A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Anahita ExtraBold is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Anahita supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Anahita Font is available in ExtraBold. This font is designed to be used as advertising and newspaper headlines. Anahita design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Anahita is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Anahita's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Anahita was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Bamdad Extra Bold Condensed is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Bamdad supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Bamdad Font is available in Extra Bold Condensed. This font is designed to be used as advertising and newspaper headlines. Bamdad design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Bamdad is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bamdad's simplified forms may be artificial 'obliqued' in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Bamdad was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Parto Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing more typographic flexibility. It enables, moreover, the use of this typeface for decorative headlines. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parto supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parto Font is available in Regular and Bold. Parto design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parto is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parto's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parto was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

German graphic designer Ralf Weissmantel created Boogie in 2003. Boogie is an ironic reference to pop art, and to disco lettering from the 1960s and 70s. Its round forms and outlines evoke the flashing, pulsating lights and music of that era. Shipping with five different, width-compatible fonts, the Boogie typeface has four different components: an outlined letterform is the base element, and forms the first font. Three additional fonts may be layered over top of this base, surrounding the first font with up to three bubble-outlines. In graphics applications like Adobe PhotoShop or Illustrator, these elements can each be assigned different colors. There is also a fifth font, which contains the base outlined letterform pre-surrounded by three additional outlines of the same color. Boogie works best in large headline, display and signage applications, where its forms can be clearly seen and enjoyed. When different colored layers are applied, text set in Boogie will gyrate and jive across the page! Weissmantel has worked as an art director for various international advertising agencies, and has led Corporate Design projects for firms such as Grey and MetaDesign. His design work, honored internationally, has been included in the typography collection of the Museum for Art and Trade in Hamburg. He is currently teaching graphic design at the Düsseldorf University of Applied Sciences. Weissmantel has been an associate of the United Designers Network since August 2002. Boogie received an Honorable Mention in the 2003 International Type Design Contest, sponsored by Linotype GmbH.

East is a simple and confident typeface. It is timeless and current, but with a subtle nostalgia of vintage Jazz albums, film credits, newspapers, and signage. The light weight has excellent legibility at small sizes. The Extra Bold weight will capture attention. Its condensed width allows a lot of text in little space. East is versatile, but would be a good choice for film titles, labels + packages, posters, publications or any design where space is limited. It has six weights between Light and Extra Bold. A variable font with weight and slant axes is available and included in a full family purchase. The OpenType features include; stylistic sets, a one story ‘a’, hooked letters, seriffed uppercase I and 1, a slashed zero, raised colon and punctuation (Spanish), several German eszetts, ligatures, diverse bullets, and vertically stacked pre-built fractions. It will support western and central European languages as well as other Latin-based written languages. Read on if you are not familiar with variable fonts. What makes a variable font special is that all font weights are inside of one file and you can incrementally control the width and italic slant between Light (300) and ExtraBold (800). These changes are commonly made with slide controls in the font/type palette of the software. Variable fonts are also smaller in file size, which benefit both web and software performance. Currently variable fonts are supported by Adobe, Sketch, Corel Draw, and most web browsers. Check for your software support here: www.v-fonts.com/support.

The Aban font family was designed by Naghi Naghashian. It is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Aban supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Aban Font Family is available in three weights: Regular, Bold and ExtraBold, a three stings outline font. The Aban design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Aban is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Aban’s simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Aban was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Avesta ExtraBoldCondensed is designed by Naghi Naghashian. This Headline Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Avesta supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Avesta Font is available in ExtraBoldCondensed. This font is designed to be used as advertising and newspaper headlines. Avesta design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Avesta is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Avesta's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Avesta was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

The Bonyad font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. Bonyad is a modern Sans Serif font family.The Bonyad innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Bonyad supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Bonyad Font family is available in six weights; Thin, Light, Regular, Demi Bold, Bold and Heavy. Its intuitive design arrangement fulfills the following needs: It is precisely crafted for use in electronic and print media. Bonyad is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. Bonyad is suitable for multiple applications, and gives the widest potential for acceptability. It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Bonyad's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. Bonyad is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. Bonyad uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Bonyad typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

From pastiche to sophistication‭, ‬Garçon Grotesque improves on a classic for today's designer‭. ‬Designed in a multitude of weights‭, ‬extended latin character set‭, ‬small capitals and a working lowercase‭, ‬Garçon is built for any situation that calls for sophistication‭, ‬elegance and culture‭.‬ Built in five weights‭, ‬Garçon Grotesque allows for great flexibility‭. ‬Use the Bold weight for beefy headlines‭. ‬Use the the medium and regular weights for subheads and decks‭. ‬Use the Light and Thin weights for a softer‭, ‬more delicate tone‭. ‬All weights have the same size spurs‭, ‬so you can mix and match‭! ‬ Right out of the box‭, ‬Garçon Grotesque offers full language support to most eastern european speaking territories‭. ‬Most foundries release these accent characters as a‭ "‬pro‭" ‬release at an additional fee‭. ‬Just because you speak Turkish or Croatian‭, ‬shouldn't mean you have to pay more than a designer who speaks English‭. ‬Please see the Specimen PDF for more information about languages supported‭. ‬ Accessible as an OpenType Feature‭, ‬Garçon Grotesque offers alternate forms of the uppercase‭ "‬J‭", ‬and the lowercase‭ "‬a‭" ‬and‭ "‬g‭". ‬Use Stylistic Set 01‭ ‬for the alternate form capital J‭. ‬Use Stylistic Set 02‭ ‬for the alternate form of the lowercase a‭. ‬Use Stylistic Set 03‭ ‬for the alternate form of the lowercase g‭. ‬ Also accessible as an OpenType Feature‭, ‬Garçon Grotesque offers tabular figures in all five weights‭. ‬Perfect for menus‭, ‬tabular figures allow for number listings to align easily and without shifting if a different font weight is selected for emphasis‭. ‬

BiBi font family is designed by Naghi Naghashian. This font family is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. BiBi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. BiBi Font family is available in five weights: Light, Regular, Demi, Bold and Heavy; each of them in two diferent styles including normal and extended. BiBi designs fulfill the following needs: A Explicitly crafted for use in electronic media fulfils the demands of electronic communication. BiBi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. BiBi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. BiBi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Bex Script is a riff on traditional French script forms: the Bâtarde, the Ronde, and the Coulée. It has two versions: First, there’s La Belle, a straightforward, lovely interpretation of the script form, suitable for things like invitations, poetry and branding. La Belle’s evil twin is La Bête, a more whimsical (and considerably more hairy) version, great for anything that requires an elegant-but-beastly feel. Bex is surprisingly versatile! With three optional capital forms (Swash, Caps, and Small Caps) all taller than the x-height, Bex has a variety of voices. A full small cap set and a full set of Swash Caps, plus a large complement of alternates, initial forms, terminal forms, and ligatures makes it customizable and… well, FANCY! Additionally, both versions of Bex Script have a set of ten ornament glyphs. La Belle has a combination of fleurons on a culinary theme and symbols of France. La Bête has ten pseudoheraldic beasts that would feel at home at the top center of any whimsical letterhead. NOTE: A few years ago in Paris, I was lucky enough to stop at the Librairie Paul Jammes in St Germain-des-Prés, where I bought a turn-of-the-19th-century signature from a Type Specimen of the printer Joseph Gaspard Gillé. The irregularity of his script types — particularly the ones at smaller sizes, like the Cicéro — was very intriguing. They seemed to blend the Ronde with some elements of the Bâtarde and Coulée. And they, along with the work of French master penman Louis Rossignol, gave Bex Script its initial form.

Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Despite the name, it is not a member of the Caslon family of typefaces. The renaming is believed to have been a marketing maneuver to boost the popularity of a previously unpopular typeface by associating it with the highly popular Caslon types. Caslon Antique is popular today when a "old-fashioned" or "gothic" look is desired. It is used by the musical group The Sisters of Mercy on their albums, for the logo of the musical Les Misérables, and for the covers of the books in A Series of Unfortunate Events. It is also frequently used on historical displays. It was used for the previous edition of the Warhammer Fantasy Role-Play. Most recently, it has been used on promotional material for the smash musical Monty Python's Spamalot on Broadway, the West End, and its tour of the United States. British 80's band The The also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of Regina Spektor's album, Begin to Hope. This description was sourced (in part) from Wikipedia, the free encyclopedia.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Kurri Island is a positive sans-serif typeface. It was drawn and created by Måns Grebäck between 2017 and 2020. With its slightly irregular strokes and bends the font has a characteristic fun and comical and look. The sans is easy-going and relaxed while being serious enough to be used professionally. Kurri Island is an extensive multi-style font family, composed of 24 high quality fonts. The weights are Thin, Light, Regular, Medium, Bold and Black. Being favorably used as a block letter sans-serif, it has an additional Caps style to maximize the impression, and each font are provided as Italic. Its range of styles gives the typeface great flexibility, while also giving the ability to emphasize phrases or words. Kurri Island contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all European Latin-based scripts.

Irpin Type is an original font dedicated to the city of Irpin. Intended for everyday use, for books, logos, corporate style. It can also be used in posters and presentations where a confident character is needed. This font suits a large size, but it has good readability even in a small one. This is a modern slab serif with geometric shapes, inspired by the Ukrainian avant-garde of the 20th century. It has characteristic alternates for "G", "a", "u", and "&". Irpin is a city of Ukraine in the suburbs of Kyiv. On March 24, 2022, by the Decree of the President of Ukraine in order to celebrate the feat, mass heroism and resilience of citizens, shown in the defense of their cities during the repulsion of the armed aggression of the Russian Federation against Ukraine, the city was awarded the honorary title "Hero City of Ukraine"

Introducing KENOKY Coffekan font duo. Unique and fantastic duo fonts combined or they stand alone. KENOKY font family consists of 14 families, from Thin to Heavy style. The elegant modern font creates a unique design and is sure to steal the eye of the design target audience. Besides being unique, the KENOKY font also has a luxury simple character that makes the design charming and luxurious. The Coffekan font is a signature script that has cool strokes. The line shape of Coffekan is inspired by a unique monoline style. In addition, Coffekan has an altenate ligature that looks natural and not stiff. Combining the two KENOKY and Coffekan fonts will create a design that is charming, unique, elegant and cool. you can see from the design preview. These two fonts are perfect for designs with the concept of elegant, luxury, romance, fashion and so on.

German type designer Erik Spiekermann and American type designer Christian Schwartz created this sans FontFont between 2003 and 2011. The family has 14 weights, ranging from Thin to Ultra (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Unit provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. In 2004, FF Unit received the TDC2 award. This FontFont is a member of the FF Unit super family, which also includes FF Unit Rounded and FF Unit Slab.

HS Alhuda is a display typeface. It can be used for titles and graphic projects, which support Arabic, Persian Urdu and Kurdish. It has been created based on modern kufi style. It enjoys flexibility between sharp and curved lines in the structure of characters. This supports with a beautiful appearance and wonderful geometric structure. The sharp endings in the bottom of character also give an aesthetic addition to the character. (8) Weights has been created for this typeface between the heariline weight and heavy weight. Besides, those six additional weights which can be used in headline, has baseline parts are more thicker than the vertical parts. One has a regular form and the others has a stencil form in the middle using various styles. This typeface with its diversity of (14) weights is intended to be an attempt for a good addition to Arabic typography.

VLNL Jelly Donuts’ Jelly Donuts is the round sibling of VLNL Donuts. Equally funky, just round. Like its counterpart Jelly Donuts is heavily infused by hip 1970s geometric fonts like Blippo, Pump and ITC Bauhaus. It nonetheless has both feet in this modern day and age. Meticulously designed and tightly spaced, VLNL Jelly Donuts is very suitable for logos, headlines and music artwork. We especially recommend using it on big 12" album covers. VLNL Jelly Donuts is deep fried, filled with cream, custard or jam, and ometimes glazed or covered in a variety of sweetness: sprinkles, cinnamon, coconut, chopped peanuts, powdered sugar or maple syrup. As a very sweet and saturated snack should, VLNL Jelly Donuts is fitted with a full set of alternate swoosh caps that can be deployed to liven up your already ‘out there’ designs. You can’t get any more funky than this.

Smooth with the roughness and made from scratch, Miser sans serif font family was designed by Mislav Serdarušić and it's name is derived from designers name. Miser typeface blueprints were somewhere in the subconsciousness of the designer but have seen first light of the day in September, 2021. during the Covid pandemic. Inspiration comes from handwritten technical letters of designers parents and graffiti explorations. It comes in 12 styles (6 weights with pairing Italics) with all Latin European language characters which are in daily use(without Greek or Cyrillic). Designed in contemporary appearance with innovations on some letters. Basic ligature set is included. It is suitable for magazines, books and websites, various graphics and paragraphs. Miser has a taste of science, technology, design & architecture, sports and more, yet contemporary boldness but distinctive to regular and oval modern typeface shapes. A must have on your system.

Ethos Nova is a minimalist neo-geometric sans-serif typeface family of 12 fonts featuring the finest design inspired by the simple and clean design approach of the modern era. The typeface is made with a special focus on minimalism and simplicity in typography, this typeface can transform your design projects to another level of visual appeal. Handcrafted and designed with powerful OpenType features in mind, each weight includes extended language support including Western European & Central European sets. A total of 312 glyphs are included. Ethos Nova is a perfect choice for graphic design, text presentation, web design, print and display use. The typeface can be an amazing option for branding, logo / logotype design projects, marketing graphics, banners, posters, signage, corporate identities as well as editorial design. Adding extra letter-spacing for the Caps will make this font perfect for minimal headlines and logotypes, as shown in promo images here.

Introducing Kingston an handwritten font with a high detailed dry brush texture. Kingston has been designed to fit a wide range of projects from urban style to classic branding with a full alternative characters set to completely change the look of your design. It also includes a set of 52 hand-drawn elements that will add a nice finishing touch to your text. You can use it for business branding, Instagram quotes, blog headers, fashion apparel, stationery and more... What's included: Kingston • A dry brush script font with uppercase and lowercase characters, alternative alphabet, ligatures, numerals and punctuation. Kingston Extras • A full set of brushed elements : 33 hand-drawn swashes, 4 doodles and 14 paint drips and splatters you can easily access by typing any letter from A-Z and a-z. Multilingual support • Kingston supports multilingual characters for western, central and south-east European languages.

Antoinette Monogrammes is a monogram font based on old embroideries in the early 20th century by Janon Co. This font includes Upright script capitals and Normal slanted script capitals and 24 fancy frames. By combining each letters and frames, you can make your own monogram. And Every letters and frames were added handwritten effect to make warm and handcrafted impression. How about making monogram for wedding card, scrap book, stamp, logo? Upright script capitals can be accessed by typing Uppercase keys(A, B, C ....) and Slanted script capitals by lowercase key(a, b, c ...). Frames are 0-9 and exclamation mark(!), at mark(@), number sign(#), dollar($), percent(%), ascii circumflex(^), ampersand(&), asterisk(*), left and right brackets(()), period(.), comma(,), less and greater(). You need to arrange and set the position manually to finish making monograms. Please use graphic applications such as adobe illustrator or photoshop but not microsoft word.

Ondine is one of the early typefaces of Adrian Frutiger. It looks as though it were written with a broad tipped pen, however, Frutiger actually cut the forms out of a piece of paper with scissors. The forms of Ondine are reminiscent of the humanist period, the high point of the Italian Renaissance text typefaces of the 15th century. This movement was centered in Florence, the base of the Humanist movement overall, and the home of a famous type school of the time. The main goal of the educated writers was to faithfully recreate the writing of the admired literary works, whose aesthetic was as important as their content. Ondine displays a regular and open character. Texts set in this typeface give the impression of being hundreds of years old. Ondine should be used in point sizes of 12 and larger and is best for short texts and headlines.

Quadrim - Serif Font Family - Multilingual -12 Style (2020) On the basis of Quadrim, it is a mix of the old-fashioned Roman serif family. The old style serif combination combines, modern aesthetics with fantasy and Art Nouveau serif fonts, making Quadrim a versatile family that can be used in many different design projects. This font offers a wide variety of styles to help you discover the best mood for your projects, from body text to large titles, from classic styles to modern and bold styles. It is very suitable for book and magazines, magazine covers, editorial, titles, websites, logos, invitations, branding, advertising and more. CHARACTER RANGES : Basic Latin, Latin-1 Supplement, Latin Extended-A, Latin Extended-B, General Punctuation, Currency Symbols, CJK Symbols And Punctuation, Private Use Area (plane 0), With this font you can create your unique designs. If you have a question, please contact me. Have a good time.

Yana Klink is an illustrator at Art. Lebedev Studio, whose works are often accompanied by lines of fancy text written in her own recognizable manner with long strokes and “beauty spots.” Once we needed to apply that style to a number of pieces of text, we decided to design a decorative script called Klinkopis. It comes in one weight (regular). Text set in Klinkopis looks best when arranged in waves, like the original. It is recommended to use large sizes—from 24 pt and up—and have no more than just a couple of lines that become an essential part of the artwork. Klinkopis is designed to use OpenType Contextual Alternates. To beautify your project even further, some characters can be manually replaced with their more intricate or plainer variations depending on the neighboring letters. Klinkopis features long descenders and ascenders, which requires large leading to avoid congestion.

This "Leaf" font has been swirling in my head for years - I remember my sister and I making letter formations like these when I was young. It was exciting to see the lettering look even better on paper than it did in my mind! "Leaf" surprised me by having two distinct looks: in size 24 or smaller, the look is delicate, because your eye doesn't see any space in the letters. In size 28 or larger, the eye can discern spaces, which gives a different facet to its personality. As much as I like this font when viewed on a monitor screen, it really shines when printed. The "Leaf" font is a perfect blend of quaint hand-written style mixed with crisp letter formations. This font has a very "happy" quality to it. May using it bring a little more happiness to your day!

Dorica is a serif font family optimized for small sizes. It is very sober and simple, with a classic appearance at first sight but the curves and details like the serifs make it very different. The name is inspired by Doric, the simplest of the three orders of organizational systems of ancient Greece. The large x-height makes it perfect for use in magazines and every context which calls for text in small sizes. Dorica comprises 14 styles, from Thin to Black with their corresponding italics. Each font includes small caps, very useful for books, plus OpenType features such as proportional figures, stylistic alternates, tabular figures, numerators, superscript, denominators, scientific inferiors, subscript, ordinals, fractions and many ligatures. The extended character set supports Central, Eastern and Western European languages. The range of styles provides great flexibility for both text and titling, and the ligatures make for an original and creative appearance.

When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable. But when Juliet was released by Nebiolo in 1955, it was a big surprise to both typesetters and calligraphers all over Europe. Novarese’s idea of working the standard copperplate script within the limited technology of the time proved to be a marvel in optical metal sizing (Juliet was available in sizes ranging from 12 to 60 pt), but also opened the door to new calligraphic possibilities. Easier readability and a very friendly color were obvious side effects of the reduced angle. So soon after its release, calligraphers worldwide began emulating the angle reduction and experimenting with the application of the same concept to other calligraphic genres. Today, more than 50 years later, many professional calligraphers point to Novarese’s Juliet as an opening to fresh ideas and new directions in 20th century elegant calligraphy. Ambassador Script, this digital version of Aldo Novarese’s surprising masterpiece, is the result of more than a thousand hours of work. Going above and beyond its duty as a revival, it was expanded by a great number of alternates, swashes, beginning and ending forms, as well as accompanying flourishes and snap-on strokes for even more ending forms. Ambassador Script also supports almost every known Latin-based language, which makes its name all the more fitting. Ambassador Script is available in all popular font formats. The True Type and Postscript Type 1 versions come in 12 fonts, available in different piecemeal configurations or a full volume. The OpenType version collects more than 2300 characters in a single feature-rich font that can sing mightily in OpenType-supporting applications. Ambassador Script is ideal for weddings, invitations, greeting cards, book and magazine covers, or anywhere a touch of calligraphic elegance is desired.

Grethania Script is a calligraphic script font that comes with beautiful alternative characters. a mixture of copper plate calligraphy with handlettering style. Designed to convey the elegance of style. Grethania is interesting because it is smooth, clean, feminine, sensual, glamorous, simple and very easy to read. Classic style is very suitable to be applied in all types of formal work such as invitations, labels, menus, logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Grethania Script displays 310+ glyphs and 122 alternative characters. including multiple language support. With OpenType features with changes in style, binder and character swash, which allows you to mix and match pairs of letters to fit your design. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. (Windows), Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use font styles that are set in Microsoft Word 2010 or later: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternatives / swash, using Character Maps (Windows), Nexus Fonts (Windows) Font Book (Mac) or software programs such as PopChar (for Windows and Mac). How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

In March 2010, Émile Fradin, a modest peasant farmer from central France, died at the age of 103. To his grave he took the secret behind one of the most controversial archaeological discoveries of the 20th century. A discovery which put into question the very origins of the written word and the paternity of European culture. It was the uncovering of peculiar artefacts would come to be known as the Glozel runes. The discovery of the Glozel runes On the first day of March 1924, a not yet 18-year-old Fradin was ploughing his family’s field in the hamlet of Glozel, when his cow stumbled into a hole. When he and his grandfather, Claude, looked closer, they discovered a mass of broken stone, under which lay an underground chamber. Within, they discovered pottery fragments, carved bones, and a peculiar clay tablet covered in bizarre characters that neither of the two could decipher. The family requested a subsidy for excavation works to be carried out, but were refused by the regional authority. With that disappointment, it seemed as though the discovery would fade into obscurity. However, the following year, news of Fradin’s unusual clay tablet reached the ears of the physician and amateur archeologist, Antonin Morlet. By the end of May 1925, Morlet began the first of his excavations.4 Within the first two years alone, he had amassed some 3,000 finds.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

Reborn is a modern and chic font for brand and logo design with ligature that easy to use for beginner and ready to use on any software that support Opentype Feature. This is based on our experience as a font creator, so many users with dummy and never use Opentype feature before. So, we try to brainstorming and create this font to make the idea is going out. This is perfect for BRANDING and LOGO DESIGN. You will get chic, unique, and certainly font for graphic design. To make it look more unique, here we prepared some ligatures: KA KC KE KG KO KS KU KY RA RC RE RG RO RS RU RY QA QC QE QG QO QS QU QY LA LC LE LG LO LS LU LY Include Fancy Style in some Uppercase and Lowercase, Just try it!!! Reborn is also included full set of: uppercase and lowercase letters multilingual symbols numerals punctuation ligatures Wish you enjoy our font and if you have a question, don't hesitate to drop message & I'm happy to help :)

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

Hua type family is a sans-serif with very humanist details to represent the essence of nature. It features 14 weights from the very thin to the very bold, generously covering a wide range of the natural spectrum. Aiming to represent the soft and elegant side of nature, Hua features very unique italics that have their own take on the identity. The letterforms of the italic fonts are inspired by the lineage of both traditional calligraphic approaches for serifs and much simpler forms for sans-serifs. Hua provides very crisp performances on screens and its large x-height combined with fine-tuned proportions help it retain legibility very well on smaller sizes.  Features: • Support for 200+ Latin languages • Double & single storie “a” & “g” • Unique italic letterforms • Low contrast with unique details • Small caps with symbols • Arbitrary and defined fractions • Support for superscript & subscript in normal & scientific alignments • Proportional lining, proportional old-style, tabular lining, tabular old-style

Haakke (or Håkke) - a casual, hand drawn (Stabilo OH pen, Fine) font with 4 alternates to all upper and lower case letters (a-z + å ä ö) as well as numbers for a realistic hand written look and feel! “Ligatures” have been created for double letters (TT, tt, ff, ll & LL (open type version of the font and open type compatible layout application required). Of course it holds all(?) the special characters that you will ever need. 451 glyphs... Haakke also includes symbols. Zodiak signs (letter a-l, upper case A-L write the corresponding name of the sign), planet signs (m-z, upper case M-Z write the corresponding name of the planet) triangles, squares and stars (from pentagrams (5 pointed) to Dodecagrams (12 pointed). (Write a 4, or shift-4 ("euro-sign", european keyboard, or "dollar sign", american keyboard) before your star or triangle and you will get a circle around it).