Laima is the brush-formed stencil from Bogidar Mascareñas that will create an ovation for branding, album art, upscale venues, and packaging. If wide appeal, attention to detail, or international reach is necessary for your brand, consider Laima’s high-calibre design as your personal ambassador. The general font user is accustomed to stencil typefaces that have a brute look to them — industrial, mechanical, restrictive, or even militarised. Stencils are commonly used because they serve a function, like spray-painting over template letters, giving the reader a warning that must be heeded for safety, or a command to follow immediately. Wooden crates and grunge art are the medium and black or red paint are the norm. Laima, instead, creates a stencil from the world of calligraphy to turn all this on its head. Laima’s 12 stencil styles (six roman and six italic) use the junctures of calligraphic strokes as an opportunity to achieve an uncommon stencil effect, shifting to create unexpected shapes and the illusion of twisted, disconnected overlaps. Inspired by “Arte Nueva de Escribir”, an engravings book published by Francisco Palomares in 1776, Laima progressed well beyond its beginning as a Type and Media Master’s project at KABK, The Hague (NL). It sometimes required completely new character shapes to accommodate the space needed for clear diacritic marks, and was further enhanced with flourishes and alternates for liveliness and variety in individual or branded work. Laima’s italic begins with swashes and uses OpenType features to automatically turn them off with more than two successive capital letters. Use one swashed character for a drop cap, two for ligatured fun, turn them on or off at your discretion, or change the ascender length and swash shape to suit your creative need. With two styles of numerals and stylistic sets for final forms, Laima’s 12 styles and hundreds of Latin-based languages can turn simple words into an occasion that would immediately benefit high-class brands and special uses. Set that article title, release that new product, code your best-looking UI yet, letterpress that business card, and print that gourmet label. Whatever is next, Laima is the unexpected stencil partner to introduce it to an expectant world.

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

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Handwriting" for obvious reasons. The first "Alef" has a "fatha", this indicates that the name can be pronounced only one way, "AR-RAHMAAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The calligraphy is very easy to read, no letters overlaps and the decorative symbols are at minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Saad & Ta". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Today, we’re here to talk about Boopee, a font that’s unique in every way. You may have noticed its flaws, but let us tell you, those imperfections are what make Boopee so charming. Boopee is a personable typeface that’s messy yet easy to read. Its quirky shapes and uneven lines give it a human touch that’s hard to find in other fonts. Despite its playful appearance, Boopee remains legible and functional, making it a versatile choice for various design applications. One of Boopee’s best features is its custom ligatures. With unique letter combinations that add a touch of personalization to your designs, you can truly make Boopee your own. Whether you’re creating logos, posters, or social media graphics, Boopee has got you covered. Plus, Boopee comes in both standard and bold versions, giving you even more flexibility in your designs. Use the standard version for a subtle, playful touch or go bold for a more impactful statement. In summary, Boopee may not be perfect, but its imperfections are what make it stand out. Its personable, messy yet legible style and unique custom ligatures make it a font worth exploring. Give Boopee a try and see how it can bring a touch of charm to your designs. 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.

Introducing Walnut—the graffiti typeface that packs a punch! This font was not designed for the faint of heart. It’s tough, rugged and unapologetic. Walnut’s gritty spray-painted look will add a raw edge to your designs that will have people taking notice. With its realistic style, Walnut looks like it just sprang off the wall, ready to wreak havoc on the unsuspecting public. It’s the perfect typeface for any design project that requires a touch of vandalism. From posters to album covers, Walnut will give your work that extra edge that will make it stand out from the crowd. But what really sets Walnut apart are its unique combos. With OpenType ligatures support, Walnut will create custom letter combinations that will appear like they were created on the fly with a can of spray paint. Each character has a distinct personality, making this font perfect for creating custom logos or headlines that demand attention. So why settle for a boring, predictable typeface when you can unleash the power of Walnut? It’s time to take your designs to the next level and make a statement with this tough and gritty typeface. Get ready to make some noise with Walnut! 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.

Carnero™ is a feisty hybrid of precise geometry and calligraphic flair; a design that walks that fine line between being sensible and a standout. In an increasingly monotone typographic landscape – Carnero has a unique pulse that moves the reader along with a new energy. Carnero gives life to simple utility with kinetic letter shapes, open apertures, and generous counters. Drawn by Steve Matteson for the Monotype Studio, Carnero’s versatility is its strength. From digital ads and applications to packaging and branding, Carnero is comfortable and contemporary. The lightest and boldest weights create inviting headlines, while the middle weights read well for body copy. Used together, they build a lively brand and a clear hierarchy. Matteson infused Carnero with a modernist exterior resting on a 10th century calligraphic foundation. Delightful flourishes on the capital R and K, and lowercase a, k and l, give the design a distinctive demeanor; while the alternate italic swash caps are a saucy nod to the scribes. The result is a design that is warm, approachable – and a bit lighthearted. Matteson describes Carnero as, “transcending the static posture of the geometric sans genre.” The Carnero family is a compact collection of six distinct weights, ranging from an engaging light to an authoritative black, each with an italic counterpart. Its extended Latin character set ensures worry-free localization for eastern/western European languages. This is a design that will prove its value many times over. Matteson has drawn over 80 distinctive typeface families for major corporations, branding firms and retail sales. His passions for the outdoors and performing music balances an intense focus on work – and subtly finds its way into typefaces like Carnero. Matteson has designed custom fonts for three generations of the Microsoft Xbox® game console, the original core fonts for the Android® mobile-phone platform, in addition to branding typefaces for Toyota®, Rocket Mortgage®, and Google®. He also drew the Kootenay™ family, Monotype’s proprietary branding typeface. Matteson’s retail designs range from the elegant and utilitarian Open Serif™ (a companion to Google’s Open Sans), to a growing series of Frederic Goudy revivals. Carnero Variables are font files which are featuring one axis and have a preset instance from Light to Black.

Rev up your designs with the bold power of Hemi-Head, the square industrial typeface inspired by the classic muscle cars of the 60s and 70s. Its audacious letterforms and stylish gaps will give your message a commanding presence, instantly conveying authority and technologically superior design. With its sleek, constructivist squareness, Hemi-Head is the perfect typeface for any project that demands strength, speed, and raw power. From high-performance automotive advertising to cutting-edge tech branding, Hemi-Head delivers the perfect blend of style and substance. Available in 8 versatile weights and italics, Hemi-Head offers a wide range of options for any project. Choose the style that best suits your needs, from the light and nimble to the heavy and powerful, and add a touch of italicized style for even more visual impact. So whether you’re looking to create a design that demands attention, or simply want to add a touch of muscle car style to your next project, Hemi-Head is the perfect typeface for the job. Embrace the bold, square industrial aesthetic of the 60s and 70s, and let your designs roar with power and precision. 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.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Introducing Laserjerks—the breathtaking polygonal display typeface that is guaranteed to take your design game to new heights! Inspired by the raw and unapologetic aesthetics of brutalist architecture, this unique font unleashes a sense of sharp geometric shadows and compressed alien alphabets that will leave your audience awe-inspired. Laserjerks is not your ordinary typeface. It is designed to stand out from the crowd and grab the attention of anyone who comes across it. With its unusual design, it imbues your message with an otherworldly personality that is impossible to ignore. Whether you’re designing a poster, logo, or any other visual media, Laserjerks is the perfect choice to give your work a touch of edginess and boldness. The sharp edges and unusual geometry of Laserjerks make it ideal for designs that require a contemporary and futuristic touch. Its polygonal shape creates an almost holographic effect that adds depth and dimension to any design. The result is a stunning visual experience that is sure to captivate your audience and leave a lasting impression. In a world of boring, run-of-the-mill fonts, Laserjerks is a breath of fresh air. Its unique design and inspired concept set it apart from the rest, making it the perfect choice for designers who are not afraid to be different. So why settle for ordinary when you can have extraordinary? Choose Laserjerks and see the difference for yourself! 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.

We’re excited to introduce Report, a geometric sans-serif typeface with rounded ends that takes inspiration from handwriting practice worksheets. Report is designed with legibility in mind, making it an excellent choice for students and educators alike. With its simple yet distinctive letterforms, Report prioritizes readability over austere geometry, making it a top choice for educators looking to create instructional materials that are both engaging and informative. One of the most exciting features of Report is its ability to access alternate characters using OpenType-savvy tools like InDesign, Illustrator, or Photoshop. With these tools, you can access lowercase “q” with a curl, lowercase “f” and “j” with tighter curls, capital “J” with a serif, and a “9” with a tilted stem. These stylistic alternates add personality and flair to your designs, making them stand out from the crowd. For even more versatility, check out Report School, a square-ended version of the typeface, and Sweater School, a more casual version with playful strokes. With three weights and italics included, you’ll have everything you need to create beautiful, engaging educational materials that your students will love. So why settle for boring, hard-to-read typefaces when you can choose Report? Whether you’re creating handouts, worksheets, or other instructional materials, Report’s legible letterforms and stylistic alternates make it the perfect choice for educators who want to create beautiful, engaging designs that inspire their students. 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.

Introducing Good Times, the techno-inspired typeface that will take your designs to the next level. With its wide, capsule-shaped design, Good Times is perfect for high-tech, sports, and scientific themes. The letterforms were inspired by the lettering used on Pontiac cars from 1989-1994 and is designed with straight lines, simple forms, and unconnected strokes. Whether you’re designing for a futuristic tech company or a cutting-edge sports brand, Good Times has you covered. The font comes in seven different weights, including oblique styles, so you can choose the perfect weight for your project. For a more edgy look, check out Good Times Bad Times, a rusty texture variant that adds a rugged feel to your designs. And with OpenType technology, you can automatically substitute common letter pairings with customized ones for a genuine chipped metal aesthetic. But that’s not all. If you’re looking for lowercase letters, be sure to check out Good Timing, the follow-up to Good Times. With its sleek, modern look, Good Timing is the perfect complement to Good Times, offering even more design possibilities. So whether you’re creating a high-tech ad campaign or a scientific presentation, Good Times is the font that will make your design stand out. With its distinctive capsule-shaped design and versatile weights, you can create designs that are both bold and sophisticated. So why wait? Try Good Times today and see the difference for yourself! 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.

Introducing Sweater School, a typeface that feels like the friendly embrace of a warm sweater on a chilly day. With its casual pen strokes and relaxed letterforms, this inviting teacher’s typeface is perfect for anyone who wants to convey a sense of approachability and warmth. Sweater School is a unique typeface that draws inspiration from the print style preferred by elementary school teachers, but with significant improvements that make it easier to read and more pleasant to look at. We know how important it is to get your message across clearly, and that’s why we’ve created Sweater School with readability in mind. One of the standout features of Sweater School is its alternate characters, including a charming “J”, “I”, and “q”, as well as nut fractions (vertical fractions). These variations can be easily accessed through your application’s OpenType “stylistic alternates” capability, allowing you to add a touch of whimsy to your designs and make them stand out from the crowd. Sweater School is available in four weights and italics, making it a versatile choice for a variety of projects. Whether you’re designing a logo, creating a presentation, or crafting a social media post, Sweater School is sure to help you make a statement with its friendly, approachable style. So why not cozy up to Sweater School today? Let its inviting warmth and casual charm elevate your designs and connect with your audience in a whole new way. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Clear" because of how clear and easy to read the design is. The first "Alef" has a "hamzit wasel", this indicates that you can pronounce it as both "AR-RAHMAAN" or "R-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The "Ye" in this calligraphy doesn't have the two dots, nor does it have a decorative "Ye", just like the Holy Quran. Also, we went for the traditional "soukoun" instead of the Quranic "soukoun" & decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Tah & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USED THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. --------------------------------------------------------------------------------------------------------------------------- Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

Picture this: You’re sitting at your desk, staring at the same old boring font on your screen, and you can feel your eyes glaze over as you read yet another tedious document. Enter Squirty, the typeface that injects a much-needed dose of life into your words. Inspired by the vibrant promotional visuals of Japanese nightclubs from back in the day, Squirty is like a breath of fresh air in a stale room. Its hand-painted letterforms are quirky and playful, with a personality all their own. And don’t worry about being too rigid—Squirty’s unconventional style gives you permission to let your hair down and loosen up a bit. But that’s not all. If you’re lucky enough to have access to OpenType ligatures, Squirty takes things to the next level. Letter and numeral variations shuffle around automatically, so your words flow more naturally, like a conversation with an old friend. No more stuffy, robotic language—Squirty lets you be yourself. So why settle for boring when you can have brave? Give your words a personality all their own with Squirty—your new wingman in the design world. 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.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Gravtrac is a slab serif headliner designed to deliver solid punches while taking up as little horizontal space as possible. Inspiration comes from mid twentieth century classics: Univers 59 Ultra-Condensed, Helvetica Inserat and Compacta. It’s all about flat sides, a steady rhythm and tight, precision curves. The widest style of Gravtac is Condensed—compact, yet a comfortable read, available in 7 weights from Ultra-Light to Heavy. Gravtrac Compressed is probably the width where most typefaces would quit. It's narrow enough for most...but not for you. That’s why we have Gravtrac Crammed. It’s audaciously narrow—perfect for times where you want the reader to slow down and truly pay attention to the message. Gravtrac Crushed is devilishly slender. Try it with wide tracking for a stark, opulent look. All styles are also available in obliques varying from 7 to 10 degrees—58 styles in total. Gravtrac includes Opentype fractions, numeric ordinals, a breadth of currency symbols and old-style (lowercase) numerals. Every skilled designer already has slab serif typefaces in their stockpile but some of us have the need to squeeze. 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.

As a designer, it’s crucial to choose a typeface that not only complements the overall design, but also conveys the intended message. Octin Spraypaint, a typeface that exudes streetwise grit and toughness, is a perfect choice for projects that demand a bold and fearless statement. Octin Spraypaint boasts two distinct styles—sans and serif—each offering three weight options: regular, bold, and black. The sans style offers a sleek, modern aesthetic with sharp, angular lines, while the serif style offers a more classic and sophisticated feel with its clean and sharp serifs. Together, these styles and weights provide designers with the flexibility to create striking headlines that command attention. This typeface is the perfect choice for design projects that demand an edgy and daring look. From police and military themes to sports, prison, construction, and school, Octin Spraypaint is versatile enough to lend its tough appeal to various themes and contexts. Octin Spraypaint is a typeface that offers a distinctive look that’s hard to ignore. It’s ideal for projects that need to convey strength, power, and authority, and its bold, spray-painted style is sure to capture the attention of viewers. With its unique blend of streetwise design and raw power, Octin Spraypaint is a must-have tool for any designer looking to make a bold statement. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Prison, Octin Stencil & Octin Vintage. 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.

ATTENTION CUSTOMERS :) There's a new Selfie available, have a look here; Selfie Neue is better done and more complete in every aspect. However, you can stay here if you still prefer the classic version. -But first, let me take a Selfie!- said that girl of the song and almost all of you at least once this year. While some terms and actions get trendy, some font styles do it too. It wouldn't be crazy to combine these worlds, in fact it happens often. Selfie is a connected sans serif based in vintage signage scripts seen in Galerías of Buenos Aires. These places are, in general, very small shopping centres which pedestrians sometimes use as shortcuts to get to other parts of the city. Their dark corridors take you back in time, and all of a sudden you are surrounded by cassettes, piercings, and old fashioned cloth. For some reason, all these shops use monolined geometric scripts. Surely, neon strings are easier to manipulate when letterforms have simple shapes. My very first aim with Selfie was to make a font that would serve as a company to those self-shot pictures that have become so popular nowadays. However, the font turned into something more interesting: I realised it had enough potential to stand-alone. Selfie proves that geometry itself can be really attractive. In this font, elegance is not achieved with the already-known contrast between thicks and thins of calligraphy, but with the purity of form. Its curves were based in perfectly shaped circles which made the font easy to be used at different angles (some posters show it at a 24.7º angle) without having problems/deformities. In addition to its nice performance when used over photographs, the font can be a good option for packaging and wedding invitations. TIPS Adding some lights/shadows between letters will for sure catch the eye of the viewer: Words will look as if they were made with tape/strings; so trendy nowadays. Try using Selfie at a 24.7º angle so that the slanted strokes become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words.

This font is the younger sister of HexBraille with which it may be combined to create new patterns. This also explains why their introductory text are similar. Introduction The purpose of this monospace font is to display braille in an original and "steganographic" way. The Kernig prefix means "Robust" in German, this is because of the crank shapes . The core of the glyph design is a flat hexagon which can be read as 3 rows of 2 dots (i.e. regular braille glyph grid). Even if within a glyph, braille dots ("square dots" indeed) are placed on the vertices of a flat hexagon, the difference with HexBraille is that edges connecting vertices are not straight lines but "crank shapes" instead. This can be summarized by saying that the whole glyph is a Hexcrank (a flat hexagon where vertice pairs are connected by a crank shape) NB: The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 6. A. "Kernig Lattice" In KernigBraille, glyphs are connected to each other, thus for each Hexcrank glyph there are 6 connections: 2 on left/right and 4 on top/bottom. In the final design some cranks were removed for esthetical reason (i.e. leave empty space for allowing patterns diversity). In summary, a text using this font won't display a honeycomb but a lattice instead. NB: Please notice that in order to obtain the lattice without vertical gaps, you must set the interline to 0. The lattice is made from 3 kind of shapes: a.1. Hexcrank a.2. Square a.3. Irregular cross (mostly unclosed) The design favored squares over crosses. The whole slightly resembling a PCB. B. Text Frames It's possible to frame the text with 4 sets of frame glyphs (as illustrated by poster 2) b.1. Kernig { € ° £ µ § ¥ ~ ¢ } b.2. Rectangular-High { è é ê ï î à â ä } b.3. Rectangular-Low { Â ù Ä Ê Ë Ô õ ö } b.4. Mixed Kernig+High: a mix of Kernig and Rectangular-High frame glyphs When using frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes in this font (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

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

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

Blank Manuscript allows you to produce sophisticated musical scoresheets even on basic Word Processors - anything from simple plain staves to complex full-page orchestral scores of your own design, to write in the notation yourself. The basic stuff is really easy and straightforward, but there's some quite advanced things you can do as well. So Copy and Save these Instructions. • The main stuff is simple and tends to follow the initial letter. Treble, Bass and Alto clefs are on upper case T B A (there are more clefs, below). The 5 Lines for the clefs are on L or l. • A small v will give a small vertical line (like a bar line) and a Big U will give a Big Upright - these can start or end a line or piece. • Time Signatures - type the following letters: Think of W for Waltz and it's easy to remember that 3/4 time is on W. Then from that they go up or down together like this: V=2/4 W=3/4 X=4/4 Y=5/4 Z=6/4 Compound Times are on H I J K like this: H=3/8 I=6/8 J=9/8 K=12/8 Common Time and Cut Common symbols can be found on semi-colon and colon respectively (all begin with Co- ). 2/2 3/2 are on lower case a and b, 7/4 and 7/8 are on lower case c and d, 5/8 is on small k (think POL-k-A) • Flat signs are on the numbers. Flat signs on LINES 1 to 5 are on numbers 1 to 5. Flat signs on SPACES 1 to 5 are on numbers 6 to 0 (space 1 being above line 1, space 5 being above the top line of the stave). Sharp signs are on the letters BELOW the long-row numbers. Which is q w e r t for the sharp signs on Lines 1 to 5, and y u i o p for sharp signs on spaces 1 to 5. Doing it this way means it works the same for all clefs, whether Treble, Bass, Alto, Tenor or any other. Sharp and Flat Signs always go in this order, depending on how many sharps or flats your key signature requires: Treble Clef Sharps t i p r u o e Flats 3 9 7 4 2 8 6 Bass Clef Sharps r u o e t i w Flats 2 8 6 3 1 7 = Alto Clef Sharps o e t i w r u Flats 7 4 2 8 6 3 1 • Guitar Chord Boxes are on G and g (G for Guitar) Upper Case G has a thick line across the top Lower case g has an open top, for chords up the fretboard TAB symbols are available: Six-string Tablature is on s & S for Six. Four-string Tablature is on f & F for Four. (Lower case has the "TAB" symbol on it, Upper Case has just the lines to continue.) Five-string tablature, is on lower case "j" (as in BAN-j-O) and of course L or l will continue the 5 lines. •RARE CLEF SIGNS including Tenor Clef, are on various punctuation marks, i.e. dollar, percent, circumflex, ampersand & asterisk, above the numbers 4 to 8. NOTE: The important symbols were kept on the letter and number keys, which are fairly standard all over, but some of the less important symbols are on various punctuation keys, which in different countries are not the same as on my keyboard. If it comes out wrong on your system, all I can say is it's right on the systems we've tried, and they'll be in here somewhere, probably on a different key. CLOSING THE ENDS OF THE LINES and BAR-LINES is done with the 3 varieties of brackets - brackets, brace and parentheses - Left/Right for the Left/Right end of the line. Parentheses L/R () which are above 9, 0 give a clef with a small vertical upright (the same as a bar line). Brace L/R and Brackets L/R (both on the 2 keys to the right of P on my keyboard) will close off a staff line with tall upright bars. Brace gives a double upright - one thick, one thin. Brackets give a single tall upright. A Big Upright is on Big U, (Big U for Big Upright) and a small vertical line is on small v (small v for small vertical). The Big Upright is the maximum height, and the small vertical is exactly the same height as a stave. And there's a tall upright Bar, on Bar (which is to the left of z on my keyboard, with Shift,) which is the same height as the bar on upper case U but twice as broad. • There's a staff intended for writing melodies, which is a little bit higher up than an ordinary treble clef giving a space underneath to put lyrics in - on m and M for Melody line. Lower case has the Treble Clef on, Upper case M has just the higher-up staff lines with no clef. (Use mMMMMMMM etc.) However this clef will be in the wrong place to put in sharp and flat signs, key signatures and so on, so if you use this clef you'll have to write the sharps, flats and key signature yourself. There's also a clef that's smaller (less tall) than the ordinary clef, but with the same horizontal spacing so it will align with other standard-sized clefs - on slash (a plain clef) and backslash (with a Treble Clef). • There are some large brackets for enclosing groups of staves, such as you'd use on large orchestral scores, on Upper Case N O P Q R, which can aid clarity. N and O on the left, Q and R on the right. P is a Perpendicular line to be used on both sides to increase the height of the enclosure, in this way but with the staff lines in between: N Q P P P P P P O R OTHERS —————————————— • Repeat marks are on comma (left) and period/full stop (right). • Hyphen is left as a sort of hyphen - it's a thin line like a single staff line, with the same horizontal spacing as ordinary staff lines - in case you want to draw a line across for a Percussion Instrument, or a Title or Lyric Line. • Space is a Space, but with HALF the width or horizontal spacing as ordinary staff lines, so 2 space symbols will be the same width as a clef symbol or line. • Grave (to the left of 1 on the long row, or hold down Alt and type 0096 then let go) gives a staff line that is one eighth the width of an ordinary staff line. • If you want manuscript in a clef and key which requires a flat or sharp sign in the space underneath the 5 lines, they’re on = equals and + plus . SYMBOLS • Many of these symbols will only be useful if you have worked out in advance which bars will need them, but they are here in case you've done that and wish to include them. • Symbols for p and f (piano and forte) are on 'less than' and 'greater than' < > (above comma and full stop) and m for mezzo is on Question, next to them. They can be combined to make mp, mf, ff, pp, etc. These signs -- and other signs and symbols like Pedal Sign, Coda Sign and so on -- can be found on various punctuation mark keys, including above 1, 2, 3 in the long row, and others around the keyboard. There's a sort of logic to their layout, but in different countries the keys are likely to give different results to what is stated here, so it's probably best to just try the punctuation and see if there's any you might want to use. (But on my keyboard a Coda sign is on circumflex - because of the visual similarity. Pedal sign is on underscore. A "Sign" symbol is on exclamation mark.) They were only included in case you really need them to be printed rather than handwritten. • However, a Copyright symbol is deemed necessary, and also included are a "Registered" symbol and a TradeMark symbol. They are found in the conventional places, and can be accessed by holding down ALT and typing 0169, 0174 or 0153 respectively in the numberpad section and letting go. • Staff lines with arco and pizz. above are on capital C and D respectively ---C for ar-C-o. • An empty circle above a staff line (to indicate sections by writing letters A, B, C or 1,2,3 inside for rehearsal marks) is on n. The actual signs for an A, B, C and D in a circle above the staff line can be produced by holding down ALT and typing 0188, 0189, 0190 and 0191 respectively and letting go. • The word "Page", for indicating page numbers, is on the numbersign key. • The two quotes keys, (quote single and quote double) have symbols representing "Tempo is", and "play as triplets", respectively. • INSTRUMENT NAMES There's a whole lot of Instrument Names built in (over a hundred) which can be printed out above the clef, and you do it like this. Hold down Alt and type in the given number in the numberpad section, then let go. For Piccolo it's 0130, for Flute it's 0131, Cornet is on 0154, Violin is on 0193, and the numbers go up to over 0250, it's a fairly complete set. There's also a blank which is used to align un-named clefs on 0096. Put them at the very beginning of the line for the best results. Here they are: WOODWIND Piccolo 0130 Flute 0131 Oboe 0132 Clarinet 0133 Eng Horn 0134 Bassoon 0135 Soprano Sax 0137 Alto Sax 0138 Tenor Sax 0139 Baritone Sax 0140 Saxophone 0142 Contrabassoon 0145 Recorder 0146 Alto Flute 0147 Bass Flute 0148 Oboe d'Amore 0149 Cor anglais 0152 Pipes 0241 Whistle 0242 BRASS Cornet 0154 Trumpet 0155 Flugelhorn 0156 Trombone 0158 Euphonium 0159 Tuba 0161 French Horn 0162 Horn 0163 Tenor Trombone 0164 Bass Trombone 0165 Alto Trombone 0166 Piccolo Cornet 0167 Piccolo Trumpet 0168 Bass Trumpet 0170 Bass Tuba 0171 Brass 0172 VOICES Vocal 0175 Melody 0176 Solo 0177 Harmony 0178 Soprano 0179 Alto 0180 Tenor 0181 Baritone 0182 Treble 0183 Bass 0197 (see also PLUCKED STRINGS) Descant 0184 Mezzo Soprano 0185 Contralto 0186 Counter Tenor 0187 Lead 0206 BOWED STRINGS Strings 0192 Violin 0193 Viola 0194 Cello 0195 Contrabass 0196 Bass 0197 Double Bass 0198 Violoncello 0199 Violin 1 0200 Violin 2 0201 Fiddle 0252 PLUCKED STRINGS Harp 0202 Guitar 0203 Ac. Gtr 0204 El. Gtr 0205 Lead 0206 Bass 0197 Ac. Bass 0207 El. Bass 0208 Slide Gtr 0209 Mandolin 0210 Banjo 0211 Ukelele 0212 Zither 0213 Sitar 0214 Lute 0215 Pedal Steel 0216 Nylon Gtr. 0238 Koto 0239 Fretless 0244 KEYBOARDS + ORGAN Piano 0217 El. Piano 0218 Organ 0219 El. Organ 0220 Harpsichord 0221 Celesta 0222 Accordion 0223 Clavinet 0224 Harmonium 0225 Synth 0226 Synth Bass 0227 Keyboards 0228 Sampler 0249 PERCUSSION and TUNED PERCUSSION Percussion 0229 Drums 0230 Vibes 0231 Marimba 0232 Glockenspiel 0233 Xylophone 0234 Bass marimba 0235 Tubular Bells 0236 Steel Drums 0237 Kalimba 0240 OTHERS Harmonica 0246 Mouth Organ 0247 FX 0251 Intro 0243 Verse 0245 Refrain 0248 Chorus 0250 un-named 0096 (this is a small spacer stave for aligning clefs without a name) ALSO copyright 0169 registered 0174 TradeMark 0153 Rehearsal marks 0188-0191 (giving A, B, C, D in a circle, an empty circle is on n ) Clef signs for Treble Bass Alto without any staff lines 0253-0255 An Alphabetic List of all signs: a 2/2 time b 3/2 time c 7/4 time d 7/8 time e sharp sign, centre line f Tab sign for 4-string tab g Guitar Chord Box, no nut h half-width stave I sharp sign, third space up j Tab sign for 5-string tab k 5/8 time l Lines - 5 horizontal lines for a stave m Melody Clef - a standard clef but placed higher up, with Treble sign n Stave with an empty circle above o sharp sign, fourth space up p sharp sign, space above stave q sharp sign, bottom line r sharp sign, fourth line up s Tab sign for 6-string tab t sharp sign, top line (fifth line up) u sharp sign, second space up v vertical line (bar-line) w sharp sign, second line up x Fretboard, four strings y sharp sign, first space up z Fretboard, five strings A Alto Clef B Bass Clef C “arco” above stave D “pizz.” above stave E Double Vertical Lines F Four Horizontal lines (for 4-string tab) G Guitar Chord Box with nut H 3/8 time I 6/8 time J 9/8 time K 12/8 time L Lines - 5 horizontal lines for a stave M Melody Clef - a standard clef but placed higher up, plain N Bounding Line for grouping clefs - top left O Bounding Line for grouping clefs - bottom left P Bounding Line for grouping clefs - Perpendicular Q Bounding Line for grouping clefs - top right R Bounding Line for grouping clefs - bottom right S Six Horizontal lines (for 6-string tab) T Treble Clef U tall, thin Upright line V 2/4 time W 3 / 4 time X 4/4 time Y 5/4 time Z 6/4 time 1 flat sign, first line up (the lowest line) 2 flat sign, second line up 3 flat sign, third line up 4 flat sign, fourth line up 5 flat sign, fifth line up (the top line) 6 flat sign, first space up (the lowest space) 7 flat sign, second space up 8 flat sign, third space up 9 flat sign, fourth space up 0 flat sign, space above stave