The popular Geogrotesque family becomes an extended system with the inclusion of three new members to the family; Geogrotesque Condensed, Geogrotesque Compressed and Geogrotesque Extra Compressed. The condensed series keep the spirit of the original one, and give way to a superfamily up to 56 styles. This new system fluidly varies between widths, ranging from the original width to a 55% of it in the narrower one. As their original partner, the new fonts are great headline families for publications, but will also work in text of intermediate length and point size. The Geogrotesque superfamily offers now one font for each design need. It is available in Open Type format and includes Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. All of them with support for Central and Eastern European languages. This type family consists of 42 styles, 7 weights plus italics in 3 widths. For more details see the PDF.

Vogan Typeface is a versatile font that comes in both regular and outline versions, both of which are in all capital letters. The regular version of the Vogan typeface features solid, bold characters that are perfect for making a statement. The letters are clean and well-defined, making them highly readable and suitable for a variety of design projects. Whether used for headings, logos, headlines, magazines, posters, or other creative applications, the regular version of Vogan Typeface commands attention with its bold and impactful appearance. In contrast, the outline version of Vogan Typeface provides a different aesthetic. The characters in this version are defined by their outer contours, creating a stylish and modern look. The outline font maintains the overall shape of the letters while allowing the background to show through the center, adding a touch of sophistication and creativity to any design. This version is particularly popular for design projects where a contemporary and edgy vibe is desired.

Johann Carl Ludwig Prillwitz, the German punch cutter and type founder, cut the first classic Didot letters even earlier than Walbaum. The earliest proof of so-called Prillwitz letters is dated 12 April 1790. Inspired by the big discoveries of archaeology and through the translations of classical authors, the bourgeoisie was enthused about the Greek and Roman ideal of aesthetics. The enthusiasm for the Greek and Roman experienced a revival and was also shared by Goethe and contemporaries. »Seeking the country of Greece with one’s soul«. All Literates who are considered nowadays as German Classics of that time kept coming back to the Greek topics, thinking of Schiller and Wieland. The works of Wieland were published in Leipzig by Göschen. Göschen used typefaces which had been produced by until then unknown punch cutter. This punch cutter from Jena created with these typefaces master works of classicist German typography. They can stand without any exaggeration on the same level as that of Didot and Bodoni. This unknown gentleman was known as Johann Carl Ludwig Prillwitz. Prillwitz published his typefaces on 12th April 1790 for the first time. This date is significant because this happened ten years before Walbaum. Prillwitz was an owner of a very successful foundry. When the last of his 7 children died shortly before reaching adulthood his hope of his works was destroyed, Prillwitz lost his will to live. He died six months later. His wife followed him shortly after. The typeface Prillwitz as a digital font was created in three optical styles (Normal, Book and Display). The typeface Prillwitz Press was created especially for a printing in small sizes for newspapers. »Prillwitz Press« combines aesthetic and functional attributes which make written text highly readable. It was originally designed for a newspaper with medium contrast to withstand harsh printing conditions. Its structure is quite narrow which makes this typeface ideal for body text and headlines where space is at premium. For the Normal – even more for the Book – a soft and reader-friendly outline was created through a so-called »Schmitz« and optimized in numerous test prints. The arris character and the common maximal stroke width contrast of the known classicist typefaces (Didot/Bodoni) were edited by the study of the original prints. This was also done in order to reach a very good readability in small type sizes. This typeface is perfectly suited to scientific and belletristic works. Accordingly it has three styles: Regular, Bold and Italic as Highlighting (1). The typeface Prillwitz is a complete new interpretation and continuing development of the conservated originals from 1790. They have been kept in the German Library in Leipzig. It was always given the priority to keep the strong roughness and at the same time optimizing the readability of this striking font. The type family has all important characters for an efficient and typographic high quality work. ----------- (1) Accentuation of particular words or word orders (e.g. proper names, terms etc.). Typographic means for Highlighting could be Italic, SmallCaps or semi-bold.

he Storia Lettering Serif style is absolutely perfect for editorial headings. The full font type upright and italic makes it easy for you to use the 2 styles in many projects. This font is complete with symbols and is multilingual. This font style is bold, bold, and sleek, featuring Swash,n Ligature and Stylistic Alt & Stylistic Set features. making it perfect for editorial, web, posters, t-shirts and magazine covers. . etc. Including: Storia Lettering & Italics Uppercase Letters, Numbers, Punctuation & Symbols. Multilingual Support More about this source text Source text is needed to get additional translation information Send feedback Side panel

Hermanz™ Titling is inspired by the most majestic caps that Hermann Zapf ever drew. They are inscriptional caps, square caps, or “capitalis monumentalis”. These caps are some of the most beautiful letters made by one of the greatest talents of our time; so beautiful they deserve to be seen and appreciated by everyone. If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Hermanz Titling works for anything labeled "fine": fine dining, fine music, fine art (pamphlets, books, posters, cookbooks). It also fits well for religious topics: posters, events, websites, hymnals, for biblical; and ceremonies, religious or otherwise. Emotions It Can Communicate: • Importance • Timelessness • Special Event • Tradition • Reverence • Artistry • Beauty Released June 2021 on the Memorial of Hermann Zapf, as part of the California Type Foundry Memorial Series: Honoring the life and work of the great font designers. FONT STORY The Majestic Caps When I was on one of my visits to rare books rooms I found some large caps of Hermann Zapf, and I knew that I had to make a font inspired by these. I was surprised that no one had ever made them into a font. They were some of the most beautiful caps I had ever seen. These caps were surprisingly difficult to make. I thought it would take me a week or two; to get the detail and spirit right took significantly longer– but it was well worth the effort! When you print Hermanz Titling on a page, you will see what I mean. Even when printed digitally, it’s the closest thing to letterpress. You might even have some people thing it was printed by a traditional method with ink! (Note: Unless printed at very large sizes, this font is not recommended for actual letterpress, because the serifs are too thin.) If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Enjoy this breathtaking font, and may it help inspire people with your messages! –Dave Lawrence & the California Type Foundry

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina's story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn't even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born.

Heinrich Wieynck’s blackletter font, carefully redrawn and redesigned for modern use. Due to its proportions, this blackletter font can also be used for body texts. This font contains the letter ‚long s‘ which can be reached in two ways. Either you use the OpenType feature ‚historical forms‘, or you type the summation sign on your keyboard. There are two graphic elements implemented, a corner element and a pearl for framing. The corner can be set by [alt] + [shift] + 1 for the outline, and [alt] + v for the filling. The pearl, set on a path, is accomplished by [alt] + [shift] + p for the outline, and [alt] + p for the filling.

“Kamenica” - named after a beautiful small mountain river in Serbia - is a font family containing 3 weights: Light, Regular and Bold. The Kamenica river is only a few meters wide. Mostly shallow and cold, clear and green, it was the direct inspiration source for the creation of this condensed typeface. As our other typefaces, “Kamenica” also combines traditional shapes with modern forms, tall x-height and a collection of more than 300 glyphs. Comparing the river with the font, we could say that letters are the fishes that lives in the Kamenica river and that the font weights are the seasons in which this river shows most of its own character.

The font is called "Monogram Holder", it is a slab serif display with monogram themes. The font comes with 450+ combined of two letters, you just type uppercase letters with lowercase letters. For example you type "M" combined with "h" then it will become a ligature monogram of "M" and "h". This font includes different widths of alternate glyphs. The Monogram Holder matches apply in some designs such as the logotype, poster, label, badge, packaging, branding, and more custom design. Monogram Holder includes : 450+ ligature monograms All-caps, numeral, symbol and punctuation Alternates Multilingual PUA Encoded Thank you for your support and choosing us.

This font is a collection made with the largest part of the ornaments contained in the GLC foundry medieval and renaissance period fonts. It was made for the use of customers who wish to embellish their works without buying our complete catalog! It is used to embellish and animate as variously as web-site titles, posters and fliers design or greeting cards, all various sorts of presentations, menus, certificates, letters. It was specially drawn to accompany our medieval and renaissance fonts, like 1462 Bamberg, 1509 Leyden, 1538 Schwabacher, 1543 Humane Jenson, 1557 Italique, 1589 Humane Bordeaux, 1592 GLC Garamond and others, giving them an historical additional genuine touch...

Bellerin is one of my fonts based on a hand lettering project in 2020. I was very inspired by the famous retro typography designs form the late 60's till the 70's. So you won't need extra efforts for create an extrude effect for this font. This mean it will saves your time.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! If you're looking for a hand-drawn font to help craft a unique statement piece, you've probably been spending hours looking for the perfect brush font. The problem with most brush fonts is that they're not actually made from real brushes - they look like they've been artificially drawn by a machine. There's now a high-quality alternative available. We are proud to introduce our new, very high resolution Chicago Brush font - the result of our meticulous process of digitizing hand-drawn typefaces and then optimizing them through our exclusive, innovative technology. That’s why we created Chicago Brush, a font made from a real brush. Use it to create logos, names and signage. It will look hand lettered, like you really worked on those letters manually. A Million Thanks Colllab Studio www.colllabstudio.com

Bombelli is a font that looks like it has been handwritten by a meticulous architect in one of those hand-drawn blueprints of the old days. I chose the name to honor one of my ex-bosses -- a graphic designer-architect who taught me a lot of things when I was young and needed the money. One of the things he taught me – and probably the most important one – was to always be on time in the morning. He never said a word about me being late, but it worked. He taught me about being meticulous in detail and many other things I only appreciated much later. This clear and straightforward font deserves bearing his name. Your grateful type designer Gert Wiescher

Rocker Squad is a natural dry brush font that has a cool bold display. It’s perfect for logos, quotes, posters, movies, and every other design which needs a unique bold touch. No matter the topic, this font will be an incredible asset to your fonts’ library, as it has the potential to elevate any creation. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Black Dreams is a bold and edgy metal rocker font that captures the raw energy of heavy metal music. With rugged textures and unique glyphs, this font is perfect for album covers, t-shirts, and posters. Use it for headlines or body text to create designs that truly stand out in the metal scene. Don't settle for mediocre fonts - get this ultimate metal rocker font today and let your designs rock the world!

RainCity is a beautiful contemporary sans-serif font with delicate curves. Inspired by the movement of raindrops on the street, we created this font to evoke the excitement of a rainy day in Paris. Using this font will give you an elegant, dynamic, and unique image. RainCity is suitable for a variety of design work such as branding, poster design, and editorial design. It is a display font available in two weights, Regular and Bold.

A new collection of retro display fonts. Kontradix is a reverse contrast display font with a contemporary concept and modern styling. Ensuring carefully crafted styles result from the use of this font. The alternates and ligatures in this font can make your projects more interesting. The imperfections keep it casual while still providing legibility. It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, logotypes, and album covers, among other things.

Proudly present Cvltre Dope - Funky Brush Font, created by ikiiko. Where bold script meets funky in a stylish letters! This brush font is a rebellious celebration inspired by the vibrant pulse of street culture. Imagine a font that's as daring as your streetwear style – it's not just a font, it's a statement! Cvltre Dope is the wild offspring of graffiti vibes and urban flare, giving your phrases a streetwise edge. This font screams attitude with every stroke, making it the ideal complement for any streetwear business looking to break the stereotype. Bold, funky, and ready to conquer the streets, the font that doesn't just speak; it shouts in style! This font is very suitable for making a streetwear brand, poster, magazine layout, fashion design, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Ligatures Multilingual Support Works on PC & Mac

Why Baka Expert? There’s actually a simple answer. The original Baka was done as an experiment of sorts. I wanted to quickly capture a rough, frenetic handwriting style that broke normal conventions. Commercially, it was successful, received some accolades ... but I wasn’t completely satisfied, so I went back to the master art and the lettering explorations and produced Baka Too. This addressed some of the line items I wanted to refine in Baka. I liked it. Each font has been out for a few years now, and I have seen them in use. I’m very critical of my work, and I could still see things—modulations of strokes, angle of the nib, ink swell, and so on—that I wanted to change, refine, and reorder. For me, it is typographic indulgence, but I wanted to take this handwriting ‘font’ and turn it into a robust ‘typeface.’ So I did just that and a bit more by adding back more of my initial flourish concepts; attaining tighter, consistent control of the modulation; optimizing points; adding titling options; and expanding the character language set. Baka and Baka Too had to exist to produce this entirely new re-envisioning of an old friend ... and they all play well together :)

Introducing the latest styles Allysa Daguise Script with the kind of modern calligraphy font, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Allysa Daguise Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc. If you need help or have questions, please let me know. I am happy to help :) Thank you & Congratulations on Designing! Thank you,

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

Annexia is a serif font with a several styles from Light to Bold. Serifs and stretched letters connect two times the past and the future, creating a perfect present. This font doesn't have a specific mood. Depending on the tasks, it can show itself in different ways. The font is perfect for both text, headlines, and branding. The font was designed by Pavel Bruev and released by Koshemare studio in 2021

Introducing the Inflate PTx font family, a delightful and playful typeface collection that embodies the buoyant spirit of celebration and festivity. This font can be use in old and new apps that use/read fonts, because it's format (old school format :)), not OpenType SVG format. To install fast on the PC: right click in the OpenType file, then "Install". But if you want to open the file, please be pacient. It takes time to open and read the OpenType file depending of the capacity of your PC. The Inflate PTx font family is tailor-made for creative projects, from birthday party invitations and children's book illustrations to social media graphics for Instagram or themed event posters. Its rounded edges and bubbly forms infuse any design with an infectious sense of joy and lightheartedness, making it an ideal choice for those seeking a playful and festive typographic solution.

Loscarlo is a captivating serif font that seamlessly merges the timeless elegance of serif typography with the organic charm of brush details. The characters in Loscarlo showcase the classic structure of serifs, offering a sense of tradition and readability. What makes this font unique is the thoughtfully incorporated brush details, which add a dynamic and handcrafted quality to the letterforms. The result is a harmonious balance between refined aesthetics and a hint of expressive creativity. Enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Loscarlo fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Introducing MONDERA, our newest san serif font. We created this font by paying close attention to the harmony between each letter, resulting in a lovely blend of words when viewed or read. If you use this font for all of your projects, both official and informal, everything will look the same. of course, your various design projects will be perfect and extraordinary if you use this font because this font is equipped with a font family, both for titles and subtitles and sentence text, start using our fonts for your extraordinary projects.

1776 Independence was designed inspired mainly from the Caslon typeface used by John Dunlap in the night of 1776 July 4th in Philadelphia to print the first 200 sheets of the Congress' Declaration of Independence establishing the United States of America. I just added accented letters and a few others, with respect for the original design. A render sheet,enclosed with font file, help to identify them on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... This font supports as easily enlargement or small size, remaining clear and easy to read from 8 or 9 points to 72 and over. It gives a smart look especially to prints.

* For when you need the most realistic looking electronic display. * See User Manuals Main advantages: - Spacing between characters does not change when entering a decimal point or colon between them. - Custom characters can be produced by selecting any combination of segments to be displayed. Low cost electronic displays have a fixed number of segments that can be turned on or off to represent different symbols. A digital watch would be the most common example. Fonts typically available for depicting electronic displays are often in the artistic style of these common LED or LCD displays. They provide the look-and-feel, but fall short when technical accuracy is required. Failure to represent an accurate and consistent representation of the real thing can be a cringe-worthy experience for the product design and marketing team, or even the hobbyist for that matter. To solve this problem, Fortune Fonts has released a range of fonts that accurately depict the displays typically found on low cost electronic devices: watches, answering machines, car stereos, alarm clocks, microwaves and toys. These fonts come with numbers, letters and symbols predefined. However, they also allow you to create your own segment combinations for the custom symbols you need. When producing manuals, marketing material and user interfaces, accuracy is an all-or-nothing concept. Instructions in the user manual describe how to turn these fonts into realistic displays according to your own design, in the manner of the images above. If you cannot see a license option for your specific application, such a license may be purchased from here. By purchasing and/or using and/or distributing the font, the buyer, user and distributor (including Monotype Imaging Inc. & Monotype Imaging Hong Kong) agrees to (1) indemnify and hold harmless the font foundry and neither the font foundry nor distributor is responsible to the buyer or user or any other party for any consequential, incidental, special, punitive or other damages of any kind resulting from the use of the deliverables including, but not limited to, loss of revenues, profits, goodwill, savings or expected savings, due to; including, but not limited to, failure of the deliverables to perform it’s described function, or the deliverable’s infringement of patents, copyrights, trademarks, design rights, contract claims, trade secrets, or other proprietary rights of the foundry, distributor, buyer or other parties, (2) not use the fonts to assist in design of, or be incorporated into, non-software displays.

My first encounter with brush lettering that has turned into a lovely bold font. I really loved the process of hand lettering with ink and I am so pleased how it developed into a lovely font. Melidia Font it’s a multilingual lettering font with Greek (of course), Cyrillic and Extended Latin characters and diacritics. The style of the font is perfect for your modern graphic design needs. For all the typography lovers, this typeface is a must-have. Also, Melidia Font is the ideal typeface for the food industry, for food branding, for restaurant menus and packaging. Additionally, you can use Melidia Font for a lovely wedding and baby shower invitation design. Especially if you are looking for a font for Instagram quote posts or any other social media content, this typeface is for you!

I am not really fond of Garden Gnomes, but this font is kinda cute and I figured it'd be a nice name. Garden Gnome is a very happy, easy to read Children's Book font. It is bouncy, rounded and comes with all the diacritics you need.

Introducing Levo Dope Slab Serif Font a typeface that exudes boldness and confidence. With its thick, heavy serifs and rectangular shape, this font is the perfect choice for any design that needs to make a strong impact. Transport your audience to the American West with the vintage charm of the Western slab serif font. Whether you're creating posters, advertisements, or signage, this font will capture attention and convey a sense of stability and strength. Also come with FREE illustrations and editable logo to make better design.

Damian is a font designed with simplicity in mind and a hint of flare to catch the attention of the user. The sans serif style is based off of the geometrical features of Futura and Univers. With the focus on the circle creating the forms this font is geared towards a feeling of modern art deco. The name comes from a colleague who asked to be named after the font, it was his birthday, how could I say no.

The reason you purchase this font is because it is ‘special’. The creator of this font was born with a love for geometric patterns. I am fundamentally attracted to forms that have a sense of order and freedom of dispersion. This is a font that I came up with accidentally while working. I think that coincidence combined with consistent effort is ‘special'.

Calissa Pro is a multilingual, handwritten stylish copperplate calligraphy font, a sort of upgrade to issued earlier this year Calissa font. This file contains over 1800 glyphs and has many open type features including: fancy swashes, alternates, ligatures and lettering - all easily available at the click of a mouse. To make the most of this font an open type aware software is required.

Satisfice is alteration of satisfy, influenced by Latin satisfacere. The formal use dates from the 1950s and I hope that with this font you as a user of this font can feel satisfied using this font. Satisfice is a modern serif typeface. Clean, delicate, classic and has a characteristic. Please let me know if you have any questions. Lettercorner Studio

Manuscript Felice blackletter font family with 2 styles. This font family based on vintage Italian Processional manuscript. The book block has disintegrated, and I don’t know who is the author. Luckily I found the last owner, Felice Osio and the last date 1634. That's all) I manually redesign original and regular style fonts from this folio. Also, I’ve added some modern symbols. With this set, you can precisely imitate medieval style text. You’ll get: * Initials & Regular styles * Uppercase and lowercase * Multilingual support * Numbers * Symbols * Punctuation * Ligatures Best, Roman. Thank you!

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

Divina Proportione is based from the original studies from Luca Pacioli. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. Luca Pacioli was born in 1446 or 1447 in Sansepolcro (Tuscany) where he received an abbaco education. [This was education in the vernacular (i.e. the local tongue) rather than Latin and focused on the knowledge required of merchants.] He moved to Venice around 1464 where he continued his own education while working as a tutor to the three sons of a merchant. It was during this period that he wrote his first book -- a treatise on arithmetic for the three boys he was tutoring. Between 1472 and 1475, he became a Franciscan friar. In 1475, he started teaching in Perugia and wrote a comprehensive abbaco textbook in the vernacular for his students during 1477 and 1478. It is thought that he then started teaching university mathematics (rather than abbaco) and he did so in a number of Italian universities, including Perugia, holding the first chair in mathematics in two of them. He also continued to work as a private abbaco tutor of mathematics and was, in fact, instructed to stop teaching at this level in Sansepolcro in 1491. In 1494, his first book to be printed, Summa de arithmetica, geometria, proportioni et proportionalita, was published in Venice. In 1497, he accepted an invitation from Lodovico Sforza ("Il Moro") to work in Milan. There he met, collaborated with, lived with, and taught mathematics to Leonardo da Vinci. In 1499, Pacioli and Leonardo were forced to flee Milan when Louis XII of France seized the city and drove their patron out. Their paths appear to have finally separated around 1506. Pacioli died aged 70 in 1517, most likely in Sansepolcro where it is thought he had spent much of his final years. De divina proportione (written in Milan in 1496–98, published in Venice in 1509). Two versions of the original manuscript are extant, one in the Biblioteca Ambrosiana in Milan, the other in the Bibliothèque Publique et Universitaire in Geneva. The subject was mathematical and artistic proportion, especially the mathematics of the golden ratio and its application in architecture. Leonardo da Vinci drew the illustrations of the regular solids in De divina proportione while he lived with and took mathematics lessons from Pacioli. Leonardo's drawings are probably the first illustrations of skeletonic solids, an easy distinction between front and back. The work also discusses the use of perspective by painters such as Piero della Francesca, Melozzo da Forlì, and Marco Palmezzano. As a side note, the "M" logo used by the Metropolitan Museum of Art in New York City is taken from De divina proportione. “ The Ancients, having taken into consideration the rigorous construction of the human body, elaborated all their works, as especially their holy temples, according to these proportions; for they found here the two principal figures without which no project is possible: the perfection of the circle, the principle of all regular bodies, and the equilateral square. ” —De divina proportione