It is still a mystery to us why Martin Wilke's 1968 Konzept design was ignored by the digital age. It certainly has the elements of attractive yet realistic handwriting, as well as a few very distinctive letters that make it very unique in its class. So here it comes digitally under another feline name from Canada Type. We named it Cougar because the top of the C gives off just that impression. Ditto the G's casual descender, and the gorgeous a and g. With casual letters like these, a handwriting font cannot get any more realistic. Cougar is ideal for handwritten notes, both long letters and friendly short sentences. It's also great for use in scrawl design, titling, or any environment where friendly and casual appearance is of importance.

Introducing Neastone A Modern Chic Serif Fonts. Beautiful and soft fonts in a contemporary style that can make your design projects look modern, elegant and luxurious. Made with many alternative characters to make it easier for you to do various design projects and give you fun while typing. Neastone fits perfectly into those nostalgic moodboards and vintage logos. It come with a unique lower and uppercase plus numbers, punctuation & multilingual letters. You can apply them to designs like social media posts, logos, merchandise, book covers, posters, video content thumbnails, quotes, landing pages, wedding invitations and much more which you can make with this great item for any design :) Features: - Uppercase - Lowercase - Numeral - Punctuation - Multilingual - Opentype Features & PUA Encoded - Ligatures - Alternates Notte: Use a program that supports the Opentype features and the glyph panel is available, so you can see the various alternative characters available. Examples of programs such as Adobe Illustrator, Photoshop, Corel Draw or Affinity Designer.

Thick horizontals reminiscent of certain Egyptian or western-themed display faces warp into stretched-out glyphs and strange elliptical forms in this haphazard, page-filling font. Sure to evoke images of saturday morning cartoons, zany retro advertisements, and various other expressions of mid-20th century whimsy . Comes packaged in both TrueType and OpenType formats with standard complement of alpha-numeric glyphs, punctuation marks, mathematical symbols, and European diacritics.

Superpop is sweet and gentle, a rounded geometric sans with a brushy script twist. Soft and refreshing like a soda, this font gets fizzy when geometric letterforms get mixed with script shapes you wouldn’t expect in a Sans Serif. A display family with two styles ( regular and italic ), 5 weights and an outline version for each style. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages

This beautiful font will be perfect to incorporate into your designs. with this family script making it suitable to be combined with other sans and serif letters. let's use this font to create your own extraordinary designs This font is designed with a natural touch of handwriting which is refined to create a portion and composition that suits your needs. So this font is suitable for craft, children's writing, adventure posters, food banner titles, wedding invitations, product packaging logos, quotes, social media page covers, furniture banner headlines, book covers, and much more.

Edison, is it Victorian or is it Art Nouveau? While this typeface may be found in Petzendorfer’s Treasury of Art Nouveau Alphabets, I believe the decorative spirals are more Victorian than “New Art.” To me, they looked tacked on, rather than organic -- with the industrial mechanics of a coiled spring, rather than the tendrils of a growing plant as the philosophical wellspring. Originally released by ATF in 1894 as Houghton, this typeface was re-released shortly thereafter by Bauer and Berthold in Germany as EDISON. Please do not make the mistake of thinking the font we offer here is no better than freeware fonts in cheap rip-off collections. This font has a set 218 characters and represents many hours manipulating the bezier curves to produce acceptable results. Available freeware fonts are often little more than raw scans with little accuracy of letterform. The muddy line intersections are a dead give-away. Frequently all you get is the alphabet itself. No numbers, no punctuation and don't even think about diacriticals. The font we offer represents a tremendous value. Considering the hours of work involved, I have no business charging so little. I could make better money cooking hamburgers or bagging groceries. But we want very much to encourage you to purchase and enjoy these fascinating historical typefaces and are making it as easy as possible for you to do so. So please encourage us and order Edison today.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Cantilever is a variable, 20 style display typeface designed by Stew Deane. The idea came from using variable type mechanics to create a typeface that became more than type — it's designed to be impactful, fill space and turn text into something graphic and visual. Being fixed-width (at whatever width you choose) means it is perfect for stacking, as well as stretching ultra wide. It's a typeface designed to take centre stage and own space. By using the variable sliders in your design software you can give your typography a bespoke, ownable aesthetic. The sliders in Cantilever are Weight and Width, and are designed for maximum impact in any space. Play around.

DRUMBEAT, a brand new face from Edy Type, coming to help resolve the necessities of loose scripts in Packaging and Editorial Design. Its' very particular thicks and thins and ups and down, makes it very suitable whenever informalities is required. Used with tiny little characters, enlarged to mammoth sizes or filling a large page with it, would show it’s perfect balance and color, almost as if where hand writen. In fact, a truly different script, a graphologist would declare that is written by a person very sure of what he wants, and besides and best of all, it’s pretty.

Hello everyone, this time we would like to introduce a sweet calligraphy font that we just made with passion and enthusiastic, this font comes with a touch of lovely font. Introducing this sweet calligraphy font called "alisha | Sweet Calligraphy Font", this lovely font comes with uppercase letters, lowercase letters, multilingual support, numbers and punctuation. This sweet calligraphy font is suitable for you to use as quotes, instagram posts, invitations, magazines, cards, product packaging, headers and whatever your imagination. This is the file you get on the download page: - alisha.otf - alisha.ttf note : to use alternative end text is just block end letters and select alternative letters on glyphs option. it may be used in almost any program by using your Operating System’s utilities (CharacterMap for Windows and Font Book for Mac.), as well as Illustrator, Photoshop CC 2017 and several other applications. we hope you enjoy this font. If you have any questions please don't hesitate to drop me a message :) Thank you, Best regards alphArt

The retro-inspired design of Aviano Copper Variable echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

The retro-inspired design of Aviano Copper echos the bold style of America’s Gilded Age. Inspired by the copper-inscribed intaglio printing designs of the early 20th century, the powerful, wide character shape of this font walks softly across your page while carrying a big stick. To create the right balance, small wedge serifs were added onto Aviano Sans, giving you a sophisticated style that looks and acts like it belongs nowhere short of Boardwalk. Developed to a new level of excellence, this design offers a wide range of weights from thin to black. There's full multilingual support of all Latin-based languages and five stylistic sets, swash designs, and 1000 glyphs per weight, including some unique ligatures. Number options include old style figures, tabular figures, and superscripts. Unique median spur alternates, swashes, and ligatures will help you customize every single design. The feel of last century’s personal and business correspondence is waiting for you in this member of the Aviano family. While ideal for headings, displays, logos, and short texts, Aviano Copper’s use for everything from letterhead to wine labels may just give you the monopoly you’re looking for.

Escape to the bliss of the Namaqualand. A landscape carpeted in wildflowers and magical star-studded nights. Where visitors come from all over the world to experience the cacophony of nature in its purest form. Introducing Namaqua - A Modern Calligraphy Font. This gorgeous font can be used for a host of different content needs and projects. Use it for your headings, logos, business cards, printed quotes, invitations, packaging, resumes, and even your website or social media branding. Enchant your audience, clients or guests with this versatile, elegant font. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

This font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it.

This font was created to look as close to a natural handwritten script as possible by including lowercase swash, ligature and underlines. Perfect for any awesome projects that need hand writing taste. Comes with regular and italic. Built in Opentype features, this script comes to life as if you were writing it yourself. Also support multilingual. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it.

Artico Family is a modern sans-serif typeface that is clean, simple and highly readable. Letters in this type family are designed with genuine neo-grotesque and neutral shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Artico is versatile type family of 72 fonts. Artico family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) and 4 widths (Extra Condensed, Condensed, Normal & Expanded) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Benchmark Pro is a carefully structured geometric typeface which works amazingly well in body text due to its simplistic nature and large x-height. The design of Benchmark Pro started out as an attempt to convert the minimalistic structure of a technical and purely geometric design into a readable modern and friendly sans serif. This was achieved by selectively changing and turning the straight lines of the initial drawings into curves and applying legibility techniques to the transformed letterforms. These letterforms have a distinct personality which is bolstered by its angular curves and open counter terminals. The result is a contemporary text typeface that looks quite fashionable. Benchmark Pro gets away from the ultra modern and mechanical structure but keeps its display nature, it gets away from the classical but still remains legible. This robust san serif type family offers an extended character set which supports simultaneously Latin, Cyrillic and Greek. All Benchmark Pro font variants have a companion italic, rounding the total family members at 14 fonts. Each font includes more than 750 glyphs and is powered with 17 opentype features. PDF Specimen Benchmark on Behance

Geon Soft is the rounded version of Geon. Geon Soft Family is a modern sans-serif typeface that is clean, simple, soft and highly readable. Letters in this type family are designed with geometric shapes without any decorative distractions. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Geon Soft is a versatile type family of 54 fonts. Geon Soft family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) & 3 widths (Condensed, Normal & Expanded)with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

From the designer, Tim Ahrens... I started designing this typeface about half a year after learning that Frutiger was not a new brand of sweets and that Garamond is not the name of a fragrance. In time it became clear that designing a sans serif must always be considered as a transformation of traditional serifed typefaces instead of deriving it from typefaces that have been derived from others which have been derived from others again. I did not want Aroma to be one of those odourless and tasteless typefaces wich sacrifice a natural feeling and the characteristic shapes of the letters to neutrality. I think that beauty often evolves unintentionally. For example, I am fascinated by the beauty of airfoils, which are actually a careful transformation of a bird's wing. I love their anorganic and abstract shape which still bears the essence and all the complexity of what they are modelled on. This is exactly the formal concept behind Aroma. Many of the outlines are actually parabolics. The small r, for example, consists exclusively of straight lines and parabolics. I decided to give Aroma more stroke contrast than it is usual for sans serif designs. Many strokes are slightly convex, which gives the font an anorganic feeling. The font was intended to have a feel similar to the antiqua. More specifically, it is based on Old Style Faces. The character of those fonts, which were cut during the Renaissance, is still inherent to Aroma.

LTC Athena brings a somewhat “lost” hot-metal typeface back from obscurity into digital Opentype format. In fall 2012, printing historian Rich Hopkins contacted P22 type foundry regarding some inked type drawings he had just uncovered from his acquisition of the Baltimore-based “Baltotype” company some 20 years ago. It is a rare face whose original matrices were destroyed and thought fully lost. The drawings included a full upper and lower case set, numerals, basic punctuation, and alternate forms of some letters. The design is a narrow deco-flavored design from the 1950s with a curious avoidance of straight lines in the stems and main strokes. The face has been expanded to over 340 characters by Miranda Roth and includes ligatures as well as a full Pan-European character set. It is released through the Lanston division of P22 in consideration of its earlier incarnation as a metal typeface.

Roag is an industrial geometric sans paying homage to mechanical designs of the 1930s. A precise balance of modern geometrics, with a functional yet sparing style that effectively communicates without distraction. Roag is a straightforward, unadorned type family with efficient construction. Details include seven weights with matching italics and over 950 characters per style. Opentype features consist of eight variations of numerals, including inferiors, superiors, fractions, case figures and circled figures. Additional features include small caps, case-sensitive forms, stylistic alternates, ligatures, game symbols, arrows and language support covering Western, South, Central Europe and Vietnamese.

Bogesta Typeface - Stylish OpenType rich serifs with letters that seem to dance and swirl harmoniously together - to form unique & elegant typographic designs. The wide selection of interwoven binders and Opentype alternatives means lots of choice and variety in your final look. To access these OpenType features, you need Opentype-enabled software such as: Word, Textedit, Photoshop, Sketch, Pages, Keynote, Numbers, iBooks Author, QuarkXPress, Indesign and Illustrator. A wide variety of useful glyphs are included - see preview images of all glyphs.

North Family is a small type family designed for books and pages of text in smaller or bigger sizes. It has been designed with special care for the Scandinavian languages, their letter combinations and special characters, but contains accented characters for all european languages. North is a soft and warm typeface, legible and friendly, very suitable for setting text that you just want to be read as easy as possible. Also very usable for children books with its simple forms.

School Days is a handwritten font collection created for teachers by a teacher (me!) These fonts were made to be easy to read for young readers and writers. There are various styles available - Thin, Regular, Bold, Outline, Dash, Lines The School Days Collection is perfect for creating worksheets, practice pages, school designs, cricut projects, handwriting practice, reading practice, letter formation, personalized items for students and more! School Days includes a ton of variations that will make your designs and worksheets seamless and cohesive!

It is a big work that started with Windows in Aden and was redesigned and tuned on an Apple device in Cairo. Liberty is an active contemporary variable font, complete with a flexible range of cases tailored to responsive layouts. The font is clear and legible in small sizes, suitable for printing for large texts, web pages, and other visual uses. Language: Latin default Latin Azerbaijani Latin Catalan Latin Crimean Tatar Latin Kazakh Latin Marshallese Latin Dutch Latin Tatar Latin Turkish

Phiz is a diverse suite of 28 decorative fonts based on Figgins Sans Extra Bold. Classic (10 fonts), Rounded (7 fonts), Rough (4 fonts) and Particles (7 fonts). The Rough and Particles styles emerge as a unique niche—neither imitating distressed printing (e.g. the “rusty” look), nor casual, hand-drawn styles. These type designs are conceived and executed as complex algorithmically-generated graphic procedures, in which repetitive elements have been artfully applied to the Sans capitals, and manually nuanced. As such they also differ substantially from textured glyph shapes that have been cut out from larger pattern fields, for the constituent particles are disposed in relation to the specific shape of each character they define. The caps-with-small-caps format was chosen for two reasons. Firstly, titling display usage is predominantly capitals, and secondly, rather like optical scaling, having the same resolution of texture available in two different “sizes” (upper and lower case) should prove useful in the hierarchy of page layout—not primarily for setting upper and lower case text as caps-with-small-capitals, although this is of course an option. All figures and major symbols (punctuation and currency) are provided in both cap and small cap height.

Coben is a modern and futuristic san-serif font family. Simple and modern shapes with a tall x-height make the text legible and the spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Coben Family consists of 2 widths (Condensed, Normal), 4 weights (Light, Regular, Medium, Bold), and Italics for each format. Coben provides a Central European character set. Each font includes support for Tabular numbers, Old-style Figures and Opentype Features such as Proportional Figures, Numerators, Denominators, Superscript, Scientific Inferiors, Subscript, Fractions and Standard Ligatures. We highly recommend it for use in books, web pages, screen displays, and so on.

Segaon Family is a humanist sans-serif typeface that is clean, simple and highly readable. The spaces between individual letter forms are precisely adjusted to create the perfect typesetting. Segaon is versatile type family of 18 fonts. Segaon family consists of 9 weights (Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold, Heavy & Black) with their corresponding italics. The Open Type fonts contain complete Latin 1252, Cyrillic, Central European 1250, Turkish 1254 character sets. Each font includes old-style figures, proportional figures, tabular figures, numerators, denominators, superscript, scientific inferiors, subscript, fractions and case features. We highly recommend it for use in books, web pages, screen displays, and so on.

Presenting 🍃The Virnature Nature Script Font🍃 by alitdesign. Welcome to the Virnature font page, Thank you for visiting and finding this font. The Virnature font is inspired by elegant script fonts combined with the concept of nature. It can be seen by the beautiful and fitting leaf ornaments that make the Virnature font besides elegance also unique with the concept of nature. The Virnature font includes full set of Uppercase and Lowercase Basic Characters, Numerals, Punctuation and Multi lingual support. Also it contains ligatures and a lot of stylistic alternatives to perfectly re-create natural calligraphy and nature concept designs (check the previews in order to see them all). The Virnature font has alternatives that you can combine between swashes and symbols that have the theme of elegant nature. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Virnature Nature Script Font has a total of 768 glyphs including symbol, multilingual. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Presenting 🍃The Mollani Nature Script Font🍃 by alitdesign. Welcome to the Mollani font page, Thank you for visiting and finding this font. The Mollani font is inspired by elegant script fonts combined with the concept of nature. It can be seen by the beautiful and fitting leaf ornaments that make the Mollani font besides elegance also unique with the concept of nature. The Mollani font includes full set of Uppercase and Lowercase Basic Characters, Numerals, Punctuation and Multi lingual support. Also it contains ligatures and a lot of stylistic alternatives to perfectly re-create natural calligraphy and nature concept designs (check the previews in order to see them all). The Mollani font has alternatives that you can combine between swashes and symbols that have the theme of elegant nature. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Mollani Nature Script Font has a total of 818 glyphs including symbol, multilingual. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

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

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

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

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