Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version, named Zapfino™ Forte. A version of the 1998 Zapfino typeface ships as one of the pre-installed fonts included with Mac OSX. The Mac OSX version's letters are four times larger than the Linotype standard. In order to minimize compatibility problems for Macintosh users, Linotype has created OSX versions of its Zapfino Extra Pro typefaces, which have been enlarged to correlate visually with the Mac OS Zapfino system font. These special Linotype fonts can be distinguished by the letter X" in their name. Zapfino Extra is an OpenType format font, which is available in two versions. Which version you purchase should depend on which software applications you use the most and what features they support! The Contextual version of Zapfino Extra Pro contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing this version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual) and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino Extra family's 1676 glyphs. The Zapfino Extra family's character set supports 48 western and central European languages. Use Zapfino Extra to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities."

This rough font, was created inspired from a lot of various european documents dated from the end of 1600's. We were in search of a hand to accompany with "The Treasure Island" novel by R.L. Stevenson, and this seems to be the good one. It is a "Pro" font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. We have also included a few old English specific abbreviations. The numerous alternates (four sorts of standard lowercases and two sets of capitals) and numerous ligatures allow to made the font looking like a real various hand. Using an OTF software, the features allow to vary each character without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options. The "Ru" version is a supplementary choice, offering Russian Cyrillics.

Sweeper is a font with several personalities; it’s friendly and scary at the same time, almost like Santa Claus, but nicer. Sweeper has got a handy touch with a lot of different possibilities. You can use it in several occasions. Sweeper is suitable in any environment: the business district in London or the shores of Oxelösund. It’s hella wide and hella fun!

Latinaires Pro is a new version of one of the first published Sudtipos typefaces. Now covering more latin languages and extended to 9 fonts, Latinaires is specially designed for modern brand communication and editorial use.

Quosm is a soft and friendly geometric sans, initially designed to introduce children to typeset letterforms. To achieve this goal, the letterforms were kept as simple and unambiguous as possible, while relying on a modular construction.

The design of the typeface Flamingo by Dior Sirous was inspired by this beautiful bird, creating long slim lines with soft curves at the ends. It is best suited for display use in Art Deco style.

Hoxton Samuels is your perfect allround font companion. Four weights will help you find your match whichever purpose you are font hunting for. Soft inner and outer corners will help blend your message into any background.

Fatefulness is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

A typeface derived from a logotype designed for New-Age electronic band System 7 in the early 1990s. Metsys is a soft-tech take on the monoline aesthetic. Letterforms are purified, rounded almost abstract graphic shapes.

Eterea LC (Lower Case) is based in Eterea using the same Capitals but changing the lower case set. You can use this version of Eterea to give a more readable and soft aspect to your work.

Leytta is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

Fluffy Tiger - Hand made brush font Soft & passionately handwritten by brush font perfect for statement, flyers, greeting and invitation cards, social media quotes, logo design, apparel design, label and packaging design, heading, scrapbooking, calendars, book covers.

Madelief is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

The Vale Press was a contemporary of Willam Morris's Kelmscott Press. The types used by the Vale Press were designed by artist Charles Ricketts, who also supervised the design and printing of Vale Press books. The main type used, Vale, was based on the Jenson 15th century roman type style. The King's Fount was an experimental semi-uncial font based on the Vale type. The King's Fount was designed in 1903 for the Vale edition of the 15h century poem "The Kingis Quair". This semi-uncial font evokes old English and Anglo-Saxon lettering. P22 Vale Pro combines the two fonts P22 Vale Roman and P22 Vale King's Fount into one "Pro" font. This pro font also includes a Central European character set, old style figures, fractions, ornaments and a special faux "Middle English" feature to make "anee text appeer Olde." This feature is not known to exist in any other font.

P22 Casual Script Pro is a flexible OpenType font based on mid-20th Century hand drawn advertising lettering scripts. As an alternate to thicker casual script styles, this free-flowing thin brush style is evocative of vintage product advertisements and packaging lettering and is highly suitable for a retro flavor. The Pro font includes over 500 glyphs with at least 2 of all upper and lower case characters with OpenType scripting and ligatures for a more natural and random effect. There is also a unique feature not found in other script fonts: Small Caps! While it may seem unnatural for a script font to have small caps, these work well as an authentic variation of brush script lettering for advertising. Also included in the Pro version is a full Central European character set, swash characters and more. OpenType features include: Small Caps, ligatures, discretionary ligatures, swashes, contextual alternates, stylistic alternates, Old Style/Lining Figures

Ersatz has its vibrant roots in the Mediterranean climate of Spain. Tired of the functional monoline sanserif fonts used throughout Europe from road signage to corporate identity, Richard Dawson and Dave Farey, British type designers who crave color and sunlight, created a style that is refreshing and lively. The basic constructions are simple and attractive, mixing lower case shapes into the capitals - and unique letterforms into the lower case. There's a raunchy feel to Ersatz, soft curves and back kicks, if you listen very carefully you can hear the sharp guitars and the soft tambourine of the Flamenco.

ntroducing Alpas - soft serif typeface Alpas is rounded and soft font with multilingual support. It's a very versatile font that works great in large and small sizes. This font is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. FEATURES Uppercase, lowercase, numeral, punctuation & Symbol regular and italic versions Multilingual support No special software is required to type out the standard characters of the Typeface. Canva friendly Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

A pure neo-grotesque typefamily inspired by the first typographies' old wooden characters, and by the marks soft and sometimes imprecise these left on the paper. All typographic elements are also influenced by the Cyrillic alphabet letter-form. -- HT Pavla Prospekt is inspired by ancient wooden typefaces and eastern-style letterform. This reference gives the letters unusual but characteristic proportions. The visual effect of the diffusion of the ink imprinted on the paper, which gives softness to the forms, is also very influential. The proportions of the bold and thin faces are visually balanced to ensure a more modern feeling. --

Digital Kauno is a soft geometric script type. It is recommended for headlines and display use. Digital Kauno was originally designed in 2002 and it has now been redesigned with full character set and more distinctive letters.

Kailey Latief is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

Natural Garden is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

Here is a sans-serif built up on an old-style design framework especially perceptible in the italic. It is the conjunction of contradictories feelings: pointed / soft, classical / modern. The smaller the typesetting, the better it works.

The Droid Serif Pro Family (4 fonts) is a contemporary serif typeface family designed for comfortable reading on screen. The font is slightly condensed to maximize the amount of text displayed on small screens. Vertical stress, sturdy serifs and open forms contribute to the readability of Droid Serif while its proportion and overall design complement its companion Droid Sans. The fonts were designed by Steve Matteson, the Type Director at Ascender Corporation. The Droid Serif Pro Family (4 fonts) includes Latin 1 and WGL character sets, along with Old Style Figures (requires an application that support advanced OpenType typographic features).

Friar Pro is a revival of Frederic W. Goudy's "Friar" typeface. Goudy described this typeface design as a 'typographic solecism' as it combines a lowercase of half-uncial forms from the 4th through 7th centuries with an uppercase of square capitals from the 4th century. Steve Matteson developed the font as a tribute to Goudy and his joy of typographic exploration. Steve created a complete character set with OpenType typographic enhancements to give the font an authentic appearance to the original. Friar Pro is a beautiful design which imparts a scribal appearance to any document including greeting cards, certificates and official papers.

The source of inspiration for Haute Monde Monogram is the 1934 "Book of American Types" by American Type Founders. Found in that specimen book was a wonderfully elegant traditional smallcap-Capital-smallcap monogram alphabet known as “Elite Monogram Initials”. This elegant typeface is now digitally remastered and updated for modern use with functionality beyond its original intentions. Download and view the MFC Haute Monde Guidebook if you would like to learn a little more. MFC Haute Monde Monogram comes complete with Pro format fonts. You will require with programs that can take advantage of OpenType features contained within the Pro fonts.

Noir is a sans serif font family of 12 fonts with contemporary aesthetics heavily influenced by early 20th century geometric typefaces. While having its geometric structure it carries organic personality with touch of warmth injected to each form. Noir font family ranges from light and elegant weights perfect for small text, to extremely heavy and masculine weights suited for large display sizes. Noir has a rich arsenal of Open Type features for highly professional use and extended Latin, Cyrillic and Greek language support. Noir is delivered as Std and Pro version. Cyrillic and Greek are available in Pro package only.

This square serif typeface is a real workhorse. It is a modern tool for text design: extremely legible and well shaped. Bandera has six weights with original italics. It catches attention in headlines of posters and magazines or makes reading comfortable in plain texts. Bandera shares main proportions with sans serif Osnova Pro typefamily so ideally can pair it. It has Bandera Text and Bandera Display sister families as well. Please check also Pro version for pan-european support (full Latin-Greek-Cyrillic). Bandera is Spanish for ‘flag’. And Bandera is a symbol of Ukrainian fighting for freedom for many years.

This typeface was developed as a part of identity system for Turbota, center of social rehabilitation for disabled children in Ukraine. With soft ends, traditional structure and asymmetric serifs it works well in both playful and official contexts.

A practical font family with 4 weights for all your day by day design needs: headlines, body text, signage etc. High legibility at small sizes. An extended sans serif typeface that provides unique softness appearance without losing legibility.

Selitta is a sweet, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and a wide variety of projects!

Cintra font family has been designed for Graviton Font Foundry by Pablo Balcells in 2014. It is a sans serif, bold, geometric typeface with subtle rounded angles, which provides a soft, pleasent appearence. Cintra consists of 8 styles.

Brillia is a sweet modern calligraphy, soft hand-lettered handwritten font. Fall in love with its authentic feel and use it to create gorgeous wedding invitations, beautiful stationary art, eye-catching social media posts, and cute greeting cards.

The initials ASM represent the acronym of the Santa Monica Arts cultural center located in Barcelona, Spain, where this typeface, with the same name, has served as the custom corporate typeface since 2008 till today (2013). ASM is an energetic monospaced with extreme legibility consisting of two original weights, with an underlined version – used on some of corporate applications – all with their corresponding italics.

Metaphysica is an unorthodox futuristic typeface that provides otherworldly zest without overly compromising typographic aesthetics. Combining weird angular beams and junctions with soft and round forms, Metaphysica finds the middle ground between sci-fi futurism and friendly legible sans.

Fuchsia is a soft, romantic, and slightly eclectic script. The characters feature wide proportions, high contrast, and backward bends at joints—all ensuring the typeface truly shine in large sizes. Complex capitals look very nice next to lowercase letters.

Colmena (means Beehive in Spanish) features soft viscous shapes and high contrast that resemble bees and honey. The font was entered into TypeArt Contest in 2005 under the name "FD_Harvey". Suitable for display purposes especially in books for children.

Veltro was originally designed in 1931 for Nebiolo in Torino. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio. Both styles cover the complete character set for Western and Eastern Europe.

Based upon Riedingerschrift, cut by Franz Riedinger for Benj. Krebs Succ. in Frankfurt am Main in 1906, here come Ridinger Std and its extended version, Ridinger Pro. An elegant cursive font which also includes various adorning swash strokes.

Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Rationalist useful links: Specimen | Graphic presentation | Customization options We thought, "What if we provide the user with a collection of matching fonts, each of which would still be unique?"—and so we started developing TT Rationalist. For those familiar with the bestsellers TT Norms® Pro and TT Commons Pro, the new font will be intuitive to use. It has similar proportions, characteristics and functionality, but yet it is an independent and original font family. Unlike the geometric sans serifs TT Norms® Pro and TT Commons Pro, TT Rationalist is a slab serif typeface. It is functional and original. Slabs are characterized by massive rectangular serifs, but in TT Rationalist they are trapezoidal and refined, which makes them look modern. Speaking of modernity, when creating the typeface, we wanted to avoid the excessive historicism that can be seen in many slab serif fonts. We have been particularly careful working on the Black style, which in the first sketches had something in common with the Wild West posters. When we balanced out the excessive contrast caused by visual compensation, the font stopped evoking retro associations. Now TT Rationalist Black is perfect for headlines, especially on posters and posters, and works great with Light styles in TT Norms® Pro and TT Commons Pro. The new typeface works well for both headings and text arrays. It looks especially aesthetically pleasing in printed production (books, magazines, brochures). The TT Rationalist typeface consists of 22 two styles: 10 upright, 10 real Italics and two variable fonts, each with over 950 glyphs. It supports over 200 languages and contains 27 OpenType features. In addition to the standard ones, there are Small Capitals for Latin and Cyrillic languages, alternative versions of the ampersand and the letter g. The italics have two stylistic sets allowing to switch the design of style-forming characters (k, v, w, y, z) between italic and classical forms. TT Rationalist font field guide including best practices, font pairings and alternatives. FOLLOW US: Instagram | Facebook | Website

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.