ITC Gema is the work of Brazilian graphic designer Claudio Rocha. It was first written in a small size to keep the surface irregularity of a non-coated paper when enlarged for use as a display font," says Rocha. Many strokes do not quite join, giving Gema the visual effect of a stencil typeface, the distinguishing characteristic of the font. "Some characters have my own handwriting gestures," says Rocha, like elongated endings and angular shapes. Gema comes complete with an unusual variety of ligatures and alternate characters."

Y'know the real trouble with Spider-man, Superman and the rest of the soulful superheroes, gloating supervillains and musing muckmonsters is They Just Don't Shut Up! For Crying Out Loud, give those iron jaws a REST willya?!? Yak Yak Yak! Blah Blah Blah! Yada Yada Yada... "With Great Power Comes Great Responsibility!" "You won't get away with this, Luthor!" "I'm the best there is at what I do!" SHUT UP!!! Letterers don't get paid by the WORD you know! QUIT YER WHINING! Yeah, yeah, yeah this font IS the much requested typeset -- featuring upper AND lower case characters -- created by Starkings & Roshell for the X-Men back in the Age of Apocalypse. Hell's Squakkin' Teeth -- The X-MEN... don't even get me started on THOSE guys! What THEY need is the mutant ability to put a freakin' sock in it!

Taler is a serif typeface is represented by seven weights. It was conceived as a continuation of the sans-serif Nekst. In the process of design it became clear that it is a completely different typeface. The rectangular, slightly elongated serifs, the plastic stiffness, and the combination of different styles make Taler a true representative of contemporary. It's old-fashioned and modern, it's for a display titles and for plain text, it's rough and elegant — it's all present in design at the same time. The duality of it nature is it peculiarity.

The German-born designer Lucian Bernhard designed Bernhard Fashion in 1929. An American" typeface, Bernhard's original design was created for the American Type Founders (ATF). It bespeaks the spirit of the roaring 20s. The hairline-thin letters exhibit elongated ascenders (but not descenders), and many stylized elements. The capital letters also all descend visibly below the baseline. In text, the extra large capitals seem almost like drop caps. This typeface is best used sparingly in text. Largely set headlines will allow readers to enjoy the fashionable quality of Bernhard Fashion's design."

When merely “extended” just would not do, here is Paragraph Stretch™: a super extended or elongated geometric display typeface. It is a typeface with an unicase effect: the capitals and lower case fit the same height and a similar width, so they are interchangeable: fancy a round “W” in all caps? Use the lower case. Want a straight “x” in lower case? Use the cap. And so on. Designed for use at larger sizes for logotypes, short titles or headings. It supports Western plus Nordic, Eastern European and Turkish languages.

Madley is a contemporary slab serif typeface. Featuring monolinear stems, elongated block serifs and teardrop terminals, the type family goes from a delicate Hairline weight to a heavy Black weight. Because of its range in weights and extensive Opentype features, it’s a perfect font for both text and display text settings. Alternative features include a wide array of swashes assigned up to 11 for select characters, combining ligatures in capital unicase settings, and stylistic alternates for some letters. To see more, please check out the User Guide and Specimen booklet.

Fargo is a decorative logotype font. Drawn and created by Mans Greback in 2020, this vintage sport lettering works has velocity, style and class. Use [ ] < > after any word to create a swash. Example: Snow] For a longer swash, use several characters: Decorative>>>> The typeface is provided in four styles: Regular, Italic, Bold and Bold Italic. Each style contains an alternate alphabet and ligatures, giving the calligraphy true customized possibilities. The font has extensive lingual support, covering all European Latin scripts. It contains all characters you'll ever need, including all punctuation and numbers.

FABERGE This is elegant logo serif font. It has a light weight and playing forms, the uppercase are more elongated and the lowercase are compressed but they have the same height as the uppercase, with this you can play with space and mix them, with this you will expand the boundaries of your ideas for your project. This font has 44 ligatures ( use uppercase to get them ), 124 alternatives for uppercase and 88 alternatives for lowercase, they will add a touch of playfulness and elegance and make your design unique.

Every day we are faced with designing on small screens and new formats; This is where condensed fonts have great potential, as they make the most of tight spaces in big headlines. Manchester Condensed is a typeface family designed by Vástago to be applied in large headlines in different formats, such as web, editorial or packaging. Just to mention a few. Different Manchester weights enhance performance at large type sizes, providing hierarchy and imposing style with its elongated shapes. Its use in capital letters is remarkable and fits perfectly into very precise diagramming spaces.

Lyster is a hand-painted script typeface, built and created by Måns Grebäck in 2020. Its brush strokes makes the typeface the ultimate blend between modern and classic. The balanced weight and tilt result in velocity, flow and a friendly but energetic vibe. Lyster comes as Lyster Regular and Lyster Bold, and each style contains a full OpenType compatible alternate alphabet and ligatures. The font contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all Latin-based, European languages.

Ludwigon is a contemporary serif typeface that seamlessly melds timeless elegance with a modern sensibility. With its gracefully elongated serifs and refined letterforms, Ludwigon exudes sophistication and readability, making it a versatile choice for a wide range of applications. Its clean lines and balanced proportions lend an air of classic refinement, while subtle design nuances, such as tapered stroke endings and graceful curves, infuse it with a touch of contemporary flair. Ludwigon strikes a harmonious balance between tradition and innovation, making it a compelling choice for projects seeking a timeless yet fresh typographic aesthetic.

Adorn Garland is a script face that runs along a somewhat “vintage” direction. Rather than deriving its strength from a heavy skeleton or structure, it uses its sense of contrast, its light touch upon the page, and its elongation to provide a visual break – it can function as a long string, rule, or dividing line. With 166 swashes. See what's included! http://bit.ly/1rYDcmQ This font has been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

Introducing Echo Soul; a free-flowing and carefree brush font duo, hand painted with love. Echo Soul speaks from the heart and doesn't hold back. With elongated brush strokes and a natural flow, it's the perfect choice for handwritten quotes, product packaging, and logo designs with a personal and affectionate touch. The Echo Soul family consists of; 1. Echo Soul • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Echo Soul Alt • This is a second version of Echo Soul, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Echo Soul Sans • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Echo Soul Script font. Also includes numerals and a large range of punctuation. Stylistic Alternates • Are also available for several lowercase characters - these have elongated tails and look great when placed at the end of a word. These can be used by turning on 'Stylistic Alternates' in OpenType capable software, or accessing via a Glyphs panel.

Shackle One is a geometric Sans Serif with a twist. As a modern classic that does not wear out visually it is suitable, for example, for luxury items, leather goods, watches and jewelry, high-class sports, documentation of historical technology or graphics in the field of art and design. It works excellently for huge headlines, but can also show particular strengths in continuous text – its gray value is almost flawlessly uniform. All line connections and terminations are perpendicular, which means that slopes or curves have a light bend at their ends, similar to the lordosis of the cervical spine. This makes the font look upright and straight and at the same time agile and dynamic, like an athlete with good posture – a typeface that is powerful and confident without appearing steely or violent. Shackle One is a classic but casual looking font with sophisticated details. It has a classy appearance without being pretentious. It can appear stern and serious as well as playful and humorous. Its strong character also makes it an excellent corporate font for certain branches. You will love it.

Steel Grrrder is an industrial-style joining script with a stencil effect, available in six weights ranging from Light to Black. Great for all kinds of display purposes including posters, film titles, book covers, magazines, advertising, signage, packaging, logos and tanks, this is a script with a sharp personality and a steely presence. However, if you’re searching for a “nice” script - sorry, bud - you’re looking in the wrong place. Steel Grrrder Script doesn’t entice the reader with voluptuous curves, flowing swashes or frisky letterforms, instead its sharp chiselled features compel the reader to pay attention. Characters muscle their way along like robotic bulldogs in steel-toe cap boots. Steel Grrrder Script is a veritable slab fest, best categorised as a constructivist joining script. Forged from carbon steel and wrapped in a layer of Graphene, this is a robust display typeface family able to withstand even the most demanding typographical situations. The Steel Grrrrder extended family also includes a six-weight sans-serif with corresponding italics and two display fonts, Groove & Nutjob - all designed to work with each other.

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.

Italian Old Style™ was designed by Frederic W. Goudy for the Lanston Monotype Company in the USA. Goudy was asked by Monotype to copy Cloister Oldstyle, a successful font that belonged to a competing foundry (it was designed by Morris Fuller Benton, see Cloister Open Face). Goudy refused on grounds of ethics, and instead talked Monotype into producing a new face. This he based freely on fifteenth century Venetian types, which were the same historical models used by Benton for Cloister and later by Bruce Rogers for Centaur. Goudy's result was Italian Old Style, released by Monotype in 1924, and considered by many to be one of Goudy's best fonts for book typography."

Kondes is our "101 Dalmatians" – it's 101th release in our catalog! And it is the 1st one that belongs to variable typefaces. Kondes (which is made up word as mixture of "condensed" and "kondezovan" on Serbian) is simple, compact, straight-in-your-face sans serif family with 9 weights and 9 Italics. It was designed with purpose to serve and to be use in any project, from editorial to website. For example, Black weight could be used effectively as poster type, in big sizes while Regular fits perfectly as main webfont. Stem joining is done with generous ink trap that divides and opens letter contours, so letter breaths in smaller sizes. Contains extended Latin character set. Enjoy!

SK Rohkea is a modular display typeface that combines strict geometry and smoothness of lines. The main features of the typeface are the constant inclination of the oval and the elongation of forms. They give the typeface a unique character, especially when it is used in large inscriptions and headings. The SK Rohkea typeface has capital and lowercase letters that support the extended Latin and Cyrillic set and even icons! Thanks to the combination of modernity and refinement, the typeface is great for the widest range of design tasks, no matter whether it is printing or web design.

Mynaruse is an elegant and regal roman inscriptional titling family. It has sharp and elongated serifs that give the face extra punch. The face shines in settings that call for elegance and splendor. Mynaruse’s six weights range from a fine, delicate thin to a powerful and solid heavy weight. Mynaruse includes many useful OpenType features, including a set of swash alternates, alternate titling forms, ligatures and miscellaneous alternates. OpenType-capable applications such as Quark or the Adobe suite can take full advantage of the automatically replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages.

Bokena is a remarkably elegant serif font that exudes timeless sophistication and grace. Its beautifully crafted letterforms feature delicate, elongated serifs that effortlessly convey a sense of refinement and luxury. With a perfect balance between thin and thick strokes, Bokena achieves a harmonious and legible appearance, making it an ideal choice for conveying a sense of sophistication and tradition in various design projects, from high-end branding to elegant invitations and editorial layouts. This typeface’s inherent grace and versatility make it a standout choice for those seeking to add a touch of timeless elegance to their visual creations.

Keyboard is a condensed and elongated Egyptian font family with thin serifs and a large x-height. Its original design was created in 1951 by Stephenson Blake. International TypeFounders, Inc. gained exclusive licensing rights to the Stephenson Blake Collection, and then Paul Hickson (P&P Hickson) and Steve Jackaman (ITF) created its digital form in 1994. Keyboard excels in display and subhead sizes, and brings a formal feel to any project. Its condensed nature gives it great visual density in the bolder weights, and the lighter weights allow it to retain legibility at both small and massive sizes.

Darmhagh Underwood is a “rough” monowidth font based on the face used on the old Underwood manual typewriter. Darmhagh Underwood was first digitized in 1999 by Michael Everson and originally used the MacGaelic character set on the Macintosh platform, and ISO/IEC 8859-14 on the PC. In 2008 Darmhagh Underwood version 3 was released in OpenType format, completely compliant with Unicode encoding and with an extended character set. The particular Underwood typewriter from which samples were taken to design Darmhagh Underwood is on display in the National Library of Ireland. It belonged to Conradh na Gaeilge and was used to draft armistice documentation which led to the end of the Irish War of Independence in 1921. Darmhagh is pronounced [ˈdaɾuː].

The concepts of Spencerian Palmer Penmanship PRO come from the Palmer’s Penmanship guides and calligraphy manuals from XIX century. This enhanced OpenType version has complete set in Latin alphabet with Central European, Vietnamese, Baltic and Turkish complete resources with all diacritic signs and punctuation marks plus extra characters belonging this ranges. Spencerian Palmer Penmanship PRO presents you with extra sets of stylistic alternates, swashes, ornaments, tails (to artistic increase any letter of this font) and plus over of 120 contextual alternates solutions - ligatures providing a lot of letterform variations that make this type family looks like a real handwriting on a page or the exact fancy text you wish. Over 500 glyphs which you have total access using software such as InDesign, Illustrator, QuarkXpress and others.

One look at the font Wanted brings to mind swinging saloon doors, double shots of whiskey and sheriff's badges. It belongs to the so-called Italienne typefaces which began to appear at the beginning of the 19th century. The distinguishing characteristic of such typefaces is the robustness of its serifs, which exceeds that of the base strokes. Wanted looks almost as though it were stamped on paper. Small white flecks appear in some of the strongest black strokes just as they would in a stamp which did not get quite enough ink...or are they perhaps the work of a sharp shooter? Wanted is best for short headlines and perfect for anything which should have the look and feel of the Wild West.

Appetite Pro is a total upgrade of the world wide popular display font Appetite (2011). It is based on original lettering and belongs to the upright script like. Appetite Pro consists of 10 weights of the refreshed curves — 5 regular and 5 italic — from Light to Heavy. It’s a multilingual and international font, with a full Western Latin, Cyrillic (Russian, Belarusian, Ukrainian) and basic Greek support. The Appetite Pro font family is specially designed for food identity and packaging design projects. In addition to standard letter cases, Appetite Pro also includes dingbats set. Due to the 10 weights font palette, you can solve a wide variety of professional problems without spending money on extra fonts for titles, subtitles, and main text. Try and buy!

The Swedish designer/typographer Anders Bodebeck designed the Bodebeck type family in 2002. The family, which includes five different styles, is primarily intended for use as a titling, or display face, and belongs to the neo-transitional style of typefaces. Transitional style type first appeared in England during the late 1750s, when John Baskerville released his first sets of type. Bodeck bears similarities to another, later transitional style typeface as well - Eric Gill's Perpetua (originally released by the British Monotype Corporation in 1928). Like these two previous English stonecutters turned masters of typography, Anders Bodebeck has given us a modern re-interpretation of classic letterforms. Bodebeck, which is fitted with old style figures, is available in the following styles: Regular, Italic, Bold, Bold Italic, and Extra Bold."

Where's the party? Don't forget Contempo Elan! This stunning new font comes with it's own party ornaments. The right solution for any festive occasion, this super innovative face comes in two flavors. Contempo Elan Grand Script is a surprisingly elegant alternative to a more traditional formal script. Designed by Wesley Poole of Hawaii, this alphabet is definitely a hip script. Early reviews call this font "remarkable" and "a masterwork". Contempo Elan Ornamental is elegant and fun! Just perfect for those last minute Holiday announcements or any use that requires a classy, celebratory typeface, Contempo Elan Ornamental fits the bill. Equally at home on board the Enterprise or beckoning revelers at Mardi Gras, Contempo Elan belongs in every type library, just for fun. Party on.

Honesty is sans serif font with flared stems. As such, it belongs to the incise genre which is historically inspired by the roman civilisation and letters carved in granite or marble. One of the major example of it is the Trajan’s Column in Rome which inspired a font called Trajan, designed by Carol Twombly in 1989. Honesty is also inspired by more brutal font such as the Albertus, designed in 1938 by Berthed Wolpe, and its shape is highly influence by the work of the hammer. Despite this brutality and urgency due to the carving technique, the design of Honesty bring softness to it thanks to its low contrast and smooth curves. Honesty’s design include 16 styles, from thin to black in roman and italic.

Diamond Lady is so gorgeous, she’ll steal your heart with her hand-lettering and handwritten font shapes, The idea of this font was to create as realistic as the possible texture of hand lettering and keep the style of Signature. Diamond Lady is a handwriting font with delicate curves and a unique blend of thick and thin lines. This font offers all the sophistication and beauty you could ask for in one package. It will help you to create an authentic modern signature or a stylish handwritten effect for your logotype and headlines. The font contains 94 ligatures, so it would be perfect for logos and branding with handwriting/sig logos look. She’s got all the real hand-lettered shine, loveliness, and romance attached to the art of hand lettering. Don’t hesitate, just get it! Diamond Lady features: A full set of upper & lowercase characters Numbers & punctuation 94 Gorgeous ligatures Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Feel free to give me a message if you have a problem or question. Thank you so much for taking the time to look at one of our products.

Linotype Pisa is part of the Take Type Library, selected from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. It was designed by Swedish artist Lutz Baar and is a modern text font based on the humanistic Old Face style. The dynamic lines and harmonious proportions make Linotype Pisa a pleasant and legible font. Distinguishing characteristics are the elongated cross strokes of the capital A, B, E, F and P and the slanted cross stroke of the lower case e, typical of Venecian Old Face characters of the 15th century. Linotype Pisa is well-suited to longer texts and headlines.

Amelia Amanda calligraphy script that comes with a very charming fancy character, in the form of results but looks modern, made with inspiration to get a beautiful style and match between one and the other letters. Amelia Amanda belongs to a unique font type, feminine , sensual, clean, glamorous, simple and very charming to look at, due to the unique form of letters and alternative styles that are appropriate for many letters. Classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, makeup, stationery, novels, magazines, books, pride greeting cards as well as weddings, packaging, labels and also suitable for all forms of advertising . The Amelia Amanda script is very feasible because it is supported by some charming alternative letters.

Forjada—designed by Raúl Israel—is a monolinear, rounded and condensed typeface, belonging to the slab serif classification, inspired by wrought iron window and door grills on facades of historic buildings in America and Europe. Forjada is a rigid yet softly curved font with exquisite ornaments and optimized for great legibility. Forjada Family comes in 3 weights—Light, Regular and Bold—with matching italics and includes alternate swash caps and ligatures plus Ornaments and Catchwords sets that provide a wide range of choices for creating the most beautiful designs. The font character set supports 212 languages. Forjada is well-suited for branding, packaging, food & drinks menus, wedding invitations, party invitations, guidebooks to old cities or any glamorous design you want to add a fresh and modern touch to!

Jet is an assertive italic sans that anticipates the return of the simpler, optimistic times when progress was considered positive and forward seemed to be the only way to go. It may have felt right at home in the mid-1970s, the time of Sc-Fi, synthetics and disco, yet it unmistakably belongs to the present. Its dynamic sturdy forms and angular tapering of some horizontal forms convey movement and edgy impatience for change, with a few re-imagined details, like the reversed slant on top of the lowercase t and the atypical round counter of the lowercase a, showing a new hope for the bygone optimism. Available in five weights in Latin and Cyrillic, supporting many languages, with stylistic alternates and two sets of figures. Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2020

Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Driver Gothic is available in all popular font formats, and is comprised of a very extended character set (over 750 characters) covering a wide range of languages, including Central and Eastern European languages, Greek, Cyrillic, Esperanto, Turkish, Baltic and Celtic/Welsh. Driver Gothic Pro, the OpenType version, contains class-based kerning and push-button stylistic alternates for use with apps that support advanced typography. Buckle up!

This typeface is extrapolated from the ‘We the People’ calligraphy of the handwritten US Constitution Preamble which employed a style based on German Text and Square Text exemplars from George Bickham’s penmanship copy-books, the most celebrated being The Universal Penman published in 1743. The original Constitution document was transcribed onto parchment by Jacob Shallus, a Pennsylvania Assistant Clerk, over a weekend in 1787. Shallus’s biographer, Arthur Plotnik (The Man Behind the Quill, 1987), notes that he was paid $30, a modest monthly wage at the time. He also suggests that the calligraphic headings, ‘We the People’ and ‘Article’, may have been inserted by Shallus’s 14 year old trainee son, Francis, “The manner in which the ‘Article’ headings are squeezed into the space Shallus allowed for them suggests a second hand—and perhaps not a very experienced one.” The unconventional backslant of the headings would seem to support this contention, and at the end of the document there is perhaps a novice’s inconsistency in the structure of the letter n between that used for ‘done’ and those used for ‘In Witness’. However, one has to admire the elegant swagger of the wavy t, h and l which the K-Type font extends to the b, f and k. Also, the simpler, Schwabacher-style W, an enlarged version of the lowercase w, is a little less flamboyant than the capital W from the German and Square texts in Bickham’s manuals. For designers using OpenType-aware applications, the typeface includes some Alternates, including a Bickham-style W, the letters t, h and n with added flourishes, two simpler forms of the A, and a few roman numerals for numbering articles. Also some ornamental flourishes and a round middle dot/decimal point. Punctuation marks are drawn in square, calligraphic style, but an alternative round period/full stop, for use with currency and numerals, is available at the period centered position (though placed on the baseline), accessed by Shift Option 9 on a Mac, or Alt 0183 on Windows. The full phrase, ‘We the People’, has been placed at the trademark keystroke and can be accessed by Option 2 (or Shift Option 2) on a Mac, or Alt 0153 on Windows. For designers who find the backslant awkward or unpleasant, the licensed typeface also includes two additional fonts which have a vertical aspect that may be more conducive to graphic design layouts. ‘We The People Upright’ and ‘We The People Upright Bold’ both retain the distinctive style, and the heavier weight is only slightly emboldened, just enough to add some punch.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. Feature Summary*: - 9 weights, 18 styles: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy and corresponding italics - Supports at least 99 Languages incl. eastern european and vietnamese languages - Overall width: Narrow or Space-Saving - Advanced f- ligature set including fb - Discretionary s- and c- ligatures - Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more - Capital German Eszett - Extra characters with Polish Kreska - Catalan Punt Volat - Extra characters with alternate minimalistic Cedille * Some features may only be available in OpenType®-savvy applications

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

Fontoddler Font Family, This font was created with the personality, in mind, of my two-and-a-half-year-old granddaughter Chloe Bella. I believe strongly that fonts have personalities that’s why we refer to their members as ‘characters’ or to be more accurate, ‘glyphs’. This font is playful, bold, colorful in form and design, a bit irregular, a bit informal, a bit irreverent, a bit humorous, a bit sassy, and a bit independent just like my little one. When used in color Fontoddler sings. She’ll be writing and creating visual words in just the nick of time. At 2 she started recognizing many colors and identifying people, places, animals, and objects and now she’s recognizing letters. I can’t wait for her to understand that this font was designed and named after her. Fontoddler currently exists in 3 styles, Medium, Heavy, and Heavy Outline. Naturally Heavy and Heavy Outline are congruous, ie. They are fitting together. I hope you enjoy and use this 24th font family from Cozyfonts Foundry. It will fit well with greeting cards, signage, birthday parties, holiday occasions, invites, stationary, headlines, logos, posters, cartoons, animation titles, movie titles and even sports events and sports logos. Have fun with this one. Tom Nikosey