Introducing the Love Shine. made with love design harmony in every single character. love Shine and a touch of the extras makes this font look great and stylist. Plus the OpenType features that allows you to mix and match pairs of letters to fit your design. and last the beautiful all will make you work easily to create : Badges, lable, greeting card , book cover, Posters, Logos, Print, Quotes, Headers, Clothing, etc. Features : Uppercase + Lowercase Numerals & Punctuations Stylistic Alternates Thank you

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

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).

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

🏆 Selected for Tipos Latinos 8. 🏆 Hiii Typography 2018 Merit Award. Rocher was designed while looking for an answer to a simple question: what would a typeface look like if it was made of stone? It certainly would look solid, but did we have to add cracks and rubble so it would resemble rocks? We didn’t think so. We decided to tackle the problem a different way. We added corners where there usually aren’t any and threw some unusual letterforms into the mix. The result is a typeface that feels like stone, but if you look closely there is nothing inherently stony about it. Unexpected corners provide just the right amount of roughness, while unusual letterforms give the text an informal aesthetic, traces of something naive and handmade. A family was born when the sturdy letterforms were turned into a series of playful layers. With 9 fonts in total, Rocher can be mixed and matched to create unique layered compositions that add depth to the layout. We designed Rocher to be used in logotypes, packaging, mobile apps and headlines. We are confident you will find another handful of scenarios where it can shine.

Nympha Family Features: 4 Styles 2 Weights Over 800 characters per style (3200 in total) Up to 10 stylistic variations for each character (!) European Language Support Hundreds of Ligatures, Swashes and Stylistic Alternates Old Numerals True Italics & Much More Trailer: https://vimeo.com/471556131 Nympha is an elegantly crafted and luxuriously exuberant serif typeface, exuding femininity and glamour but also a side of exquisity. Its hard contrast and refined details, along with its opulent swashes and voluptuous curves, create a beautiful and powerful statement to any typographic composition, mixing glamour with a contemporary aesthetic. One could say Nympha has two distinct, yet connected, personalities in the form of two stylistic sets of characters: a contemporary and elegant one and an exquisite and unusual one, both can (and should) be mixed to achieve surprising results. Nympha offers a vast amount of swashes, alternates and ligatures, featuring up to 10 stylistic variations for each character, making it possible to generate endless compositions with ease. Available in 4 styles, 2 weights, offering over 3200 characters. Visit https://www.behance.net/gallery/106734865/Nympha-Typeface/ for a full walkthrough of everything Nympha has to offer.

Shocking Script is a calligraphic script font that comes with a lovely alternative character. mix of copper calligraphy in a handlettering style. Designed to convey an elegant style. Shocking Script is attractive because it is smooth, clean, feminine, sensual, glamorous, simple and very legible. Its classic style is very suitable to be applied to all types of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpresses, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Shocking Script features 395 + glyphs and 182 alternate characters. includes multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, which allow you to mix and match pairs of letters to suit your design, and also a touch of ornament makes this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There are additional ways to access swashes, using Character Map (Windows), Nexus Fonts (Windows), Font Books (Mac) or a software program such as PopChar (for Windows and Mac). Thank You.

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

In August of 2009, I was commissioned by Zoo York, a New York City based skateboard company, to visit Buenos Aires to study and document street typography. As soon as my taxi driver took the bustling street Entre Ríos, it was clear that the city and I were going to be good friends. Many of the independently owned businesses on Entre Ríos are adorned with handmade signage. These signs are painted in a style called Fileteado which is a century-old Argentinian type of lettering and floral ornamentation. Nowadays, Fileteado is still a prominent part of the city’s landscape, coloring the façades of restaurants, bars and coffee shops. Calaveras and Diablitos are two new typefaces that were inspired by Fileteado. Stylistically, the fonts are a return to a rhythmic and playful sensibility reminiscent of Vitrina and Cuba, two fonts that I designed in 1996. Along with dynamism and dance, these new fonts incorporate a rigor and functionality essential to labelling any font a ‘workhorse.’ The names Calaveras and Diablitos, came from the name of a song by the infamous Buenos Aires rock band, Los Fabulosos Cadillacs. —Pablo A. Medina

The typeface Wood Type DIY is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original wood letter from flea market. The font started from 50 wood letters (analog) and was finally digitalize and extended to 300+ glyphs (digital). 4 font-styles (Rough, Clean, Mix, Impact) with 320 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤️ or #SMILE for 🙂 as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Wood Type DIY ■ Font Styles: 4 (Rough, Clean, Mix, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 320 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

Vito is a strong and elegant sans serif family in 60 styles. A wide range of weights and widths offering tremendous typographic flexibility. Perfect to mix in magazines or packaging, corporate designs or movie titles. Masculine and sporty for adrenaline junkies, reliable and elegant for serious typographers, but with a touch of bling for high snobiety. Vito was selected as one of Typographica’s favorite typefaces of 2015. The Vito Family sets its goal to stay very functional but with a strong and unique look. Neutrality is good, but sometimes you need a bit more edge. The extreme weights and widths work great in title sizes, while the normal weights make longer texts deliciously readable. The classic and elegant outlook in all sizes make the family suitable for everything high quality. While the family looks great on the outside, it is even greater on the inside. Loads of OpenType-Features, a big amount of language support, and the flexibility of alternative letters, make working with Vito easy and exciting. And the big range of widths invite you to mix all together, and find new ways to express your designs. We would love to see, what you come up with!

Mastering Script is an aTypeface script font that comes with great alternative characters. mix of copper calligraphy in a handlettering style. Designed to convey an elegant style. Mastering Script is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very legible. Its classic style is very suitable to be applied to all types of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpresses, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Mastering Script features 247+ glyphs and 57 alternate characters. includes multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, which allow you to mix and match pairs of letters to suit your design, and also a touch of ornament makes this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There is an additional way to access swashes, using the Character Map (Windows), Nexus Fonts (Windows), Font Books (Mac) or a software program such as PopChar (for Windows and Mac).

Echelon is based upon 1970s Eastern European ‘pipe-style’ typefaces. This style of Communist consumer typography came from what, at the time, seemed like a bizarre mirror universe: Existing alongside the West, similar-but-different, essentially unknowable. Even though the letterforms had the same historical origins as their Western equivalents, they also had their own bizarre fashionable/unfashionable aesthetic. The parallels between the surveillance practices of the Soviet Union and those of today’s Western governments informed the naming of this typeface. Echelon is the codename for a massive international surveillance system that collects and processes data from communications satellites. It can eavesdrop on telecoms and computer systems, it can track bank accounts. It can record and store information on millions of individuals.

Coral had its origins in the font Leah. I had requests from users that I create a cursive version of Leah. (In a cursive font the letters are joined together as in handwriting). In the process of development it changed sufficiently that I decided to release it under its own name. Hence "Coral". Coral is relaxed but very readable. It is, perhaps, a tad more formal and regular than Leah but not sufficiently so as to detract from its relaxed quality. The font is fully professional: carefully letterspaced and kerned. It contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). (It has all the accented characters used in the major European languages).

Yet again, a font inspired by my work as a kindergarten teacher! The other day, I had a conversation with some of the kids, about what they ate for breakfast. Some had oatmeal, some bread and others yogurt. But this kid - he insisted that every morning, his mother would serve him cookies, “morning cookies”. It sounded too good to be true, and when I asked his mother, it turned out that “cookies” were actually bread, but to make it sound more appetising, they called it cookies! The letters are rounded and in some way quite naive, but still clear and legible. With an extreme ascender and descender, the font stands out with its oddities. I’ve added 3 different versions of each lowercase letter!

Lifeform is a modern display font created as a result of my experiments on the forms of letters. While working on the font, I had ambivalent feelings, on the one hand I liked the individual curved lines, on the other hand they seemed very strange, alien and illogical. It was like looking into a microscope and seeing something strange. I wanted to develop and study these forms as something new, because I had never seen anything similar before. The result is a contrasting font that has both curves and sharp, and smooth lines that resemble some kind of organic matter. The font is well suited for large headlines, posters and covers. Its strange design catches the eye and will not leave the viewer indifferent.

The other day, I was thinking how time flies and how my kids grow up so fast. In the blink of an eye, they had turned from babies into almost-teenagers. They're not teenagers yet, but given their tantrums, it does feel like I have three teenagers in the house... ;-) Ogenblik, in Dutch, means: ‘in the blink of an eye’, ‘lightning fast’, or ‘for a brief moment’. It’s similar to the German ‘Augenblick’, which means exactly the same. Ogenblik was made with the same dried out marker pen that helped me create my font Castlerigg. I guess it had more than one extra font in it! Ogenblik is a bit of a grungy, yet quite legible and neat font. Comes with multilingual support.

Once I had a young, very eager and interested designer in my employ. We got into talking about where our letterforms come from and the habits in perception we are used to. He did not quite believe me. So I said, let's try to design a typeface where everything is just the opposite of what we are used to. We really had a hard time, our habits crept up on us all the time. But after a couple of weeks we finally finished this typeface and wanted to call it crazytype, but my young apprentice ­ who did most of the manual labor ­ said Contype sounded crazier. So it became Contype and it's really crazy, with a small asian touch to it. Yours very crazy Gert Wiescher

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

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

The Fottina Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper calligraphy with a zipper style. Designed to bring the elegance of style. The Fottina Script attracts good, clean, feminine, sensual, glamorous, simple and very easy to read fonts. The classic style is very suitable to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. The Fottina Script has 450 flying machines. including multiple language support. With OpenType features with alternative styles, binders and characters, it allows you to mix and match pairs of letters to suit your design, as well as a touch of ornament to make this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer. (Windows), Letter Books (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use the font style set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, use Character Map (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs like PopChar (for Windows and Mac) How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw Thank you for your visit.

East is a simple and confident typeface. It is timeless and current, but with a subtle nostalgia of vintage Jazz albums, film credits, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. Its condensed width allows a lot of text in little space. East is versatile, but would be a good choice for film titles, labels + packages, posters, publications or any design where space is limited. It has six weights between Light and Extra Bold. A variable font with weight and slant axes is available and included in a full family purchase. The OpenType features include; stylistic sets, a one story ‘a’, hooked letters, seriffed uppercase I and 1, a slashed zero, raised colon and punctuation (Spanish), several German eszetts, ligatures, diverse bullets, and vertically stacked pre-built fractions. It will support western and central European languages as well as other Latin-based written languages. Read on if you are not familiar with variable fonts. What makes a variable font special is that all font weights are inside of one file and you can incrementally control the width and italic slant between Light (300) and ExtraBold (800). These changes are commonly made with slide controls in the font/type palette of the software. Variable fonts are also smaller in file size, which benefit both web and software performance. Currently variable fonts are supported by Adobe, Sketch, Corel Draw, and most web browsers. Check for your software support here: www.v-fonts.com/support.

Introducing a new quality calligraphy font is Authemart Script. High-quality script fonts come with modern and vintage touches in them. Inspired by a mixture of copper calligraphy with handlettering style. OpenType feature with Stylistic Alternatives, Swash, Ligatures, Stylistic sets. It allows you to mix and match letter pairs to fit your design, and also comes with modern ornaments to make this font look elegant and perfect. Authemart is attractive like a smooth, clean, feminine, sensual, glamorous, simple and very easy to read. The classic style is perfect to be applied in various formal forms such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, books, greeting / wedding cards, packaging, labels, and more. Authemart also supports in pragram, Adobe Illustrator, Adobe Photoshop, Adobe InDesign, Corel Draw X version, Microsoft Word, Language Support : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Spanish, Swedish. How to access all alternative characters using Adobe Illustrator: • https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: • https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: • https://www.youtube.com/watch?v=Go9vacoYmBw Need help? If you need help or advice, please contact me by e-mail : "Greatstudio92@gmail.com" Thank you for your purchase!

Classical Calligraphy Script With Ornament Is a calligraphy Vintage script font that comes with beautiful alternate characters. copper plate mix calligraphy with handlettering style. to show its performance. Classical Calligraphy is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Classical Calligraphy Script comes with a Clean and Aged version, beautifully binding upper and lower case, binding and loved by many finishes. It has Multilingual support (Western European characters) and works with the following languages: English, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Norwegian, Polish, Portuguese, Spanish, Swedish. In my example I show how this script can be used. It's perfect for logos, wedding invitations, alcohol labels, romantic cards, and more. Products include: Classical Calligraphy Script, Classical Calligraphy Extras Ornament Alternate Upper & Lower Case Style Binding, as well as a touch of ornament make this font look elegant. Recommended for use in Adobe Illustrator or Photoshop. Special features don't work in Microsoft Word. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use font style set in Microsoft Word 2010 or later version: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access the alternative/swash, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need any help or suggestions please contact me via email: creativescaleup@gmail.com

Los Angeles’ distinctive “shotgun” style street signs were last produced over sixty years ago, but these durable porcelain and steel signs are still in use all over the city, by both humans and birds, who like to build their nests between the panels. The street names were drawn at wildly different widths to fit on panels which were manufactured in only one size. Beachwood faithfully re-creates the extreme range of widths & weights on these vintage signs, and adds a new matching lowercase. Use the Beachwood Variable font file to access any width, weight or italic angle between the presets — a technology 20th Century sign painters could only dream of! Each weight of Beachwood includes numbers based on the street signs, plus four alternate number sets based on the jerseys of Los Angeles' pro football teams. Beachwood is named for Beachwood Drive, the street which leads to the famous HOLLYWOOD sign, so we just had to include a bouncy HOLLYWOOD mode! FAMILY FEATURES: Five widths (from XTall to XWide), with eight Weights (from ExtraLight to UltraBold), each with matching italics Variable font to access any width, weight or italic slant EACH WEIGHT INCLUDES: 584 glyphs to support 223 languages in Western Europe, Central Europe, Vietnam and Oceania, plus Cyrillics Five styles of numbers, plus Tabular Lining for screen display Ordinals, Fractions and Arrows Hollywood mode!

Have you ever searched for a font that looked like it was really someone's handwriting, only to find that it was too feminine or too hard to read? I used to want a font like that, too, until I discovered that a font like that had been residing in my attic, in letters to me from my late grandfather. Not only was I thrilled to have a font like this at hand, but also one that would be a memory of my grandfather every time I used it. He was a hard-working man, raising a family during the Depression, yet was still fun-loving, kind, and generous. We called him Grandhappy. As a wedding present, I received from him rolling pins and a cutting board made of 8 different kinds of wood that he pieced together. In this font, the bullet is a rolling pin in honor of that! Other than the fact that this is a font from the hand of one greatly loved, my favorite thing is that although a True Type Font, it has some features of an Open Type font. There are many alternative letter choices available through the use of little-used keys on the keyboard and alt codes. This font was chosen to portray Jay Gatsby's handwriting in The Great Gatsby (2013).

Cursivo Saxonio is a typeface inspired in the famous book The Case of Charles Dexter Ward, by H P Lovecraft. It shows better than I get with my studies the authentic "Insularis" or "Cursivo Saxonio" handlettering of the VIII and XI centuries used by some people in Britain. The text on the accompanying poster reads: “Corwinus necandus est. Cadaver aq(ua) forti dissolvendum, nec aliq(ui)d retinendum. Tace ut potes”

Delvona is a contemporary serif typeface, retro styled with a strong personality and a soft look. And also its high contrast and very simple and easily recognizable shape make it very easy to read. Delvona was inspired by the serif typography used in editorial headlines in the 80s. Delvona excels in display settings such as headlines, titles, branding projects, Logo design, packaging, magazine titles, advertisements, short or long text.

An elegant sans with a low lower-case x-height, diamond-shaped dots and a reweighed complimentary italic with subtle calligraphic touches. With its generous spacing and leading, Argent is very readable in extended text settings, appearing warm and open. The wide range of weights, from thin to heavy, provide all the necessary options for headline and text, the basis of any comprehensive design system. Perfect for brochures and magazines.

Donatella - Handwritten Fonts are elegant handwritten fonts, with texture, to be as authentic as possible while still being able to read clearly on your project. Donatella is a truly versatile font - combining sophisticated, casual and even fun sides depending on the style you use. A complete set of upper and lower case letters, and a second set of lowercase letters, Donatella - Handwritten Font also has 37 Ligatures for question just email.

Legibility. Flexibility. Personality. No need to pick two; Novaletra Serif CF has it all. Liven up body text, captions, and headlines with Novaletra’s smooth, low-contrast design set across seven weights with italics. Versatile and easy to read at any size, Novaletra includes useful features like wide language support across Latin and Cyrillic scripts, international currency symbols, fractions, tabular numbers, and more. Includes lifetime updates, technical support and feature additions.

Activity is an energetic hand styled script. It is beautiful for wedding card design, logotype, website headers, fashion design and much more. It includes multi-lingual and swash characters. There it is! I really hope you enjoy it - comments and likes are always welcome and accepted. More importantly, don't hesitate to send a message if you have a problem or question. Now just read this, go there and make it happen :)

Performance is a set of perforated plates that appear to be characters. The construction of characters is described by sequences of holes whose shape and placement define the appearance and mood of font styles. An interesting feature of the design is an absence of side bearings and leading. Due to this feature a text article set by Performance forms a perforated coherent surface similar to postage stamp block.

Introducing " Gyro Serif Display ", Gyro Serif Display is designed with a conical stem to create a unique style and easy to read. Which are all equipped with plenty of language support and open type features. Gyro Serif Display was made to function especially well at large sizes. Gyro Serif Display is a very versatile font, covering a wide variety of projects, from bold magazine imagery, to branding, poster design, and more.

Floyal Rush is 100% handmade, it’s organic looking and super friendly in a funky wobbly way! Although inspired by grafitti, Floyal Rush has got this cartoon and whimsical vibe to it. I don’t know about using Flyal Rush for massive text, but I would suggest short words and shout-outs - but I dare you! Go ahead and challenge me! I have added 3 versions, which fit together: Solid, Shine and Regular.

Jolly is a cheery, little display typeface that is suitable for headlines and informal body-copy. Being slightly slanted to the right, jolly has a fairly positive straightforward appearance which makes it pleasant to read. Its various Open Type features, such as swashy alternates for the capitals, ligatures and stylistic alternates as well as the small caps and the extended language support make it versatile and open for different applications.

Clarinetist Milton ?Mezz? Mezzrow (1899-1972) was a remarkable jazz musician, as becomes evident upon reading his autobiography Really the Blues. His sharp tone and serpentine lines inspired English lettering artist and jazz lover Michael Harvey to create a condensed, oblique display typeface with the look of a chiseled alphabet in the musician's honor. Vertical formats such as book jackets and posters will be invigorated by Mezz as the display face.