The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Script is a complementary typeface to ITC Ellipse Neo, designed a very legible handwriting style. ITC Ellipse Script is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Script offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: Nov 1, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. ITC Ellipse Script est une police complémentaire à ITC Ellipse Neo, conçue dans un style d'écriture très lisible. ITC Ellipse Script est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Script offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

ITC Digital Woodcuts font is the work of Timothy Donaldson. Although made on a computer, each character has the look of a block of wood with a character cut into it. The forms are made entirely of lines, typical of how the result would be if they were truly cut into wood. ITC Digital Woodcuts is a capital letter alphabet including both white letters on a black background and black letters on a whitish background which looks as though the bark of the piece of wood was chiseled away for the effect. Donaldson suggests alternating the black version with the white to create a three dimensional effect.

Round, firm, and bursting at the seams with good humor, ITC Mister Chuckles is based on the premise that barrel shapes have pleasant associations. Think: beer-barrel polkas, a barrel of fun, or a barrel of laughs, and you'll get the idea. Designer Nick Curtis has combined sans serif sturdiness, a hint of 1930s deco and a handful of giggles in this remarkably versatile all-cap face. If the typographic occasion calls for mirth and merriment, invite Mister Chuckles to the party. You'll have more fun than a barrel of monkeys!

Sumner Stone worked together with Bob Ishi of Adobe to create the Stone family fonts, which appeared in 1987. Coincidentally, ishi is the Japanese word for stone, which precluded any squabbling about whose name the font would carry. The family consists of three types of fonts, a serif, a sans-serif and an informal style. The Stone fonts are very legible and make a modern, dynamic impression.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Zapf Book font is the work of German designer Hermann Zapf, a blend of the characteristics of Walbaum, Melior and the contrasting weights of Bodoni. It is a typical Zapf font, distinction without eccentricity and superb sensitivity and letterfit, and clearly demonstrates his concern that an alphabet work not just as a collection of single letters, but also have a sense of unity in itself.

ITC Jiggery Pokery is the work of British freelance designer Carol Kemp. ITC Jiggery Pokery evolved from lettering for a project which needed to be quirky, wacky and fun," says Kemp. "The name came to me as the letters appear to jig along - it just seemed to fit. 'Jiggery Pokery' is London Cockney slang which has a variety of meanings. It's used to describe behavior such as 'ducking and diving', trickery, juggling (especially of financial matters!), or 'hanky panky'. My grandparents were Cockneys, and my uncle would use colourful rhyming slang which I loved to hear as a child.""

ITC Tempus is the work of British designer Phill Grimshaw. He claims that every calligrapher's aspiration is to draw perfect roman capitals with a pen, but admits that this is extremely difficult. For this typeface, Grimshaw used a fountain pen on cheap, porous paper and, of course, the ink bled. The resulting forms are classic but their rugged edges deviate from the perfection of roman type. And Tempus Sans is just Tempus with the serif surgically removed, yet the proportions of the characters work nicely," says Grimshaw. Because of its rough quality, the typeface works best in larger point sizes, yet maintains its characters even in smaller sizes.

ITC Grimshaw Hand is based on the handwriting of its British designer, Phill Grimshaw. Warm and lively, this typeface has the look of spontaneous handwriting with a little extra panache. Note the jaunty k, the swooping f, the simply stylish s, and the absolutely zingy cap Q and R. Grimshaw designed this face in 1995, at a time when he was also playing the guitar and mandolin. Handwriting fonts give an air of intimacy to the graphic design of advertising pieces, packaging, invitations, greeting cards - and ITC Grimshaw Hand has the touch of sweet music in its enthusiastic strokes.

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

ITC Bailey Quad Bold was designed by Kevin Bailey in 1994. It is a semiserif typeface in the style of slab serif faces. The unusual placement of some serifs and unconventional forms of some characters give the font a modern feel. The overall look of Baily Quad Bold is robust and strong and the font is best used in headlines and short to middle length texts in point sizes of 12 and larger.

La Dolce Vita is an elegant serif font family with a feminine style. This beautiful collection will instantly add class to all of your design projects. This stylish font family is timeless and can not be missed in your font collection. It is the perfect branding font and will help you to easily create logos, wedding designs, and all other commercial projects.

ITC True Grit is the work of American designer Michael Stacey, a bold distinctive typeface. An enthusiastic collector of vintage graphic design, Stacey says that he is especially intrigued by lettering styles from the days when most display typography was done by hand. The style for ITC True Grit was taken from the 1930s and updated for digital imagine. Stacey say his goal was to retain the casual feel of handlettering yet impart the crisp finish of current precision typography." ITC True Grit is a hybrid design, a cross between German Blackletter and brush script with a hint of Jugendstil thrown in."

ITC Motter Sparta is the work of Austrian designer Othmar Motter and for its inspiration, he turned to car design. As we all know, trends in car design affect many other fields of design in a way that shapes tastes." At the end of the 1990s, Motter saw the trend moving away from soft lines and toward a tighter, tenser look: "In this latest trend, sharp clearly-defined edges meet broadly-drawn, dynamic curves and cut them off sharply." And so too is ITC Motter Sparta, with each character form distinct, which also creates a typeface instantly recognizable from a single character. "The sharp straight strokes, cut off almost at right angles, and the strong cross-stroke curves, ending in points, form a charged contrast to the vertical and horizontal straight strokes that give Motter sparta its taut framework.""

Primary-style italicized handwriting.

Law Italic was designed as an imitation of a formal style of penmanship used in legal documents. It has a more pronounced angle than standard italics. It is intended to be used by itself but can be combined with other faces to suit a designer's inclination. Historically, this face was once used by Bruce Rogers strictly for headings.

ITC Mona Lisa was designed by Pat Hickson, a stark and elegant typeface originally drawn in the 1930s by Albert Auspurg. The original drawings were long gone and the surviving metal type was already severely worn when Hickson studied Auspurg's design for his recreation. The result is a typeface which melds the flavor of the 1930s with current design standards. ITC Mona Lisa displays all the suave sophistication of Fred Astaire and Greta Garbo.

ITC Johann Sparkling is the work of Austrian designer Viktor Solt, a perfect imitation of the handwriting of an educated person of the 18th century. ITC Johann Sparkling is intended to close the gap between highly formal copperplate scripts and the scribbled look of 'true' handwriting," says Solt. "I am not very interested in highly formal and perfect calligraphy, but rather in quick, personal-looking scripts. Usually I start with some historical samples in mind, but I do not try to copy these sources. Instead, I incorporate them into my own handwriting. It takes up to two weeks, and many sheet of paper, before the respective script becomes my own. Of course, this would not be an economic approach for individual lettering jobs, but I can conserve the custom script for future use by digitizing it." ITC Johann Sparkling should be used in fairly large point sizes and its capitals only as initials.

SketchCaslon Italic is a hand-rendered display typeface with its formal base in the structure of the types of William Caslon.

ITC Mendoza is a serif typeface with old style characteristics. A generous x-height and a lack of contrast between thick and thin strokes, gives the ITC Mendoza Roman font family good legibility and provides a sturdiness which enables the face to withstand low resolution output and less than ideal printing conditions. It is ideal for continuous text use, particularly in small point sizes.

Canadian designer Anthony De Meester created the font in 1989. Vienna Extended is a light, elegant sans serif. Simplicity is the hallmark of Vienna and it can be used most effectively where a look of regal elegance is desired. Vienna is a trademark of International Typeface Corporation.

ITC Peter's Miro is the work of New York designer John Peter. It was inspired by the letters used by Joan Miro in his paintings. No one used letterforms more frequently in his work than Joan Miro," says Peter. For his typeface, however, "considerable liberty has been taken with his [Miro's] original letters and missing characters have been added." The letters are a simple script, irregularly and almost crudely written, but bursting with energy. To give designers free rein with their creativity, Peter designed two complete versions of the alphabet in both upper- and lowercase, Peter's Miro and Peter's Miro Too."

CONCEPT/CHARACTERISTICS
 The constructed, clear and modern cha­rac­ter of the typeface based on the basic form of the triangle. The motto is geometrically and italic. APPLICATION AREA
 The modern, futuristic and constructed font „slan­ted ITALIC shift“ would look good at dis­play size for poster, flyer, comics and gra­phic novel let­te­ring and logos. Head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS
 Head­line Font | Dis­play Font | Geometric Font „slan­ted ITALIC shift“ OpenType Font with & 308 gly­phs & 6 styles (thin, light, regu­lar, medium, bold, black). Alter­na­tive let­ters, symbols and liga­tures (with accents & €) FONT IN USE www.typographicdesign.de/font-in-use-slanted-italic-shift/

ITC Pious Henry is the work of South Carolina designer Eric Stevens, a typeface which for him evokes a feeling of the rural South. Maybe it's a naive quality that belongs on a 'Boiled Peanuts' sign," he says. The letters of ITC Pious Henry seem to dance across page or screen."

The Handel Gothic? typeface has been a mainstay of graphic communication for over 40 years - all the while looking as current as tomorrow. Designed by Don Handel in the mid-1960s, and used in the 1973 United Airlines logo developed by Saul Bass, Handel Gothic was an instant success when released to the graphic design community. Its generous lowercase x-height, full-bodied counters and square proportions make the design highly readable at a wide range of sizes. Handel Gothic's slightly idiosyncratic character shapes gave the face a futuristic look 40 years ago that retains its power today. In addition, its Uncial-like lowercase is instantly identifiable - and unique among sans serif typestyles. Award-winning type designer Rod McDonald was attracted to the simple, decisive forms of the original, but he felt the design needed to be refined and updated. ?One of my goals was to bring a modern typographic discipline to what was really an old phototypesetting font.? To achieve his goal, McDonald re-proportioned every character and balanced the delicate relationship between the curves and the straight strokes. He also added a number of alternate characters to extend the range of the design. ?I wanted to give designers a large enough character set so they wouldn't feel constrained in what they could do. I want them to be able to play with the fonts, not just set words.? McDonald enlarged the family from the single-weight original to five weights, each with a full suite of alternate characters.In 2015 Nadine Chahine designed matching arabic weights to this family.

Bring your scrapbook page to life with unique journaling and titles made possible with this cool italic font. It'll add instant flavor to posters, signs, bulletin boards, and word art that call for an old-fashioned, antiqued flair.

The symbols in ITC TotSpots include everything from a child's life, except maybe the mess. In this font you'll find diaper pins, alphabet blocks, teddy bears, and even an inchworm-everything a digital baby would need. Polish-Canadian designer Victor Gad has specialized in editorial illustration, and also has extensive experience in poster design. These illustrations maintain his original sketchbook quality, despite being digital renderings. ITC TotSpots offers a clear, new style of symbols, which might be the perfect fit for your next project!

Sispectly Harmonies classic and nostalgic serif Hi ladies and gentlemen! In accordance with market demand for classic retro design fonts, I created a serif font that suits your views. The Sispectly Harmonies font is a classic nostalgic serif font. is here to become a market favorite. We made this font look elegant, classy, ​​easy to read, stylish, attractive and easy to use. Sispectly Harmonies Font is a great choice for retro designs, logos, magazines, classic, classy designs, newspapers, modern, books, brand names, branding, and other projects. The Sispectly Harmonies font is here to enhance the quality of your designs. Follow us for the next classy font creation :) Feature: • Uppercase • Lowercase • Regular version • Italicized version • Multilingual Support • Numbers and punctuation

ITC New Baskerville is one of many contemporary type families based on the work of John Baskerville (1706-1775), a writing master and printer from Birmingham, England, whose types were cut by the punchcutter John Handy. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth-century rationalism and neoclassicism. ITC New Baskerville is a late 20th-century interpretation of Baskerville’s style, designed by John Quaranda. It makes an excellent and very readable text face; its sharp, high-contrast forms make it suitable for elegant advertising settings as well. ITC New Baskerville® font field guide including best practices, font pairings and alternatives.

ITC Viner Hand is the work of British designer John Viner, and it is based on his own handwriting. The warmth and familiarity of this informal script will lend a relaxed and personal touch to any application.

ITC Vino Bianco was created by German designer Jochen Schuss. He drew his inspiration from the handwriting of the waiter in his favorite local pub, especially the form of the capital Q. Based on this one character Schuss developed the entire alphabet. The figures are sketchy and generous and look as though they were written on paper with a ball point pen. Vino Bianco is an alphabet of capital letters, each of which also has an alternative form, making it very flexible and true to the tendency of true handwriting. In spite of its fine strokes, the overall look is open and light due to the large amount of space each character occupies. The cheerful, carefree ITC Vino Bianco is best used for headlines and short texts.

The hand lettered opening title for the 1935 movie “Thanks a Million” is rendered in a condensed, thick and thin Art Deco sans serif design. It is now available as the digital typeface Stocks and Bonds JNL – in both regular and oblique versions.

Gold Queen is a vintage font family with features opentype with extension svg. Perfect for the vintage tattoo studio logos, barbershops, alcohol labels and many other. Includes a full set of character A-Z, numerals, and punctuation. Product content: HKF Gold Queen Regular - (OTF) HKF Gold Queen Drop line - (OTF) HKF Gold Queen Drop shadow (B&W) - (OTF) Color fonts (available only with Adobe illustrator CC 2018 and Photoshop CC from 2017) HKF Gold Queen Drop line (color) - (OTF SVG) HKF Gold Queen Drop shadow (color) - (OTF SVG)

M Gothic Gold HK is a modulated style Traditional Chinese typeface. Modulated font designs have apparent thick-thin contrast at the strokes, and often include special design characteristics at entry, finial and transitional points of the strokes. Modulated Traditional Chinese font design category includes traditional Song, Ming or Fang Song style typefaces which are popular for continuous reading.

M Gothic Gold PRC is a modulated style Simplified Chinese typeface. Modulated font designs have apparent thick-thin contrast at the strokes, and often include special design characteristics at entry, finial and transitional points of the strokes. Modulated Simplified Chinese font design category includes traditional Song, Ming or Fang Song style typefaces which are popular for continuous reading.

Claude Sans is the work of British designer Alan Meeks. The conservative roman weight is complemented by a more extravagant italic. The proportions are based on those of the original Garamond typeface of Claude Garamond, from whom this type gets its name. Claude Sans can be used alone or combined with Claude Sans italic and bold weights.