Logotype lettering from 1896 for the Italian confection company Talmone provided the inspiration for this curvy, cuddly face. Warm up your headlines today with this antique charmer. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

Homeplate Rough is a classic serif display font. The font is designed for use in vintage themes and works particularly well in bar, steakhouse, rodeo and country music themes. The font was originally developed for use in branding in baseball teams. The font is an all capitals font and includes 128 characters.

Transcribed from letters designed by Jan van Krimpen for The Curwen Press at Plaistow, London, in 1925; printed on pages 49, 51 & 53 of A Specimen Book of Types and Ornaments in Use at The Curwen Press (1928). A setting at 120 pt is recommended to match the size of the original.

Cortex was designed for Shanghai Word Expo 2010 / A.A.D.I Pavilion corporate identity: signage, corporate communication, graphic design (a 120 pages monography), promotional items, etc. It was inspired by the pavilion "slanted" architectural concept, and had to fit the famous chinese "YOUYUAN" typeface as well. This is a both very clear and dynamic typeface.

Morris Fuller Benton's 1935 offering from ATF, entitled Raleigh Gothic Condensed, inspired this ultracompact masterpiece. Benton's alternate characters are included in several lowercase positions, to add a little Art Deco sparkle to this versatile workhorse. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

Hey, take a look at this! This typeface is just for fun, whenever you want to invite folks to take a gander, cast their eyes your way or otherwise check you out. Both versions include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

This elegant stencil face is based on lettering used by Charles-Edouard Jeanneret, popularly known as Le Corbusier, on his architectural drawings. Big, bold and beautiful, it's the perfect choice for commanding headlines or subheads. Both versions of this font include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets.

This cheerful charmer is based on Glass-Antiqua, designed by Franz Paul Glass for the Genzsch & Heyse foundry of Hamburg in 1912. Great for engaging headlines with a playful twist. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Here is a faithful revival of Gothic Number Ten, released by the Cincinnati Type Foundry in the late 1800s. Not your garden-variety sans-serif, its quirky caps will warm up your headlines. Both flavors of this font feature the 1252 Latin, 1250 Central European, 1254 Turkish and 1257 Baltic character sets.

This font is based on a little-known work by master type craftsman Frederic Goudy called—wait for it—National Oldstyle. Use it when a blend of classic and slighly quirky is called for. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Waylom is based on 19th century letters written in calligraphy. These writings had some glyphs of a height higher than the others, which together with the flowing lines, the elegant curves and the flourishes, gave it a very interesting rhythm and a lot of personality. Using this font you will achieve a very elegant, and warm style. This font is slim, feminine, friendly and sexy.
 Waylom includes a wide range of latin languages, 720 glyphs with many stylistic variations, initial forms, swashes and ligatures, which you can mix and match to achieve a more interesting effect. I separated the highest glyphs to create Waylom Pro, to which I added some very useful ornaments to improve its possibilities, with a total of 823 glyphs. 
Waylom is very versatile and is ideal for high-end logos, magazines and book covers, fashion, headlines, cards, posters, websites, and packaging.

Siren Script takes its cue from BB&S's Stationers Semiscript (metal, 1899) and its countless imitations/inspirations from throughout the 20th century, particularly a variety of uncredited film faces from the 1960s. What makes this kind of script stand out in the genre is its mixing of flourished majuscules with mostly subdued, traditional minuscules. The result is a balance between formal and informal lettering, as if the letterer is applying his or her learned art without going into full-throttle calligraphy. The message is clearly and gracefully delivered, and the artistic endeavor is fully appreciated without causing coronaries. The Siren Script family comes in four full fonts, and a fifth one that contains alternates, ending letters, and some ligatures. Siren Script Pro combines all five fonts into a single one of over 880 characters, which includes programming for push-button stylistic alternates, class-based kerning, and other glyph palette conveniences.

Inspired by New Transitional and Egyptian fonts, Tanger Serif has elements of a sturdy work-horse text face and finely detailed headline font. A wide variety of widths and weights support many text sizes. Typically Narrow is used in headlines, Medium in body and Wide in smaller print. Nothing is predefined, though. By combining the right widths with the right weights this traditional approach can easily be challenged. Let’s take an oversized (over 10 pt) body copy for instance. In conjunction with using a bigger size to enhance readability, a narrow and slightly lighter weight will save space and brighten text color. Tanger Serif Narrow is a slim normal rather than a condensed face. As an Open Type “Pro” font each weight includes an expanded character set, small caps, old style figures, tabular figures, ligatures, fractions etc. All these are easily accessible through OpenType features.

Brioso Pro is a new typeface family designed in the calligraphic tradition of the Latin alphabet. Brioso displays the look of a finely-penned roman and italic script, retaining the immediacy of hand lettering while having the scope and functionality of a contemporary composition family. Brioso blends the humanity of written forms with the clarity of digital design, allowing designers to set pages of refined elegance. Designed by Robert Slimbach, this energetic type family is modeled on his formal roman and italic script. In the modern calligrapher?s repertoire of lettering styles, roman script is the hand that most closely mirrors the oldstyle types that we commonly use today; it is also among the most challenging styles to master. Named after the Italian word for ?lively,? Brioso moves rhythmically across the page with an energy that is tempered by an ordered structure and lucidity of form.

The FF Nort™Headline is the ideal companion to the already released FF Nort typeface family. It is open, inviting, highly legible, strikingly handsome and a comfortable performer on screen and in print. As a powerful display type tool, it is perfect for headlines, navigational links and banners. OpenType® Pro fonts of FF Nort Headline, have extended character sets that support most Central European and several Eastern European languages – including Greek and Cyrillic. Graphic communicators will also benefit from the additional ligatures, and suite of symbols and signs. FF Nort’s designer Jörg Hemker has a background in corporate and governmental design and has received a variety of awards for his work – including the prestigious German Red Dot Design Award. He works as a freelance graphic and branding designer and is a lecturer in type and typography at the University of Applied Science in Hamburg

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. Anyway you slice it, these five Ingredients can be layered to generate a Hero Sandwich with the carbs and protein you need to deliver a knuckle sandwich to the bulking agents of your deadliest foes! See these families related to Hero Sandwich Ingredients: Hero Sandwich Combos Hero Sandwich Pro

This family was created/inspired from the well-known Baskerville Roman and Italic typefaces created by John Baskerville, the English font designer. We were inspired by the original family sent by Baskerville’s wife after his death. The full Baskerville collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print - in Switzerland - for the first time the complete works of Voltaire (known as the “Kehl edition” from the "Imprimerie de la société littéraire typographique"). We have used this edition, with copies from 1785, to reconstruct these two genuine historical styles. The font faces, kerning, and spacing are scrupulously identical to the original. This Pro font includes characters for Western, Eastern and Central European languages (including Celtic) and Turkish, with a complete set of small caps, standard and “long s” ligatures in each of the two styles.

The Moonlight & Wine Font is a Handwritten Monoline Font that is perfect for the Neon effect! It can be used as a Neon Handwritten Script Font, Monoline Script Font, Signature Script Font, Summer Handwriting Font, Neon Party Font, Neon Signboard Font, Neon Banner Font, Neon Font for Party Invitations, DJ Logo Font, Y2K Neon Font, Neon Sign Font, Neon Light Font, Neon Wedding Font Perfectly suitable for numerous use such as quotations, banners, logos, product packaging, titles, headers, Business cards, menu lists, and invitation cards! _________________________________ Language Support: Multilingual Support _________________________________ **The preview images are to showcase fonts only and are NOT included.** **The Font comes with a solid version. To add a NEON effect, You can use programs like Canva, Illustrator, Photoshop etc.** _________________________________ 🍦COMPATIBLE PROGRAMS (NOT LIMITED TO): Canva Pro, GoodNotes, Notability, Keynote, Pages, Numbers, Procreate, Photoshop, Illustrator, Cricut, Silhouette, InDesign, Microsoft Word, and more! ++ _________________________________

Opal Pro is a text family designed by Hannes von Döhren in 2008. It gives every text a noble character. The typeface has long ascenders that clearly rise above the capital letters and a low x-height. Opal’s letters sport inktraps at stroke junctions, which on one hand create a cutout feeling and on the other hand strengthens the image in larger point sizes. In total, the letterforms have clear emphasis on their verticals and horizontals; they do not fear the weight on their curves. In addition to the Italic and Bold, the Opal type family includes a Script face, whose letterforms include connections, similar to handwriting. On top of that, the typeface possesses swash letters for italic and script, small caps, many ligatures and borders & ornaments. With a little bit of care, designers will be able to create the finest of traditional, elegant work with this family.

Archie is a wide attention-grabber based on a simple geometric alphabet drawn in the early 1930s by Dutch calligrapher and lettering artist Martin Meijer. This digital family expands considerably on the original letters, adding biform shapes, small caps, italics across the board, and support for many Latin-based languages. Archie's eye-catching forms are meant for clear, seamless and strong message delivery. In its upright styles, strong vertical strokes emphasize the sense of confidence and importance, and in its italics, that emphasis is further affirmed by a natural sense of urgency. This kind of alphabet is perfect for display typography aiming at the glance-and-go crowd. When used properly and placed prominently, no eye can escape it. The basic Archie family is comprised of six basic fonts, while the Pro set combines all three uprights in one font and all three italics in another.

This is a challenge for elegant but radical typography layouts. Standard styles include classic and sophisticated serifs, while italic styles are designed with more adventurous handwritten touches. This serif font family included a total of 14 styles, including 7 weights and separately created italics. It can be the best choice for a unique and meaningful logo and branding design, and it will maintain a refined sense of unity. You need to understand OpenType Features to use these fonts well. Please check first whether the your apps plan to use supports these OpenType Features. Thanks. OpenType Features Discretionary Ligatures : ac, ad, ai, ak, ar, ay, az, ce, ci, ck, co, de, do, dr, er, ft, he, ho, ng, ro, se, sp, te, to, tr Standard Ligatures : fi, fl Alternates : a, d, h, i, k, n, u, z Oldstyle Figures Tabular Figures Fractions

Gryffensee is designed to be the Futura of blackletter, combining the time-honored gravity and relentlessness of the Gothic script with the clean, contemporary freshness of the geometric sans. Built from a tightly controlled inventory of lines, arcs, sharp cuts, and OpenType features, Gryffensee was born and raised in the digital age, yet retains the powerful charisma and human warmth of its mediaeval blackletter ancestors. As a result, it excels in a wide range of display settings, logotypes, and short text. Unlike most conventional blackletters, it even handles all-caps usage with grace, and includes an extensive Cyrillic character set (in the Pro version). Apart from a generous range of automatic ligatures and contextual alternates, Gryffensee offers stylistic alternates that allow users to customize its appearance to their tastes. The capital letters |AGHIKZ| come in alternate cuts that trade traditional shapes for increased legibility, while the letter |s| appears in three cuts, each with a unique, distinct flavor. All these options are accessible through OpenType stylistic sets in the main Latin font, Gryffensee Eins. For easy use in applications without OpenType support, we provide two additional Latin fonts (Gryffensee Zwei and Drei) in which these options replace the default cuts. Finally, Gryffensee Pro offers all the functionality of Gryffensee Eins, plus Cyrillic support. My intention to devise a contemporary geometric blackletter was inspired by four hand-painted letters, |ABCD|, in Sasha Prood�s online portfolio. I later found out that he had, in turn, taken those letters from an existing font, Bastard, by Jonathan Barnbrook. Luckily, by that time my project had taken on a life of its own. Gryffensee is an original design that bears only the most superficial resemblance to Bastard. Gryffensee is a mediaeval spelling of the lake Greifensee near which I grew up. It is pronounced [?gri?f?n?se?], or "GRIEF-un-say" in English approximation. This font is dedicated to Simone.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

The Masqualero™ family is a versatile solution for a deep and broad range of applications. In large sizes, the heavier designs are dark and handsome, while the lighter weights are charming and friendly in text copy. Thanks to its many variations and distinctive demeanor, both print and interactive designers will find that Masqualero expands their creative options, while setting the perfect tone to catch and hold readers’ attention. It’s About the Design Like the legendary jazz song of the same name, Masqualero is haunting and sophisticated. Drawn as a tribute to Miles Davis, its letterforms are as beautiful as his “Masqualero” composition. “I approached drawing the letters as if they were marble sculptures,” Says Jim Ford about his typeface. “Many sharp, black, modern sculptures filling a large park. All of them created with the same qualities – the flair of Miles' electric funk and rock sounds, the sparkly smooth finish and serifs like trumpet bells, the sweet lyricism and the tone and clarity of Miles’ horn.” What’s Available With six weights and italics, in addition to Stencil and Groove display designs, Masqualero is available as a suite of OpenType Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Thoughts About Use A book or album cover set in the Masqualero design sends a message: what’s inside is of value. Like jazz, the Masqualero typeface takes ordinary basic concepts and slips them into something special. Readers take notice and immediately recognize that what they’re viewing is a cut above – and radiates quality. “I see Masqualero as a luxurious typeface for exquisite typography,” says Ford. “I wouldn’t use it to sell toys or hot dogs. Masqualero sells diamonds, boats, real estate and champagne.” Perfect Pairings Antique Olive™ Neue Kabel® Neue Frutiger® Quire Sans™ Trade Gothic®

10 years later, one of the first geometric typefaces in our portfolio and a popular favorite of yours is rising to a whole new level! We’re revealing the stand-alone type family Code Next—a staggering evolution from Code Pro in functionality, versatility, and application. The transformation includes 6 new weights, 10 new Italics, full support of Extended Cyrillic and Greek, full redesign and glyphs refinement, 2 variable fonts, to name but a few. Going back to 2011, the grotesque-inspired Code Pro was designed to complement memorable pieces that make a statement. Balancing between stylization and simplification, it was encoded with the distinct voice of basic organic shapes to stand the test of time. Little did we know, it would expand and live up to the potential of a “font from the future” as the new Code Next. Today, a type family of 22 styles, this geometric sans solidifies its relevance and carries a strong constructive aesthetic through simplified forms with a twist. These fit any modern design in print, web, and display visualization. Developed to go above and beyond, Code Next comes prepared for multi-script projects with Extended Latin, Extended Cyrillic, and Greek. Explore Code Next’s versatility and switch things up with the help of 2 variable fonts, more than 1280 glyphs, and an extensive OpenType features set including small caps, standard and discretionary ligatures, contextual and stylistic alternates, stylistic sets, case sensitive forms, and much more. Overview: • Font family of 22 fonts • 10 weights • Languages - Full support of Extended Latin; Extended Cyrillic; Greek • Entirely refined design and metrics • Glyph count - 1288 • Variable fonts - 2 fonts OpenType features: • Small Caps • Standard Ligatures • Discretionary Ligatures • Contextual Alternates • Stylistic Alternates • Stylistic Sets • Case-Sensitive Forms • Ordinals • Localized Forms • Lining Figures • Proportional Figures • Tabular Figures • Oldstyle Figures • Subscripts • Scientific Inferiors • Superscripts • Numerators and Denominators • Fractions • Roman figures • Extensive mathematical support • Navigation symbols

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints