend their exit strokes to make joined-up writing. The default joins the font provides are recommended, however there are alternative letterforms that are so important for some Teachers which can be accessed. Create ‘pen lifts’ anytime too! NOTE: Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your text editing application such as Word or TextEdit, read more for instructions… Free to download PDF resources: Stylistic Sets and how to access the alternative letters feature in these OpenType fonts. Using the separate letter fonts Using the joined font Teachers copybooks using these fonts: How to teach pre-cursive Copybook How to teach cursive handwriting Copybook

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

TT Geekette is an experimental variable* serif with friendly and flexible character of shapes. In this project, we wanted to get away from simplifications and dry geometry and to experiment with the smoothness, softness and plasticity of forms. And in order to make the project a little more stylish and serious, we decided to make the font monospaced. When creating TT Geekette, we did not rely on traditional writing techniques or on the influence of pen movement on the font pattern. Despite the fact that judging by certain characters TT Geekette is a serif, the font is specifically “built” and “drawn”. There are several systemic techniques in font design, such as “loops” which set the plastic rhythm for the entire typeface. Variability in TT Geekette is influenced by contrast buildup in the font—moving the slider to adjust the variability axis, you gradually move from a completely non-contrast monolinear serif font to a font with a pronounced reverse contrast. In addition, with the help of the variability slider, you can remove serifs from the monolinear essence of the font. The TT Geekette family consists of 3 styles: the TT Geekette Bones—monolinear font, the TT Geekette Muscles—reverse contrast serif, and the TT Geekette Variable font. Each style contains over 450 glyphs. And yes, technically the typeface can be used in programming, at least you are guaranteed to get your share of bright emotions. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/

Minotaur is an original monoline design based on an Oscan (http://en.wikipedia.org/wiki/Oscan_language ) votive inscription from the second century B.C.E. The letterforms immediately caught my eye in the wonderful book, Lettering by Hermann Degering, and I decided to create a typeface based on them with only enough compromises to make it usable as a modern alphabet. Not quite as straightforward as I had hoped. For example, the Oscan language (the predominant language in the Italian peninsula before the ascendance of Latin), has no letter "O", so the distinctive curve of the "D" was used as the model for the rounded letters "C" and "G" and more subtly for "O" and "Q"; this shape is also echoed in the original design of "B", "P" and "R". Also, the Oscan letterforms for A, K, L, M, N, S, and U are rather quaint, so I've included modern forms as alternates. Minotaur offers the best of both worlds: Just as the mythical Minotaur is half man and half bull, the font Minotaur is half modern and half ancient. Thanks to OpenType features (stylistic sets), you can easily switch from ancient letterforms to modern (if you have an OpenType-savvy application such as Adobe InDesign) for Latin, Greek, and Cyrillic alphabets. Minotaur supports all modern European languages, including Modern (monotonic) Greek and those that use the Cyrillic alphabet. And, yes, it supports Oscan, both right-facing and left-facing. Minotaur includes 3 OpenType Stylistic Sets: 1 - converts ancient (default) letterforms (A, K, L, M, N, S, and U) to modern alternates; 2 - converts Latin letterforms to equivalent left-facing (standard) Oscan letterforms; 3 - converts Latin letterforms to equivalent right-facing Oscan letterforms.

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!