Romance Story is a classy handwriting font with a distinctive curve, inside with some interesting features that are perfect for an authentic-style project. Romance Story is perfectly suited to signature, stationery, logo, typography quotes, magazine or book cover, website header, clothing, branding, packaging design and more. A handwritten script font containing upper and lowercase characters, numerals and a large range of punctuation. Romance Story Includes: - Basic Character ( Uppercase and Lowercase, Numerals, Symbol and punctuation ) - Multilingual support - Ligatures - PUA Encoded - This font including alternate glyph. To access the alternate glyphs, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. How to get access alternate glyphs with designing software to open type fonts check this link : http: //adobe.ly/1m1fn4Y

Foncy Serif features open, ligature and alternative types that are packaged in 3 fonts: Regular, Italic and Bold. Foncy fonts include uppercase, lowercase, numbers, punctuation and multilingual support. Foncy Serif is an elegant and unique serif font, thin yet impressive. Expertly designed to make your creations look amazing, this font will look beautiful and impressive with a variety of characters to display and is perfect for use on various ideas such as Editorial Projects, Logo Designs, Weddings, Clothing Branding, Product Packaging, Magazine Headers or simply as a stylish text overlay for any background image which will make your presentation more stunning and stand out. Foncy Serif also supports Multi Language and is PUA encoded !! Give us "likes" and support our work. Thank you very much. Have a nice day and Enjoy!!!

Kabusi San Serif is a premium font family with 18 different styles to choose from. Designed to aid you in the creation of visually stunning projects of all types. It is the most widely used typeface on the internet, in printed materials, and in other design projects. This Kabusi San Serif font embodies both modernity and classicism while remaining simple and clean in appearance. Apart from their great looks, this premium font family will assist you in giving your company a more unique look that will pay off! 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.

It's the Summer of Love all over again with this groovy psychedelic font. Designed in 2019, this typeface harks back to the carefree days of the late 1960s. Whimsical and offbeat with its swaying verticals, it nonetheless remains one of the more legible reimaginings of the genre, sporting all of the handlettered vibe of posters and album covers from the original hippie era, but with polished color and weight that evens out the legibility even at relatively small point sizes. Predominantly a unicase font, with a couple of alternate glyphs from upper to lowercase, Summer of Love works best as a large headline face, and benefits greatly from twisting and morphing the type blocks as was common during the original psych era. It's a real groove machine, baby.

Signature Script is a smooth pen script with large display capitals and small but legible lowercase letters. It’s ideal for logo, signature, poster, brochure or any display use. Signature Script is great for typing headlines or a restaurant logo - it’s stylish but legible enough due to its smooth shapes. Signature Script has at least three alternates for every basic lowercase letters that are automatically connected to next letter nicely. This feature is coded inside Standard Ligature so I recommend keeping that on. There’s also Stylistic Alternates for every standard Uppercase letter and Swash, Stylistic and Titling Alternates on certain lowercase letters that can be used to spice up your words. The font is PUA encoded so you can access extras in most graphic design softwares even without OpenType support.

Originally made for a health food store chain we cannot name, Pipa is the embodiment of organic display typography. Although it draws inspiration from some cold type ideas, like the uncredited Atlantis from VGC and a couple of older photo-lettering faces, its overall expression is right in line with what has become today's vernacular in integrity organic display packaging. Pipa's construct approaches the thick-and-thin idea from a rarely used perspective, where the flow in form contrast naturally seeps out from within each stroke, while minimizing the amount of strokes helps the totality of the setting come positively alive. This is bead and lava lamp psychedelia for the 21st century. Pipa comes with plenty of alternates, including some very cool unicase variations, and extended Latin language support.

Logtown Duo is a hand-drawn font that blends vintage charm with a rugged edge. It's the perfect choice for your vintage-themed logos, branding, and adventurous designs. This font combo combines both elegant Script and Slab Serif styles, giving you options from solid to textured looks. Plus, it's got your back with support for multiple languages, making sure your message reaches everyone. Whether you're aiming for nostalgia or a modern twist on the classics, Logtown Duo has you covered for stylish and impactful designs. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual Support Alternates, ligatures, and swashes (script version) Type j_1 until j_9 to features swash, ligatures will automatically replace the standard letter pairs whenever available, when using any OpenType capable software (script version).

Introducing, Valegan Display Font, display font with a touch of vintage look and feel. This font duo is also perfectly made to be applied especially in logo, headline, signage and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : Regular & Stamp Style uppercase & lowercase numbers and punctuation multilingual alternates / swashes and ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/ Email us to letterhend@gmail.com if you need something! Happy Designing!

CA Zentrum is a compelling mix of conciseness and pragmatism. Bold, distinct and original, contemporary and versatile. At a closer look, it reveals rounder reading-friendly forms. The choice of weights aims at an easy, straight forward use. A set of five well-balanced weights and three widths ranging from light to black and from condensed to wide. This variety ought to be enough to cover most needs without throwing the typographer into questions. The family’s glyph set supports over 100 Latin languages. With its blend of timelessness and modernity, the type-family is uniquely suited for modern corporate visual languages, websites, corporate design, editorial design and advertising. Careful spacing and a great choice of OpenType features make it especially well suited for text copy and/or editorial design.

Brim Combined packs all of the character of the popular layered typeface, Brim Narrow, into three eye-catching font styles. Inspired by antique wood type from the 1800s, Brim is warm and tactile. Its innovative styles produce both striking headlines and sophisticated titles, making it perfect for posters, packaging and logotypes. Brim Combined makes it even easier to achieve punchy headlines on the web. This flattened version of Brim does not require professional design software to use and is compatible with Microsoft Word. • Combined 1 features Brim’s elegant, handmade line work • Combined 2 includes a drop shade with an outline • Combined 3 has an offset shade and a reversed-out face Brim is an all-caps typeface with Western European, Central European and South Eastern European language support.

Bonna and Bonna Bold is a casual calligraphy family Font with an original textured appearance that will allow you to create an effect even more authentic. It’s an exclusively Open Type release with 815 glyphs, 93 ornaments to combine with letters and decorate your text. There are plenty of options to create something unique and special with lots of possibility an infinity of combinations: standard and discretionary ligatures, several swashes and stylistics alternates for each letter, catchwords, tails that can be added to the beginning or end of each letter, and much more. These ravishing fonts have already an extended character set to support Central and Eastern as well as Western European languages. Bonna was designed to help your projects look more creative, wonderful and fascinating! Have fun with it!

The first thought that crosses a type designer’s mind upon seeing a slab serif is: I wonder what it would look if it was serifless. And so, after building Henderson Slab , I followed my instincts and gave it a sans serif companion. Henderson Sans comes in seven weights plus italics, each of which casting an eye on the crafty lettering origins of what is now the ubiquitous mode of corporate communication. This sans serif is a glyph-for-glyph match for Henderson Slab , inheriting pretty much all of its features and quirks, like the wealth of alternates and swashed variants — simple, endearing or otherwise. Henderson Sans is a family of seven weights plus italics, all full of open features and extended Latin language support. (Basic version do not include alternates, swashes, etc).

Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

The genesis of ApronSoft font type family is inspired by soft-vertical structure of airplane window. On the other hand ApronSoft is making a reference to technological design mentality of early 2000's. In short texts it has stable view and also humanist effect. Very suitable for mobile apps, web designs, sportive & technological product packs and ads designs. Especially Narrow Bold and Condensed Bold Italic weights have fluid and strong expression for striking headlines. User friendly ApronSoft serves rich opentype properties; small capitals, alternative letters (a, c, e, g, k, l, q, s, y, A, C, G, K, M, N, R, S), stylistic sets, standart and optional ligatures, oldstyle figures, tabular linings, arrows, bullets and wide money currencies, fractions and math symbols. With reduced file size, it’s softer now!

Do you hear that sound of Dick Dale's guitar? Here it is! Introducing you a new font family with retro surf rock vibes! Straight outta retro vinyl covers and surf gig posters to your font collection! We're all missed the sun, so grab this family and get some of the summer vibes. No matter what your next design project – a tiki t-shirt collection / summer rock festival or gigs / greeting cards / or a header for your new zine, - you'll get your goals with this family. A lot of alternates will give you a hand written's mood and absolutely unique typographic style. Up to 10 styles for some of them. Open Type Features as Stylistic Alternates, Small Caps and Fractions. Three styles: Clear, Roughen and Scratched. Three widths: Light, Regular and Bold.

Mowaq es una tipografía limpia, abstracta, moderna, minimalista y de trazos sencillos pero elegantes. Sus cuatro pesos hacen un juego visual de degradados muy marcados. La tipografía Mowaq fue inspirada a partir de los estilos mayúsculas sans-serif, como uso de encabezados y subtítulos en dos libros donde se necesitaba mostrar un aspecto limpio, moderno y minimalista. Los tipos minúsculas fueron adaptados posteriormente a la familia Mowaq. Mowaq is a clean, abstract, modern, minimalist typeface with simple but elegant lines. Its four weights make a visual game of very marked gradients. The Mowaq typeface was inspired by sans-serif uppercase styles, used for headings and subheadings in two books where a clean, modern and minimalist look was needed. The lowercase types were later adapted to the Mowaq family.

Meringue, a transitional serif face, is designed specially for modern glossy magazines. It is ideal for fashion photography, fashion publications and mag covers, and can be used for headings and captions, as well as for body copy. The italic version, with its wave-like vertical strokes, creates yet more stylishly expressive feel. Text set in Meringue has an elegant weightless look, and the strongest effect can be achieved with high-quality printing. The typeface includes old style figures, ligatures, and alternative characters that allow creating truly versatile design by means of typography. Designers may also find Meringue perfect for beautiful presentations, invitations and other special occasion papers. Meringue was designed during the Type and Typography course at the British Higher School of Art and Design, supervised by Ilya Ruderman.

The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!

English HU Basic Sans is a body text font with simple Sans structure. It is well used in medias that are appropriate to use sensible font types. yet, its shows it's stylish aspects with it's wide main body. Greek Το HU Basic Round είναι μια γραμματοσειρά κειμένου σώματος με απλή δομή Sans. Χρησιμοποιείται καλά σε μέσα που είναι κατάλληλα για χρήση λογικών τύπων γραμματοσειρών. Ωστόσο, δείχνει ότι είναι κομψές πτυχές με το μεγάλο κύριο σώμα του. Υπάρχουν 1 βάρη του HU Basic Round : light Cyrillic HU Basic Round - это шрифт основного текста с простой структурой Sans. Он хорошо используется в средствах массовой информации, которые подходят для использования разумных типов шрифтов. тем не менее, это показывает его стильные аспекты с его широким основным корпусом. HU Basic Round имеет 1 толщины: light

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

Moron is a distinctive and idiosyncratic display typeface: a winsome-but-nasty, old-and-yet-new drawing of Victorian sans-serif letterforms (with some 1970s sausage fonts thrown in). Moron started life as a sans-serif redrawing of Nylon but developed into a unique typeface with a character all its own. It is based, very loosely, upon Victorian Tuscan and Grotesque type found in the churches and cemeteries of the city of Glasgow. These letterforms originated before the dawn of modernism and at a time when the Arts and Crafts Movement was flourishing. In this age of early mass production and mechanisation, the Victorian ability to balance functionality with ornamentation had fascinating results. The typography of that period displays a unique combination of industrial heft and romantic decoration.

Telemark is a monolinear slab serif influenced by the wide serif typefaces of the 19th century. The name refers to the vintage form of skiing which was introduced in Norway at the same period of time and allowed more fluid turns. After the Telemark style was replaced by newer techniques in the Alpine countries it has experienced a rise in popularity in recent years. The Telemark type family features the three weights in an additional label style which allows an uncomplicated creation of editable pointers, banners and cartouches. Different combinations of end pieces result in a great variety of designs. Telemark is suitable for headlines and logotypes and complements script typefaces as well as any neutral grotesque. Details include 207 characters in three weights, a total of six styles and manually edited kerning.

Hello World, Introducing, Hi Maria is a beauty script font suitable for your design project needs, such as; wedding themes, Christmas themes, social media posts, quotes, overlays on images, tagline logos, posters, print needs, website banners, and more. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual Support Some Swashes and Ligatures So Easy to Use Access Swashes by keyboard key parenleft ' ( ' to feature beginning swash 1 key bracketleft ' [ ' to feature beginning swash 2 key plus ' + ' to feature middle swash 1 key equal ' = ' to feature middle swash 2 key parenright ' ) ' to feature ending swash 1 key bracketright ' ] ' to feature ending swash 2 For Example: type [love+you] Thank you a million times for downloading and using this font for your projects. Enjoy this font and happy creating!

The Dorrington is a font trio package contain a monoline script and sans serif which looks great to be paired especially for vintage and adventure theme! This font trio is purposely made for headline, display or logotype, and signature which need a standout appearing. This font is also suitable to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : 2 Monoline Script Font and 1 Sans serif font uppercase & lowercase numbers and punctuation multilingual alternates & ligatures PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.\

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

a, g, k and y It was a forensic examination by Jason Smith of his existing designs that laid the groundwork for FS Jack. Jason made a list of unique characteristics that would give the sans serif font its typographic thumbprint, which included an unusually large x-height and slightly off-the-wall letters like the lower-case “a”, “g”, “k” and “y”. “I wanted to make something that was slightly uncomfortable,” says Jason, “and in doing so simplify the quirkiness down to a few letters.” Fernando Mello did “the rest of the cooking”, filling the design out and making the additional weights. Tipos Latinos Upon its release in 2010, FS Jack was submitted by Fernando, who is Brazilian, for the esteemed type design biennial, Tipos Latinos, where it was selected as a winner in the Families category. It went on to be selected for type exhibitions throughout Latin America and around the world. “FS Jack is a workhorse,” says Fernando, “but also very ownable and distinctive, and available in a good range of weights, crafted by Jason and I.” Corporate “FS Jack took a couple of years to get noticed and is still fairly underused,” says Jason, “which is good in a way, for our Brandfont clients that have adopted it.” FS Jack was chosen as the signature font for The Shard in London, from its signage down to business cards. Fontsmith also worked with Lloyds Bank to customise FS Jack into a bespoke font for the bank’s updated brand identity – part of Fontsmith’s Brandfont service, which you can read about here. Fat Jack Included in the FS Jack family – just – is FS Jack Poster, the super-heavy weight of the range. “That was a last minute addition,” says Fernando, “after Jason and I started talking about how much we liked Gill KO, a typeface that is almost comically fat.”

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

ITC Christoph's Quill is just about everything you could want in a typeface: it's distinctive, beautiful, and exceptionally versatile. According to designer Russell Bean, ITC Christoph's Quill is the culmination of experimentation with a graphics tablet that spanned several years. Then one day, as if by magic, it all just fell into place. The design seemed to flow from my pen." Bean was born in Australia and, except for a brief stint with a photo-lettering firm in Southern California, has spent most of his career working down under. "I can recall a deep fascination for the written word," he says. "Even before learning to spell, read or write, I think I recognized that this was a means of visual communication." Bean's first job was in a small ad agency as a trainee in the production department, where he learned art techniques and how to handle print, as well as "the value of visual impressions," he says. His career path meandered from one design job to another, but always in the general direction of fonts and typefaces. Today, his workload consists of logo design commissions, font editing, typography and print production consultation to a select group of loyal clients - still leaving time, notes Bean, "to pursue my type design ambitions." ITC Christoph's Quill began life as a simple, visually striking font of caps, lowercase, punctuation and numerals. To this Bean added a bold weight, for when a little more strength is desirable. Next came a flock of alternate characters. Finally, Bean drew a set of decorative caps, a suite of logos, and a sprinkling of beginning and ending swashes. The net result is a type family that can add a signature flourish to a vast range of projects: from invitations and menus to logos, signage, packaging and more."

About the design: Ardena is a modern sans-serif typeface family. While neutral and clear at first glance, it can be characterized as both pleasant and confident due to its open, rounded forms and vertical terminals. It can be used in both a restrained and expressive way. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. Completed with an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Ardena family has a total of 20 styles, from thin to heavy with matching italics. With over 1064 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. The principle is easily explained: If a number is placed in round or square brackets, it will automatically be displayed in an outlined circle or square. If you add a period to the number, it is displayed in a full circle or square. The same principle also applies to the arrows. The arrows themselves are combinations of greater/less symbols with the various slashes or hyphens. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/ardena-variable/

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects. Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again. WHAT'S INCLUDED: Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Circe Rounded is an extension for a popular Circe typeface, with rounded terminals. Bold and ExtraBold faces have two variants with different radius of the roundings. Circe Rounded is even more friendly than the original Circe. The typeface is designed by Alexandra Korolkova and Alexander Lubovenko and released by ParaType in 2015. It is known that the Circe typeface is distinguished by mild and humanist nature being formally a geometric sans-serif. However, as an experiment we decided to make it even softer: Circe now has a version with rounded terminals — Circe Rounded. Rounding is generally regarded as a mechanical operation, but in this case a lot of manual adjustment was needed because of the humanist nature and peculiarities of type design. Moreover, the two bold styles now have two options: a basic one is slightly rounded and an alternate one is fully rounded. In Circe Rounded we decided to dismiss characters with swashes that are rather inappropriate in such a rounded font, but the stylistic sets and alternate characters are remaining. Rounded terminals make an open and friendly typeface even more childish. For example, in quite large point sizes (because the x-height is still not big) it can be used as a body type in infant books. Circe Rounded, similar to Circe, has alternative forms of lowercase characters, which are called “infant” and are used in publications for children’s reading. However, a humanist basis is preserved alongside with its softness and it does not allow it to be as “plasticine” as many other rounded fonts. Two of the most obvious areas of possible application of Circe Rounded are everything for children and everything edible, especially all that is sweet and puff. However, we believe that there are other options.

The Verdana typeface family was designed specifically to address the challenges of on-screen display. Verdana was originally designed by world-renowned type designer Matthew Carter, and tuned for screen display by the leading TrueType hinting expert, Tom Rickner. The Verdana fonts are unique examples of type designed specifically for the computer screen.The Verdana family received a major update in 2011 as a collaboration between The Font Bureau, Monotype Imaging and Matthew Carter. The original Verdana family included only four fonts: regular, italic, bold and bold italic. The new and expanded Verdana Pro family contains 20 fonts in total. The Verdana Pro and Verdana Pro Condensed families each contain 10 fonts: Light, Regular, Semibold, Bold and Black (each with matching italic styles).Verdana exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel. The balance between straight, curve and diagonal were meticulously tuned to ensure that the pixel patterns at small sizes are pleasing, clear and legible. Commonly confused characters, such as the lowercase i j l, the uppercase I J L and the number 1, have been carefully drawn for maximum individuality - an important characteristic of fonts designed for on-screen use. Another reason for the legibility of the Verdana fonts on the screen is their generous width and spacing.Designed by David Berlow and David Johnathan Ross of the Font Bureau, with typographic consultation by Matthew Carter, the new Verdana Pro includes a variety of advanced typographic features including true small capitals, ligatures, fractions, old style figures, lining tabular figures and lining proportional figures. An OpenType-savvy application is required to access these typographic features. The expanded weights and completely new condensed range of fonts provide designers with an expanded palette of typographic options for use in print and on-screen, in both small text sizes and headlines.

A girl’s handwriting written on the iPad Writing changes – throughout history over centuries, but also from generation to generation. Each new generation of students learns to write the basic forms of the letters a little differently than their predecessors. The role model is also changing. The cursive handwriting taught in school is getting closer and closer to printed type. The children no longer learn the forms of cursive handwriting required for connected writing, but first the “block letters”, only later should they develop their own individual handwriting from this, which many of them no longer do. And the writing tool is also changing. Of course, script looks different when children no longer learn to write on paper with a fountain pen, but on a tablet computer with the “pencil”. The writing experience is completely different, and the “material properties” are different too. There is practically no writing resistance that would make it difficult to move against the direction of writing. "Die Lara" was created based on the template by Lara Mörwald from the winter of 2023. The font version "Black" corresponds to the handwritten original, all thinner variants up to the wafer-thin "Hairline" are derived from it. In the variable font, the intermediate forms can be selected steplessly. In order to preserve the handwritten character of the font, "Die Lara" contains several alternates to most letters and numerals, so that different character forms alternate in the typeface. If the "ligatures" function is activated in the app (which is the default in most programs), these alternates appear automatically as you type. There is also an alternative "swashed" variant of some letters. So you can set somewhat livelier accents at the beginning or end of a word. "Die Lara" also contains fractions and tabular figures.

Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."