Gratique is a semi-rounded sans-serif typeface. The curvature of the corners fits perfectly and makes it look so cool. Gratique comes with 3 different font variants, namely medium, bold, and black. Gratique is perfect for headings, typography, branding, mockups, or any other design you need especially for a sans-casual style, it will work really well. FEATURES: - STANDARD CHARACTER SET -Case Sensitive Forms -Denominators -Fractions -Historical Forms -Standard Ligatures -Scientific Inferiors -Subscripts -Superscripts -Multilingual Support, etc.

Neonoir is an homage to neon lettering craftsmanship of the mid 20th century. The beautiful futuristic grace of wall-sized bent-glass hand-writing is distilled into a three-weight connected script that’s on the button for headlines, logo­type and branding designs. Its Slim and Bold weights are formal monoline scripts, while the medium weight mimics the rough edges of ink on paper. Neonoir is available as an Open Type font that features alternate endings and lots of ligatures.

Milanello is a strong sans serif font with medium contrast. Inspired by the High Octane Rock genre and modern-classic fashion. Carefully designed with a short ascender to give a solid look, also the sharp serif makes the letters look more strong. Milanello is a display-type which perfect for a headline, sub-headline, and short body text for magazine, books, fashion, quotes, hipster t-shirt, signboards, logo, and etc. A great choice for a brave concept!

Santa Fe is a profonts script typeface family supplied in the new OpenType Pro font format. Santa Fe contains six styles as light, medium, bold and the corresponding italics. The character set covers about 500 glyphs for the complete Latin character set (West, East, Baltic, Turkish, Romanian), and a large number of handmade ligatures and alternates to make it a perfect OpenType Pro connecting script. Santa Fe is a very distinguished, elegant and versatile, intentionally non-slanted script font.

Conseration is a condensed font family. This family has 5 styles: Light, Regular, Medium, Semi Bold, and Bold. You can use it according to your needs. Luxury, classy yet still looks fun and playful in the same time. This font is perfectly made to be applied especially in logos and the other various formal forms such as invitations, labels, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels or any type of advertising purpose.

Oilvare is a hand-drawn, layered typeface inspired by vintage painted signs and oil cans. While sturdy, it also has a softer side—wide proportions, oval-inspired forms, curled angle strokes, and a medium contrast all help give it a little bit of distinction from the typical sans serif. Mix, match, and layer the styles to your liking. Carefully drawn, when you enlarge the typefaces, the subtle irregularities become more apparent and harken to hand lettering of the past.

Code Saver — Next-generation monospaced font — 1. Code Saver is a monospaced font family for coding and tabular layout. 2. Code Saver is a clean, natural and simple monospaced font family. 3. Code Saver consists of 6 style, Regular, Medium, Bold and their 11° Italic. 4. Code Saver has 93.33% condensed width for more usable space. 5. Code Saver has good distinguishability and legibility especially numerals. 6. Code Saver brings a fresh sensitivity to boring old existing monospaced fonts.

My father is retired from teaching after a distinguished career as a professor at the University of Texas (and other colleges). He's also retired from writing in longhand, ever since I digitized his script several years ago. Professor is a slightly modified version of my ol' dad's cursive hand -- a good, strong, helpful, friendly, personable hand, much like the man. Use Professor for all your casual handwriting needs: my father doesn't mind. Comes in a single, medium-weight style.

"Atnew" is a modern typeface that includes six individual fonts (ExtraLight, Light, Regular, Medium, SemiBold, Bold) and a variable font ranging between Light (50pt) and Bold (200pt). Keeping geometric shapes but with soft curves gives fonts a playful feel. They can be used in interfaces, websites, posters, stationery, tv show credits, and many other purposes. It could be for your everyday activities like journaling. The variable font version provides more flexibility for your needs by fine-tuning weight points.

Volkolak is the ultimate serif-sans-grotesque tribrid, its numerous cuts will give you many options represent a typesetter's dream! Designed as one, it offers a serif, a contrasted sans serif and a grotesque style. The numerous typesetting options offered this way gives it a ton of usability and functionality in many different mediums, editorial design, books, magazines, posters, visual identity, web design... You won't find a project in which you can't use this true workhorse superfamily!

Mores - Minimal Sans Introducing a minimalist style font. Fonts that are suitable for branding, packaging, logos and others. This font comes in regular and medium formats. Including italics in it. If you like this font, don't forget to collect it and share it with your loved ones. If there are things you want to ask or problems you face with this font. Don't hesitate to ask us. Because we are very happy to help you. Thanks Graphicfresh

Lineare Serif is an attempt at solving the difficult problem of creating readable text type, seeking new ways to provide readers with some pleasure and rest as they walk along each line, creating a space where there is harmony between man and the printed form. Asymmetric serifs both in their height and width, medium contrast in the stroke, and balanced upward and downward movements make “Lineare Serif” a typeface featuring both attitude and aptitude for editorial purposes.

Turnkey is a modern grotesque typeface, it could be described as a neo-grotesque with hints of geometric shapes. A workhorse typeface designed to be versatile for both small and large sizes, ink traps have been used as a design feature above 26pt and a technical feature when printing small body text. The combination of 36 weights and styles allows you the freedom to create. Each weight includes extended support for over 90 languages (Including Cyrillic), fractions, tabular figures, arrows, ligatures, alternate glyphs, and more. Demo licenses are available from colttypeco.com In addition to a standard style set, the Turnkey family also has an italic set plus soft versions of both. Turnkey Soft is a slightly rounded version of the standard and italic, which looks more friendly, warm, and soft. It's corporate but with a personality. Current instances are: Turnkey Standard - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic. Turnkey Soft - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic When used as body type, Turnkey pairs well with: Take Note, Stroom and Markout. Turnkey is perfect for; headings, titles, body copy, logos, magazines, editorial design, corporate branding, brand identity, websites, blogs, apps, games, ebooks, publications, and signage. Turnkey can be found in the Typodarium 2024 OpenType features: Access All Alternates, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Proportional Figures, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Tabular Figures. Support for 95 languages: Belarusian, Russian, Ukrainian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Nahid is a sans-serif font family designed by Naghi Naghashian in 3 weights: Nahid Light, Nahid Medium and Nahid Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Nahid supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Nahid fulfils the following needs: 1. Explicitly crafted for use in electronic media fulfils the demands of electronic communication. 2. Suitability for multiple applications. Gives the widest potential acceptability. 3. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bauhaus Arabic’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. 4. An attractive typographic image. Nahid was developed for multiple languages and writing conventions. Nahid supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. 5. The highest degree of calligraphic grace and the clarity of geometric typography.

Gilan is a sans-serif font family designed by Naghi Naghashian in tree weights, Gilan Light, Gilan Medium and Gilan Bold. It is extremely legible even in very small size. This font family is a contribution to modernisation the Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Gilan supports Arabic, Persian ( Farsi ) and Urdu. It also includes proportional and tabular numerals for the supported languages. Gilan design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Gilan’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Gilan was developed for multiple languages and writing conventions. Jaleh supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E The highest degree of calligraphic grace and the clarity of geometric typography.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless. We have our sights set on this one becoming an instant classic. OBSERVATIONS Specimen VI takes its inspiration from the old world, while remaining thoroughly contemporary. It is unique while maintaining legibility. DEFINING CHARACTERISTICS At 2,580 characters, we dare say it is one of the most robust script fonts on the market today. The font includes extensive Opentype programming that authentically replicates Aileen’s unique handwriting pattern. As you type, watch the letters automatically adjust between connected and disconnected forms. Specimen VI also features formal titles, prepositions, social media wordart, and web navigation wordart, serif and sans serif Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, multiple styles of alternate capital letters, including swashes, and basic Latin encoding. Specimen VI is a typesetters’ dream. POTENTIAL SIGHTINGS In the pages of your favorite wedding tome; the signage, robe embroidery, and dinner menus of that coveted boutique hotel on the Italian Riviera, the labels of an artisanal hand-poured candle line, your new favorite Rosé, hand-crafted Belgium chocolate truffles, the indie cosmetic line fit for royalty, in any instance that you may be in need of a refined modern script.

Some words from the designer, Frantisek Storm... Designed by Josef Tyfa in 1959, digitalized by F. Storm in 1996. This Roman and Italic are well-known perhaps to all Czech graphic artists and typographers ever since their release. Although this type face in some details is under the sway of the period of its rise, its importance is timeless, in contradistinction to other famous types dating from the turn of the sixties which were found, after some time, to be trite. The italics live their own life, only their upper-case letters have the same expression as the basic design. Thin and fragile, they work excellently, emphasizing certain parts in the text by their perfect contrast of expression. When seen from a distance they are a little bit darker than the Roman face. Tyfa Roman was released in 1960 by Grafotechna in Prague for hot setting. Later on, Berthold produced letter matrices - "rulers" for Staromat devices, used for manual photosetting of display alphabets. In the eighties it was available on dry transfers of Transotype and today it is offered also by ITC. The meticulously executed designs of the individual letters in the 288 point size are arranged into a set of signs on a cardboard of about B2 in size. The yellowed paper reveals retouches by white paint on the ink. Blue lines mark the baseline, the capital line, the ascender and descender lines and the central verticals of the letters. With regard to the format of the flat scanner, the designs had to be reduced, with the use of a camera, to the format A4, i.e. to the upper-case letter height of about 30 mm. These were then scanned in 600 dpi resolution and read as a bitmap template to the FontStudio programme. The newly created bold type faces derive from Tyfa's designs of the letters "a", "n", "p", the darkness of which was increased further, approximately by 3%, to enhance their emphasizing function. The text designs have hairstrokes thickened by one third; the contrast between thin and thick strokes has been modified, in order to improve legibility, in sizes under 12 points. We have used electronic interpolation to produce the semi-bold designs. Josef Tyfa himself recommends to choose a somewhat darker design than the basic one for printing of books.

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

Mastadoni is a bold headliner/masthead typeface, with high vertical contrast in a Didone style. That's the starting point at least. There's much more to this font than another modern clone. It is a specialized (only one weight) typeface that comes in five optical grades. Use G1 at very large sizes and G5 at smaller sizes. The grades can be combined so that the thins of type set at different point sizes appear the same thickness - a very useful feature for magazine layouts. Optical grades could also be used in circumstances where a logo needs to be size-specific; the text on your bistro sign can afford to be more delicate than that on your coffee cups. This is a typeface with a big x-height, small cap-height and stubby ascenders and descenders, which contribute to an overall appearance somewhat different from must Didones, and make for some interesting layout possibilities in tight spaces. Mastadoni features a number of useful OpenType features. All fonts include standard ligatures and automatic fractions. In the discretionary ligature feature, you'll find the esoteric "percent off" glyph. Just type '%ff' with dlig engaged and there it is! Case-sensitive forms are available in all the fonts. The contextual alternates feature performs a subtle trick that resolves an optical illusion whereby two ascenders next to each other appear to be different heights. The Roman and Italic styles have a different group of stylistic sets as follows: Roman: SS01 substitutes a less decorative 4; SS02 is a different eszett; SS03 substitues the # with an attractive numero glyph; and SS04 gives an alternate K. Italic: SS01 and SS03 are the same as in the Romans; SS02 gives you more bulbous variants of v, w, and y letters; SS04 is a single storey g; SS05 changes C, G and S to non-ball-terminal varieties; and SS06 changes the swash versions of E, L, N and Q (when the swash feature is engaged). Speaking of the swash feature, the italic fonts feature swash capitals from A to Z, and swash variations for lower case h k m n v w and z. Lastly, the discretionary ligature feature in the italic fonts has vi, wi, KA and RA ligatures. Mastadoni is a typeface that would find itself immediately at home in glossy magazines, while offering a different aesthetic palette from the more standard choices of Didones.

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutius' 15th century roman type, but the original had no italic counterpart. The story is told that Stanley Morison commissioned Alfred Fairbank, a renowned calligrapher, to create the first italic for Bembo, which was released as metal fonts in 1929. Alfred Fairbank, however, claimed that he drew the design as an independent project and then sold his drawings to Monotype. According to him, the statement has been made that I was asked to design an italic for the Bembo roman. This is not so. Had the request been made, the italic type produced would have been different." Whichever version you believe, it was obvious that Fairbank's design - while undeniably beautiful - was not harmonious with Bembo roman. A second, more conventional italic was eventually drawn and added to the Bembo family. Fairbank's first design, which was based on the work of sixteenth-century writing master Ludovico degli Arrighi, managed to have a modest life of its own as a standalone font of metal type. It never made the leap into phototype fonts, however, and the face could have been lost, were it not for Robin Nicholas, Monotype Imaging's Head of Typography in the United Kingdom, and Carl Crossgrove, a senior designer for Monotype Imaging in the US. Nicholas and Crossgrove used the original drawings for Fairbank as the starting point for a new digital design, but this was only the beginning. They improved spacing, added subtle kerning and optimized the design for digital imaging. In addition, Nicholas created an alternative set of lowercase letters, fancy and swash capitals and enough alternate characters to personalize virtually any design project. By the time his work was complete, Nicholas and Crossgrove had created a small type family that included Fairbank, a revived version of the earlier metal font, and Fairbank Chancery, a more calligraphic rendition of the design. An additional suite of ornate caps, elegant ligatures, and beginning and ending letters accompanies both fonts, as does a full complement of lowercase swash characters. Now, instead of a failed Bembo italic, Fairbank emerges in its true glory: a sumptuous, elegant design that will lend a note of grace to holiday greetings, invitations, and any application where its Italianate beauty is called for."

Romi is a legible, feminine, script font, suitable for wedding invitations, valentine cards, beauty products, or wherever a soft, romantic image is sought. Suggestions for use: - wedding stationery - greeting cards - valentines day media - beauty product media - lingerie tags - women's magazine pages - classical music media 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).

Winsberg comes from hand scratches to get a natural and natural writing. Winsberg is very suitable for use in various media such as packaging, logo, label, poster, shirt design, quote of wisdom, hand lettering, typography and many other media.

Set of ornaments based on the decorative motifs used by the first typographic workshop in Buenos Aires: “Imprenta de Niños Expósitos”, between 1780 and 1824. This set is the product of an extensive historical research that aims to identify the type that came from Europe to the City during colonial times, and during the first years of Argentina’s independence. This group has a lot of diversity, which fluctuates between organic baroque forms and geometric neoclassical. Its characters can be used in editorial design along with Roman typefaces, they work individually or grouped to form different figures, guards or frames. It was baptized in honor to the first printer who worked in the workshop: the Spanish Agustín Garrigós.

Axion SSF is an original design by Alex Kaczun. Axion SSF is a style variation based on his original Axion typeface family of fonts. It is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications. The entire font has an original look which is strong, dynamic, machine generated and can be widely used in publications and advertising. Axion SSF is a futuristic, techno-looking and expressive typeface with an appearance of machined parts with sharp and rounded edges. This attractive display comes in roman with lower case and lining figures. The large Pro font character set supports most Central European and many Eastern European languages.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Hilly Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Hilly Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Conga Brava is the work of type designer Michael Harvey, a combination of the high-minded, purist letterforms of revivalist, modern calligraphers with the mundane, even crude, lettering of warehouse stenciling. The resulting lyrical yet utilitarian forms have a visually exciting graphic effect, which Harvey has frequently used in his book jacket designs. Like his other typefaces, Ellington, Strayhorn, and Mezz, Harvey named his design after a jazz classic, Conga Brava", by Duke Ellington and his trombonist Juan Tizol. The rolling rhythm, polished swing, and stacatto brass treatment of the tune suits the look of this sassy roman design and even more so, its stencil mate. When you need a typeface that radiates sound and motion, think Conga Brava."

Frutiger Next is Adrian Frutiger's and Linotype's completely new interpretation of the well known typeface Frutiger released in 2000. For these revised forms, the areas of application are almost limitless. Frutiger Next can be used for anything from office communications to multimedia to complex printed materials. The Frutiger Next family contains small caps, oldstyle figures, and other figure options in every font. Adrian Frutiger's eponymous typeface has been used for decades, everywhere from airport signage to book text to corporate logos to the smallest web graphics. The Italics in the original version of Frutiger were based very closely on the Roman forms; in Frutiger Next, they have been re-designed to be true Italics.

Lovanaru is a Sans Serif font with all caps, that provides a modern and minimalistic design. It comes with smart OpenType features, ligatures, clean letterforms and monoline strokes. Lovanaru is an excellent choice if you are looking for an easy to read and enjoyable font. Lovanaru is perfect for minimalistic themed product, branding, logo, invitation, stationery, product packaging, merchandise, monogram, blog design, game titles, cute style design, Book/Cover Title and more. Features : - Lovanaru Font - Ligatures - Multilingual, US Roman, Latin 1 Support Thank you for purchasing premium fonts from Attype Studio. Follow and explore our work on Pinterest & Instagram. If you have any question, don’t hesitate to contact us. We hope you enjoy with our font! Attype Studio

RARE BIRD SPECIMEN II Specimen II is an elegant hand by Karla Lim of Written Word Calligraphy. It floats across the page on gossamer wings. Specimen II pairs well with classic typefaces like Baskerville, Garamond and Bodoni. OBSERVATIONS Specimen II is exquisitely delicate but not fragile. Best suited for unforgettable affairs. DEFINING CHARACTERISTICS Opentype programming, formal title & preposition wordart, 7 alternate ëandí options, Roman numerals, in and out-stroked letterforms at beginning and end of words, multiple alternate lowercase t cross-strokes, realistic double-letter ligatures, seamlessly connecting calligraphic letters, alternate capital letters, old style numerals, basic Latin encoding. POTENTIAL SIGHTINGS Wedding stationery suites, logo design, luxury product packaging, fragrance, wine labels.

Ostad Pro is designed by Naghi Naghashian. It is a headline font, as a modern interpretation of classic Sans Serif Roman characters in 2 weights: Regular and Bold. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

BluHead Studio LLC is pleased to announce the complete Prenton typeface family! Born of an award winning pedigree, Prenton is an elegant and meticulously drawn sans serif typeface by Roy Preston of Great Britain. Perfect for intricate text settings, it is an extensive family of typefaces containing twenty-one weights in all. The ten OpenType Pro fonts are typographically rich collections of small caps, inferiors/superiors, numerous figure sets and fraction styles, and ligatures. There are Condensed and Ultra Condensed versions of the roman weights and a single Thin Display weight. This wide-ranging variety provides a solid foundation for lengthy and complex typographic layouts. All fonts are OpenType CFF and support an extended Central Europe character set.

This is not an historically accurate font but rather one intended capture the spirit of ancient Roman manual type. It was inspired by various patterns used in documents and books created by Latin scribes between the second and fourth centuries. They used either calamus and ink on papyrus, or a pointed metal stick on wax tablets. We have created the font for contemporary use; distinguishing between U and V, I and J, which had no meaning for ancient Latin scribes, and adding thorn, Oslash, Lslash, W, Y and common accented characters that did not exist at the time. A lot of titlings and contextual alternates complete the set. Available only in TTF and OTF format.

In 1525, Albrecht Dürer, the well known German great artist, was publishing the so-called “Underweysung der Messung mit dem Zirckel und Richtscheyt”, printed in Nuremberg. This handbook explained with numeral figures how to draw with a compass and ruler. A large part is devoted to the drawing of Roman characters, which can be used as decorative initials. We are offering two complete historical initial sets and also have entirely redrawn the missing letters: J, U and W, Eth, Lslash, Thorn and Oslash in the two forms, using the Dürer style. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

Digitized handwriting fonts are a perfect way to give documents the “very special touch”. Invitations look simply better when handwritten than when printed in bland Arial or Times New Roman. Short handwritten notes look authentic and appealing. There are numerous occasions where handwritten text makes a better impression. Harico Handwriting Pro is a beautiful typeface that mimics true handwriting closely. Use Harico Handwriting Pro to create stunningly beautiful designs easily. This typeface comes with many pre-made ligatures and alternative characters for sophisticated typography – all easily accessible as OpenType features. A “random” feature even allows for automated random switching between variations of the same character, resulting in type that looks authentically handwritten.

Wedding monograms is a font family in elegant historical style. This family of two character monograms was inspired by “Course of women's needlework” published in 1887. You’ll get the set includes Wide and Narrow capitals, so you can make your own monogram, by combining letters you want. --- Please note, you should use graphic applications such as Adobe Illustrator or Photoshop, but not Microsoft Word. All you need is put Narrow initial on the top of Wide. You can use color fonts in PS CC 2017+, AI CC 2018+, ID CC 2019+, macOS 10.14 Mojave+ Please note that the Canva & Corel & Affinity doesn't support color fonts! --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

🏆 Selected for Tipos Latinos 9. Bork is a display typeface that was inspired by an exercise in blackletter calligraphy. The style’s characteristic dark texture is seen mainly in the lowercase, with uniform spacing (where counterspace equals letterspace), shapes that recall the straight, interrupted strokes used in that style of writing, and the peculiar construction of certain letters. On the other hand, the uppercase aims for a more conventional roman construction, making it more legible for modern-day readers. It features an extensive character set that includes contextual and stylistic alternates, superior/inferior figures, arbitrary fractions, as well as several unusual ornaments, symbols and punctuation. Bork is especially suited for use in book covers, headlines, packaging and logotypes.

The productivity of the Berlingska Stilgjuteriet was made possible by the development of modern typeface art in Sweden in the 1950s. The typeface Berling was designed by Karl-Erik Forsberg for the Berlingska Stilgjuteriet in Lund. It belongs to the modern text typefaces and like most of these markedly shows the influece of the Neorenaissance. Berling Antiqua appeared in 1951 with a matching italic and by 1959, it was expanded to include five weights. Linotype offers Berling in four of them, roman and bold with their respective italics. In 2004 the Swedish publisher Verbum commissioned a complete redesign of Berling for the 21st century. Linotype assisted the designers of this new typeface, which came to be called Berling Nova.