Cinemas from the early 20th century are called “Lichtspiele” in Germany. “Lichtspiele” transports you back to a time where neon lights and marquee letters decorated cinema façades. Of the five styles, three have two versions of italics — the left-leaning italic evokes looking up from lower-left, the right-leaning italic is as if we are looking from lower-right. Display is the basic style, while Neon is inspired by the old neon letters found outside cinemas. Try placing Neon Outline on top of Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. The Screen Credits style is based on the notes — producers, cast, crew and so on — on movie posters. Get more out of life, go out to a movie.

Ckornoments is a two-font family of corner ornaments that was inspired by decorative grave ornaments. Similar ornaments can be found on old furniture and woodwork. Almost all ornaments come in sets of four for placement top right and left and bottom right and left. The two fonts, solid and outline, are designed to be used in layers but can be used separately. In addition, ornaments that include flowers have one part of the design separated out so the original and separated characters can be layered to give bi-colored images (or tri-colored with an outline). These ornaments are suitable for posters, newsletters, personal notes, and on other types of documents that benefit from framing. In addition to serving as corners, the ornaments can also be used as dividers between sections of text.

Bouteilles is French for bottles. No fancy name this time, just bottles. You’re probably wondering why I chose this name… Well, I was taking out the glass (in Holland we recycle just about everything, glass, paper, plastic, metal, garden and kitchen waste, etc.), which included a number of French wine bottles. As I was throwing them into the underground container one block from where I live, I realised that the word Bouteilles actually sounds great and it would be a nice name for a font! Yes, it is that simple! Bouteilles is a nice brush font I made with my trusted Chinese ink and a really worn brush I found. It comes with all the diacritics you need plus two sets of alternates, which you can play with!

Meet the delightful duo that brings an organic twist to your designs! Introducing Sista Planteria, the charming pairing of an all-caps serif and a playful script font. Whether diving into illustrative creations, crafting whimsical greetings, adding charm to book covers, designing delightful quotes, or creating enchanting packaging, Sista Planteria is your go-to choice for an organic touch. With its alternates and ligatures, this font duo offers a signature handwriting style that adds a hint of natural elegance to your projects. And don't worry about language barriers – Sista Planteria supports multilingual Latin characters, ensuring your creativity knows no bounds. Get ready to infuse your designs with a dash of organic taste that will captivate hearts and bring smiles. Elevate your creations with the Sista Planteria font duo and let your imagination bloom!

Planeta Font, this font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

Devin is designed mainly for the benefit of the advertising industry, and it surely is a nice typeface for headings, isn't it? And you should see what a nice body type it makes! I had no other typeface in mind when working with it, but I can now find several typefaces it is related to. It reminds of the egyptienne group, but I did't really plan that. The name Devin is taken from my birth region. There is a castle with that name on the northern Adriatic coast (known even from Rilke's Duino elegies - Duino is another name of the same castle). A castle ruin called Devin, too, can be found on a height above the Danube in Slovakia, not far away from its capital Bratislava. Devin was released in 1994.

ITC Ironwork is the work of Serge Pichii, who was inspired by a piece of decorative lettering done by Jan Tschichold in the early 1920s. Tschichold had interlocked a series of rough sans serif letters and embellished them with scattered decorative elements. The original was of only capital letters, touching and overlapping like an ironwork gate made of letters. Pichii completed the typeface with lowercase forms and smoothed the edges. The scrolls of the capitals were extended to the lowercase and Pichii based them on iron scrollwork he found in Vienna and Prague. A lot of attention was paid to the elements of the typeface in order to 'smooth out' and balance proportional relations between the elements," says Pichii. ITC Ironwork is great for signage and display but also works well in short texts."

Cyan Neue is a substantial update variation to the original Cyan we launched in 2006. Most notably the contrast has decreased making it more contemporary. Many glyphs have been improved especially in the italics. The design of Cyan Neue was inspired by features found in classic Roman. It shows a preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. There are many subtle details in Cyan Neue that become more interesting in display sizes, for instance the subtle curves in the serifs and the overall smoothness. Cyan Neue is a robust font that will exceed your expectations. Cyan Neue is clearly ideal for headlines, inscriptions, publications, annual reports, corporate identities, packaging.

Graham Cracker is a fun, cartoony and child-like font that can't help but fill you with happiness! The font was inspired by hand-drawn lettering on an old 1960s movie poster, and contains over 175 interlocking ligatures that add a hand-lettered feel. Stylistic substitutions like this are where the OpenType technology really shines, allowing computer fonts to more closely mimic the variations of hand drawn lettering. The ligatures can be found under the Discretionary Ligatures OT feature, or applied from the glyph palette. Jukebox fonts are available in OpenType format and downloadable packages contain both .otf and .ttf versions of the font. They are compatible on both Mac and Windows. All fonts contain basic OpenType features as well as support for Latin-based and most Eastern European languages.

Jim Ford's Hideout typeface is definitely walking on the wrong side of the law. Inspired by the flared serif lettering of antique tobacco tins, its sturdy shapes are confident, eye-catching, and hark back to the Wild West. Large sizes bring Hideout's details to life, emphasising the delicate nicks in its Ks and Rs. For designers that need to soften some of its swagger, a set of decorative alternatives offer a little Art Deco elegance, adding some refinement to its chunky letterforms. With its 14 weights, Hideout is an adaptable design that works especially well when used for display – for example in book covers, packaging, posters, restaurant menus, or editorial. Don't miss the ghost weights, which hint at the kinds of weathered lettering found on faded and peeling Wanted posters.

In 2011, while tutoring an exercise on Slab Serifs, Josema discovered Robert Thorne’s work for Thorowgood. Specifically, he was fascinated by the extraordinary density of the 6-line Egyptian Pica from 1820-21. As a simple exercise, he wanted to test the limits of readability within the context of a contemporary alphabet. Rothwood Ultra is the result of this experiment. As a way of developing the series, he found it interesting to go to the opposite end of the spectrum and discover how to evolve the extra-black Ultra’s DNA into a super lightweight model. The Hairline and Thin styles are her slim sisters. The third challenge has been the creation of the text version. Light, Book, DemiBold and Bold, including italics and Small Caps close the Rothwood cycle for editorial use.

This font contains plant icons from the taxonomic category Orchidaceae, inspired by the multiple specimens that can be found in Colombia that has the largest number of orchids in the world, more specifically in the specimens that have been exposed on the José Celestino Mutis botanical garden. These icons are characterized by having an organic outline; representing flowers, roots, leaves, bulbs and different supports or pots. The vast majority of icons have perfect bilateral symmetry because this is one of the differential characteristics of orchids (compared to other flowers), if they are divided by a central-vertical axis, their right and left sides are practically identical. “Aguadija” can be used in projects related to nature or similar topics, some icons (specifically the digits) are intended to form decorative ribbons or borders.

Electrostatic JNL was inspired by the 1930s lettering for radio station WMCA in New York City. It was found as part of an ad for the station in a 1932 radio broadcasting trade magazine. WMCA went on the air Feb. 6, 1925. According to Wikipedia, the "MCA" call letters stood for the Hotel McAlpin, where the station's original studio and transmitter were located. "W" is the call sign prefix for all broadcast stations East of the Mississippi River; with the exception of KDKA (Pittsburgh), which was the nation's first commercial radio station. This bold novelty typeface with lightning bolds intersecting the characters can be used to represent anything from electricity to stormy days; power generators to brute force and so forth. Electrostatic JNL is available in both regular and oblique versions.

Chunk Five - Retro Script Font is a captivating display script typeface that effortlessly transports you back to the retro and vintage eras. Its distinctive feature lies in its bold and groovy bottom-heavy characters that make a strong impact on any design. This font offers an extensive set of alternative characters with an abundance of unique shapes and swashes to choose from, allowing for endless creative possibilities. Ideal for logos, packaging, invitations, greeting cards, posters, magazines, titles, business branding, and all projects seeking a retro or vintage theme, Chunk Five delivers a perfect dose of nostalgia and charm. With its retro and vintage style, it brings a touch of the past into your designs, making it an excellent choice for conveying a sense of history and personality to your creative projects.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! The Philosopher Script is a different take on what a monoline script should be. It’s not like anything else out there and it works in any context The conciseness of The Philosopher Script makes it well-suited not just for those seeking a new direction in design, but also for anyone producing art, looking to add their own style. Professional design and smoothed curves that are inherently better than a standard font. It comes with a vast array of ligatures, alternates, and many other helpful glyphs not found in any other typeface A Million Thanks Colllab Studio www.colllabstudio.com

Hey! I'm happy to introduce to you my new initial's set. These drop caps I found in the "Introductorium in astronomiam" manuscript. It was printed in Augsburg in 1489 by Erhard Ratdolt. I've added some lost letters and assembled a full alphabet. Augsburg is a medieval gothic style font. Set of dim colored and monochrome grunge style emblems. Engraved initial drop caps. Perfect for vintage premium identity, Middle Ages posters, luxury packaging. If you want dark and strong medieval style concepts, please try it. --- *You can use color fonts in PS since CC 2017, AI since CC 2018, ID since CC 2019, macOS 10.14 Mojave* *Please note that the Canva & Corel doesn't support color fonts!* --- Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman. Thank you!

SALO – is a hybrid of two Italian typographic worlds. The serif version refers to the beautiful and sophisticated typefaces found on the signs of cafes, restaurants, and fashionable boutiques. Its complemented by the sans variant, inspired by Italian modernism and road signage. All styles are based on the same core but with a totally different expressions. The biggest challenge during the project was designing all of the glyphs compatible to work as a 100% variable font. In the OTF version, SALO has 4 varieties: Serif, Semi Serif, Semi Sans and Sans. The family of these typefaces is suitable both for posters, magazine headlines, and branding purposes where the character will count. It is worth experimenting and combining different varieties with each other. (This font cannot be used to create a logo with the phrase "FRANCO").

Nosegrind is a bit of a departure from our usual more traditional font offerings. It's based on skate-culture graffiti gleaned from various samples of similar style found on walls in Austin and online. The font includes two character sets, one which is plain and one which is enhanced with outlines. In normal usage the characters should nest, with slight overlap from one character to the next as shown in the sample to the right, but the lower case characters in the font are spaced evenly but not pre-nested, leaving the degree of overlap up to the user - nesting is easily adjusted with the tracking option in programs like Photoshop, Quark or InDesign. Ultimately Nosegrind will be added to our Modern Fonts collection, where it ought to fit in nicely.

Millestone Font This font was created to look as close to a natural handwritten script as possible by including some alternates lowercase, ligature and underlines. Built in Opentype features, this script comes to life as if you were writing it yourself. Comes with regular and italic. Also support multilingual.Perfect for any awesome projects that need hand writing taste. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

SPACE ASIA was born in the modern era which was inspired by the letters found in various print and digital media. Comes with a modern and futuristic style that will rock your great design! It is suitable for you to use in logotype designs, games, posters, movies, typography, t-shirts, tickets, and other modern designs. This is a very technical typeface and is great for use in projects related to sci-fi, science, and electronic music. This tech-savvy but fun-looking font will break between technology, science, fiction, and boundary art. The alternative characters in this font were divided into several OpenType features such as Stylistic Alternates, Stylistic Sets, and Ligature. The OpenType features can be accessed by using the OpenType program such as Adobe Illustrator, Adobe Photoshop, and Adobe InDesign.

The handwritten cursive by the famous Italian Casanova has inspired Petra Beiße to design a new script, the “Casanova Script Pro”, with a complement of over 1400 characters and symbols. “Casanova Script Regular” is the basic version of this font with a reduced West-Layout. “Petras Script”, the first digital script font created by the calligrapher Petra Beiße, has, for many years, met with worldwide success. Petra Beiße has resided for a long time in Wiesbaden, Germany, where she is working as a renowned calligrapher. It is rare that any of her scripts are transferred into digital format and sold worldwide as fonts. Because “Petras Script” became such a huge success, she decided to release this new design for digitization. Further information about Petra Beiße and her present workshops can be found under www.handlettering.de.

Organetto is a typeface, inspired by the lettering found on Art Deco posters, whose design embraces latest digital font technology. This versatile font contains multiple widths which make it an ideal solution to fit every design need. In addition to its functional geometric style and different widths, Organetto also includes alternate characters that provide even more design options. All these features make the font a great choice for graphic designers and art directors, logos, wordmarks, short text, etc. Organetto is a sans-serif typeface with modern proportions and straight-edge terminals. It comes in 7 weights, ranging from Hair to Ultrabold, and 7 widths (from Ultra Condensed to Expanded) and contains a set of 397 characters that support 180 different languages. Organetto also includes OpenType features- 3 sets of alternates, catchwords and titling.

WildSong was inspired by the exuberant flight and beautiful song of birds. While most brush scripts take their cue from mid-twentieth century samples, WildSong is a fresh, contemporary alternative. WildSong reflects a dynamic interplay between dark and light, creating a sense of drama while hinting at a calligraphic background. Words suggest a baseline, yet are not bound by it. Letters interweave in a seemingly random dance, sometimes connecting smoothly, then breaking that connection as a calligraphic scribe does intuitively. Exuberant swash alternatives to uppercase letters, as well as ligatures can be accessed through both the type and glyph palettes. The font contains over 235 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Richard Lipton’s inspiration for Englewood came from the calligraphic hand of Philip Grushkin. Lipton has always admired his somewhat loose but disciplined hand and felt that it was worthy of keeping this style alive in a typeface that could be a somewhat accurate emulation of the warmth and life found in these letterforms. Spontaneity is a challenge to capture in a type treatment but with Englewood, Lipton hopes to honor Mr. Grushkin with a design that works especially well for an invitation, a menu, or in any display setting that calls for an informal calligraphic hand. This single weight display script includes small caps — somewhat of a rarity for a handwritten script — for flexible typesetting, along with 42 alternates that include 18 contextual ligatures to simulate the appearance of spontaneous writing.

Boho is inspired by a bohemian girl who is a free soul and creative spirit. She is a city girl, but she loves spending a lot of time outdoors and being close to nature. She loves art and going to the antiques and organic food markets. She is a wild and free spirit who knows no bounds. Boho is Coto Mendoza’s first Script font family, which is based on gestual calligraphy with Cola pen. A first exposure to gestual strokes applied to font design can be seen in her previous work, Macarons. Boho consists of 4 subfamilies: Script, Line, Sans and Serif. Each subfamily comes in 4 weights: Regular, Bold, Italic and Bold Italic. Script and Line versions include a teardrop terminal variant. Dingbats and ornaments are also included. Boho. Love and creative spirit!

Introducing Ganley Cute Font Ganley cute font is a contemporary display font that radiates fun and playfulness, making it perfect for children’s themes and light-hearted designs. Playful Design Ganley’s design is characterized by whimsical and cheerful letterforms. Its cute and quirky appearance instantly adds a touch of joy to any project. The font embodies a sense of innocence and laughter. Child-Friendly Readability This font maintains readability while embracing a delightful style. The letter spacing and proportions are thoughtfully crafted for easy comprehension, ensuring that children can enjoy reading and interacting with it. Versatility in Design Ganley isn’t limited to just one application. It’s a versatile font that suits various creative endeavors, from children’s books and posters to party invitations and websites. Its adaptability knows no bounds.

Wasabi is one of the key ingredients in the Japanese kitchen. Also known as japanese horseradish, it is an extremely spicy condiment made out of the graded root of the Wasabi plant. Its spiciness is different than that of a chili pepper though, more like a hot mustard. The spicy taste shoots right through your nose, but does not last for long. Wasabi is traditionally used in sushi and sashimi dishes, soba noodles, and in a number of Japanese snack foods. Equally sharp and stingy, VLNL Wasabi Turbo was designed by Donald Roos. Despite its japanese outward appearance, the font has its origin in lettering found on a German book. It is hot, and edgy like a samurai sword. Wasabi Turbo will stand out as headline and logo!

Circe™ is a geometric sans-serif with some humanist qualities. It consists of seven weights from Thin to Extra Bold in both Normal and Italic styles. Circe, like the Greek goddess it is named after, is capable of metamorphosis. While being clean and simple in its basic form, Circe can become intricate and fancy with its numerous decorative glyph variations. The extensive character set provides support for almost all European languages based on Latin and Cyrillic scripts. Abundant alternates and swash variants organized in stylistic sets inspire creative design options. Circe is good for small point size paragraphs as well as for headlines and posters. The typeface was designed by Alexandra Korolkova and released by Paratype in 2011. The Italic styles were added in 2018 by Alexandra Korolkova and Maria Kharlamova (Selezeneva).

Suffix Mono is a monospaced sans-serif family that offers an extensive range of weights and styles. Additionally, it provides numerous OpenType features, including 16 distinct stylistic sets for users to experiment with. The core concept behind Suffix Mono is to explore the distinctive textures often associated with monospace fonts, which are primarily characterized by their "fixed width" nature. Suffix Mono enhances these textures by introducing various stylistic features that enable users to replace closed glyph contours, such as those found in characters like 'f,' 'r,' 'i,' and 'j,' with more open and airy alternatives. Enabling these alternates results in an overall transformation of the textural appearance of Suffix Mono. Furthermore, Suffix Mono boasts one of the hallmark features of modern typefaces: extensive language support, encompassing nearly the entire Latin script.

The most sensational design of the decade is now at large. These high-definition fonts can be used for titles, banners, tattooing, logotypes and many more places. Be it domestic or industrial, formal or informal, it can be used in every field imaginable. It has a sensational, funky style and remarks the current youth's style. Such a font style has never been seen by the world, until today. These designs are 100% original and handmade. I searched a million miles but found this as the most appropriate idea for the world of font types at this time. It's the coolest, funkiest and the best font ever made. It's the era of graffiti and 3D, and we've combined both to give you CRESCENT.. So, use it, love it, buy it!

Moron is a distinctive and idiosyncratic display typeface: a winsome-but-nasty, old-and-yet-new drawing of Victorian sans-serif letterforms (with some 1970s sausage fonts thrown in). Moron started life as a sans-serif redrawing of Nylon but developed into a unique typeface with a character all its own. It is based, very loosely, upon Victorian Tuscan and Grotesque type found in the churches and cemeteries of the city of Glasgow. These letterforms originated before the dawn of modernism and at a time when the Arts and Crafts Movement was flourishing. In this age of early mass production and mechanisation, the Victorian ability to balance functionality with ornamentation had fascinating results. The typography of that period displays a unique combination of industrial heft and romantic decoration.

The "Ma" in "Ma Braille" is used as a minimalist way to say "Negative Space". "Ma" in japanese arts is an "esthetical usage of emptiness". Thus this font explicits the negative space around visible braille dots in each glyph. A. Font user guide a.1. Lowercase glyphs { A..Z } In these glyphs, dots are represented as "black squares" while the negative space is displayed as 1 or 2 white filled polygons. a.2. Uppercase glyphs { a..z } In these glyphs, dots are represented as "white squares" while the negative space is displayed as 1 or 2 black filled polygons. a.3. Digits: they are just the same than a..j, but the "North US version" is also provided in ascii codes 0xE0..0xE4 (1..5) and 0xE7..0xEB (6..0). a.5. "Dashed Border": a.5.1. "Black dashed" border glyphs; { £, ¥, µ, Â, Ä, Ê, Ë, Î, Ï, Ô } a.5.2. "White dashed" border glyphs; { Ö, Õ, °, ô, ö, î, ï, û, u, õ } B. Posters Poster 1: "Font Logo" version 1, it displays "Ma Braille" text surrounded by the "black dashed border" glyphs. Poster 2: "Font Logo" version 2, it displays "MA" glyphs in big size and smaller "Braille" glyphs within "M" and within "A" as well. Poster 3: the classical pangram to test a font "The Quick Brown Fox jumps over the Lazy dog". Poster 4: Article 1 of the Human Rights: All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood. Poster 5: the "Glyph set" (Border glyphs not included) with A..Z, a..z, digits and special characters.

a, g, k and y It was a forensic examination by Jason Smith of his existing designs that laid the groundwork for FS Jack. Jason made a list of unique characteristics that would give the sans serif font its typographic thumbprint, which included an unusually large x-height and slightly off-the-wall letters like the lower-case “a”, “g”, “k” and “y”. “I wanted to make something that was slightly uncomfortable,” says Jason, “and in doing so simplify the quirkiness down to a few letters.” Fernando Mello did “the rest of the cooking”, filling the design out and making the additional weights. Tipos Latinos Upon its release in 2010, FS Jack was submitted by Fernando, who is Brazilian, for the esteemed type design biennial, Tipos Latinos, where it was selected as a winner in the Families category. It went on to be selected for type exhibitions throughout Latin America and around the world. “FS Jack is a workhorse,” says Fernando, “but also very ownable and distinctive, and available in a good range of weights, crafted by Jason and I.” Corporate “FS Jack took a couple of years to get noticed and is still fairly underused,” says Jason, “which is good in a way, for our Brandfont clients that have adopted it.” FS Jack was chosen as the signature font for The Shard in London, from its signage down to business cards. Fontsmith also worked with Lloyds Bank to customise FS Jack into a bespoke font for the bank’s updated brand identity – part of Fontsmith’s Brandfont service, which you can read about here. Fat Jack Included in the FS Jack family – just – is FS Jack Poster, the super-heavy weight of the range. “That was a last minute addition,” says Fernando, “after Jason and I started talking about how much we liked Gill KO, a typeface that is almost comically fat.”

Secession is a very readable typeface, suitable for short blocks of text. If you have grown weary of the standard sans-serif faces one sees all the time, you may want to use Secession as a fresh and distinctive substitute. Like Kunstler Grotesk, Secession is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. Unlike Kunstler Grotesk, Secession was designed with a lower case. Secession Bold was originally jointly released as Halbfette Secession by Bauer & Company of Stuttgart and H. Berthold AG of Berlin around 1898. The rest of the family was designed by HiH. The basic family of four: Text, Oblique, Bold and BoldOblique are available in two versions: one set with the standard contemporary lining or ranging numerals for spreadsheets and tables and one set of old-style figures (with OSF in font name) for use with text. The two versions of the basic family, Secession and Secession OSF were released in July 2006. Cousins include ExtraBold, SCOSF Text, and two multi-lingual versions of the text weight. Secession ML includes the Latin Extended-A character set in unicode format plus 17 ligatures and a few strays. Secession GreekML has all the characters of the ML version plus the unicode Greek set and 17 Greek ligatures. Release of the cousins took place in August and October of 2006. Click on BUYING CHOICES. Click on GLYPHS and use drop-down menus and slider to see the all the glyphs for the various fonts. Similar: Birmingham (Ref 100 Ornamental Alphabets, Solo); Spartana (Art Nouveau Display Alphabets, Solo)

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.

Hispania Script is a distinctive and distinctly nineteenth century script. It was released by Schelter & Giesecke of Leipzig, Germany around 1890. Particularly noteworthy are the sharply-pointed legs of the upper case ‘K’ & ‘R’ that seem to be characteristic of the period. Similar strokes, often with a slight curve, may be seen in typefaces like Alt-Romanish and Tinteretto by Schelter & Giesecke, Artistic and Lateinsch by Bauer and Berthold and the poster lettering of Edward Penfield. The angle of this script (approximately 24 degrees) and the sharp delicate points must have made the manufacture of this face in metal type a challenge. The resulting type was probably quite fragile and subject to accidental damage. Additionally, the sharp points would be subject to wear. With digital type, these concerns are eliminated. As far as I know, no one has ever dropped a digital letter on the floor. Nonetheless, creating a digital outline for a typeface like Hispania Script, with many crossing strokes, can be quite time-consuming. Even with an accurate scan of a good quality original, it is usually necessary to construct each crossing stroke separately and then remove the overlap in order to obtain a sharp and convincing intersection. Steep internal angles are often defined with two points, rather than one, to minimize ink or toner fill that can muddy the rendering in smaller sizes. Like all formal scripts, Hispania Script is always useful for announcements and invitations. However, the distinctiveness of of this design strongly suggests that there are other applications that may benefit from its use. Step outside the box and try it in some unexpected places. It is the unexpected that often draws a person’s eye.

It was expected that Joluvian’s third type font would be inspired by the city where he currently resides: Madrid, Spain. His previous creations had originated in Venezuela (Zulia) and The Philippines (Salamat), both, places where he had once lived. Joluvian believes “now is the time to pay tribute and show gratitude towards a city that has bestowed me with so many fortunes.” He considers that Madrid’s people, streets, scents, flavor and sounds are gift enough to awaken the creative urgency in any artist. This time around, it is being expressed through the crafts of the Typographic industry. Since his arrival in Spain, Joluvian has been attached to the city’s central area, specifically to the renowned Atocha Street and its railroad station. It was precisely on that street that Joluvian and Mauco Sosa, his friend and partner, decided to establish the Patera Studio: a charming creative space that birthed the concept for this new font which they proudly named Atocha Script. The artists where still in the final phases of their previous script, Salamat, when the idea for Atocha came about. This dynamic is actually very typical of the artistic process, in which every finished product spawns the need to create its next level offspring. “Working on Atocha and Atocha Caps has been a very pleasant journey. We have given our best efforts, for we wanted to offer a typeface that was both versatile and user-friendly on a number of applications, showing a wide scope of alternatives in our glyphs,” says the artist. The illustrations were created by Mauco, to ensure visual integration that would showcase the work of both members of the Patera Studio and their complementing aesthetic voices.  Atocha, as Salamat and Zulia before, was digitized by Alejandro Paul.

Welcome to Polarband—the retro-inspired sans-serif headline typeface that adds a touch of warmth and personality to your designs. Polarband’s stacked layer design allows the inner layer to nestle snugly, creating a sense of depth and dimension that adds an extra layer of interest to your designs. Play around with different color combinations and layering options to create a truly unique look that sets your designs apart. So whether you’re looking to add a touch of retro charm to your next design project or create a bold and eye-catching logo, Polarband is the perfect typeface for you. With its appealing geometric shapes and humble style, it’s sure to become a go-to choice for designers looking to add a touch of vintage flair to their work. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.