Bague Sans is an award-winning monoline typeface with a distinct and eye-catching personality. Despite its inspiration from early 20th century geometrics, it diverts from the mechanical rigidity of those typefaces by incorporating humanist characteristics, such as subtle variations in stroke width and open counter shapes with vertical endings. This is a very clean and legible typeface with a warm and well-balanced texture which is ideal for intense editorial use in magazines and newspapers. The most remarkable feature of Bague Sans is its vast array of uppercase alternates and ligatures which truly shine when set at display sizes. This typeface is automatically transformed into a flexible, charming and stylish typeface with strong modern aesthetics. Explore its dual personality, switch from Humanist to Geometric and vice versa by using alternate characters such as the single-storey a and single-storey g. From classic to modern, from excessive to neutral, Bague Sans is a multipurpose typeface which offers enormous possibilities and variations for editorial design, branding and corporate identity while it performs amazingly well on web. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. It supports extended Latin such as Central European, Baltic, Turkish, Romanian and includes numerous alternates and ligatures for unlimited text variations. You may also want to check out Bague Sans Pro which supports Cyrillic and Greek as well.

Bolyar Pro type family is the ancestor of our successful font Bolyar . We decided to develop it to a new higher level - making it more sophisticated, detailed and useful at the same time. The new improved Bolyar is able to satisfy every typographic taste and meet the ever growing design requirements for high quality typefaces. If you are addicted to classic vintage style, then you could easily use Bolyar Pro for almost anything - from letterhead, logos and catchy headlines to elegant packaging, book covers and wine labels. Alternates, Swashes and Ligatures will help you customize almost every single letter and fit perfectly to your artwork. Bolyar Pro type family is showing an abundance of many new useful features and options like: - Five weights each sold as separate font - Over 1200 glyphs per weight - Full multilingual support of all European languages as well Greek and Cyrillic - Brand new Alternates and Swashes fully supported in all languages (even with accented characters) - Many useful ligatures - Full Open Type and True Type support for Mac and Win Platforms - New Bolyar Ornaments - a new complimentary font exclusively designed to fit the new Bolyar Pro, containig decorative shields, frames, ornaments and borders. Bolyar Pro font family is great for any kind of labels - in this link you could see some amazing examples how to use it alone or in combination with our Bolyar Ornate Pro font family.

Adventure Island this is a stunning font family that consists of two types of fonts, script and sans serif, and each has 8 weights (Regular, Rough, Halftone, Pressed, Bold, Bold rough, Bold halftone, Bold pressed,). With their help, a lot of options are opened for you to create your projects, both in vintage and in modern style. These fonts are like twin brothers, they fit perfectly and complement each other. The Script type has flowing shapes and is made to shine and lively for the full hand-signature effect. Sans serif type is also made in monoline and has rounded corners and smooth lines. The script style has alternatives for uppercases and many alternates for lowercaes, with them you can make your design more expressive, varied and playful, change them and you will see how many options you can get for your design, also use swashes touches to complement your design. Enjoy using! The font includes 8 script fonts and 8 sans serif fonts (Regular, Rough, Halftone, Pressed, Bold, Bold rough, Bold halftone, Bold pressed,) Full alphabet with Uppercase and Lowercase A-z for script Full alphabet with Uppercase for sans serif Numbers, fractions for all fonts Punctuation and mathematical symbols for all fonts Alternates Uppercase and Lowercase also ampersand for script Swashes for script Multilingual support all fonts

Unarmed began life as a series of rectangles in Fireworks. The task was designing my own business card for the first time in years, and the perfect lettering couldn't be found in either free or commercial fonts. While there were some good choices, none of them really communicated who I was. Initially only the lowercase letters in my name were created, with each being designed around a 7 x 4 grid of squares. I liked the result so much that I wanted to use the same typeface in different projects - and to save time in future, I decided to create this font. In creating DM Unarmed, the intention was to avoid diagonal lines, and to keep all the lines horizontal, vertical and grid-like. This made creating some of the characters - particularly the rounded ones and the letters X and Z - challenging. Coming from both worlds, I wanted to achieve a blend of technicality and creativeness, without trying to pretend one was the other. For best results this font should be used for large and prominent text, although it works at smaller sizes up to 12pt. I've spent a lot of time trying to hint a few characters that wouldn't play ball, such as 2, 7 and 8. In case you're wondering: DM Unarmed got its name from my philosophy of facing challenges without reliance on tools and weapons.

X RUFFIAN Ruffian was a champion thoroughbred horse who won 10 consecutive races. A feat worth mentioning & repeating. Her tenacity & steadfast approach established the basis for this variable based font. The X represents both the Roman numeral 10, but also the X-factor for creating bespoke works of art. It is quite befitting that this font be named after a legendary champion. Which begs the question...Do you champion variety? X Ruffian's design motif uses a broad tipped chiseled marker that was set at an angle for that extra bit of vigor. Identical letter forms defeat that truly "hand rendered" look that we ultimately strive for. Each uppercase letter offers 10 (X) or more stylistic alternatives, the lowercase and number sets have 3+ options and an over under for those special characters that yield a long bottom or top (see images). Ligatures & bonus characters can add that unique offering to your already individual style & can easily be found via the glyphs panel in any open type program. With a gigantic glyph count of 688, you'll never run out of options. As a right of passage, we felt obliged to include a roman numeral set as the name beckons, which differs from the standard letter form in which you would use to create. This is a variable winner. See you at the races!

Rotis is a comprehensive family group with Sans Serif, Semi Sans, Serif, and Semi Serif styles. The four families have similar weights, heights and proportions; though the Sans is primarily monotone, the Semi Sans has swelling strokes, the Semi Serif has just a few serifs, and the Serif has serifs and strokes with mostly vertical axes. Designed by Otl Aicher for Agfa in 1989, Rotis has become something of a European zeitgeist. This highly rationalized yet intriguing type is seen everywhere, from book text to billboards. The blending of sans with serif was almost revolutionary when Aicher first started working on the idea. Traditionalists felt that discarding serifs from some forms and giving unusual curves and edges to others might be something new, but not something better. But Rotis was based on those principles, and has proven itself not only highly legible, but also remarkably successful on a wide scale. Rotis is easily identifiable in all its styles by the cap C and lowercase c and e: note the hooked tops, serifless bottoms, and underslung body curves. Aicher was a long-time teacher of design with many years of practical experience as a graphic designer. He named Rotis after the small village in southern Germany where he lived. Rotis is suitable for just about any use: book text, documentation, business reports, business correspondence, magazines, newspapers, posters, advertisements, multimedia, and corporate design.

Introducing Antoine — is a vintage retro display typeface. The three font combinations I launched are very compatible if for the victorian classic design concept. As for if the font was worn by itself, without combinations are also brave!! In addition to many get unique character, luxury, brave and elegant. You also have a collection ornament, very suitable if in the gradient. This font is also very easy to use with other design programs or with out design program. Antoine Typeface is perfect for beverage label design project. coffee label. logotype design, badges, classic wedding concept. victorian design concept and so on. gig poster, letterhead, droop cap, titles, and any artworks. Now it’s your time to go crazy and explore the uniqueness of this typeface!! I invite you to familiarize yourself with the preliminary images and hope that you will be imbued with my vision of this creative font, which, I am sure, will be suitable for all the interesting projects you are working on. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

Wanderlust Letters has returned, but now offered in a beautiful collection of hand painted scripts. New versions include Wanderlust Letters Pro, Decorative, Boho, Chic, Shine, Gold, Caps, and Ornaments. Wanderlust Letters Pro is an extended version of the immensely popular Wanderlust Letters. This latest version includes three sets of basic alternates, one set of decorative alternates, and one set of ligatures. Wanderlust Decorative Pro offers a magnificent updated flow from the initial Wanderlust Letters release. Decorative Pro includes two sets of decorative alternates, two sets of basic alternates, and one set of ligatures. Decorative Regular comes with one set of decorative alternates. Boho, Chic, Shine and Gold are an updated spin off of Wanderlust Letters. These fonts offer new letter styles that blend seamlessly with all Wanderlust fonts. Pro versions of Chic, Shine and Gold comes with three sets of basic alternates and one set of decorative alternates. Boho Pro comes with with two sets of basic alternates and two sets of decorative alternates. Caps is a perfect choice for headline use since it’s an all uppercase font. But don't be afraid to mix it up with all the other Wanderlust fonts. The entire Wanderlust Collection works impeccably to enhance your magazine, packaging, advertising, branding, posters, websites, and films. Combine all Wanderlust fonts with Ornaments to create unique hand painted typography art.

It’s true -- having your own font IS The Secret Of Happiness! At times suave and sophisticated, at other times rough and ready for anything, superstar comics artist Dan Panosian has worked on the likes of CAPTAIN AMERICA, SPAWN, THE FLASH,, SPIDER-MAN, X-THE X-MEN and GREEN LANTERN, as well as the movie, HARRY POTTER AND THE SORCERER'S STONE and games like DUKE NUKEM. He hasn't been seen in comics for some time, but he’s back, baby, working on a series of JOHN TIFFANY bandes desinée, and he’s brought his own font with him, courtesy of that awfully nice John JG Roshell at Comicraft. John Tiffany is one of the best bounty hunters in the world and he has no illusions about the world that employs him. Tiffany relies exclusively on four people: the Reverend Lovejoy, who taught him to love his money; Wan Chao, of the geek underworld who serves as an interface with the outside world; Dorothy, his partner, and Magdalena, the ‘call girl in his life.’ But in Mexico, the hunter has become prey, his head has a price. And if his rivals know his location, it means that John Tiffany was betrayed by one of four people he thought he could trust...and now he can rely on only ONE thing, his secret weapon. His FONT. See the families related to Dan Panosian: Urban Barbarian.

SYLVIE is a very stylish font with letters that seem to dance and harmoniously intertwine with each other, creating a unique and elegant typographic design. This font is in my collection, inspired by France. French architecture, vintage fonts, modern forms, fashion and their unique lifestyle have all had an impact on this font. Thanks to the contrasting lines and curves, it will give your design the chic and modernity that you are looking for. It is perfect for logos, branding, posters, social media and all other creative projects. It will also highlight your brand. SYLVIE will definitely add attractiveness to your design! I invite you to familiarize yourself with the preliminary images and hope that you will be imbued with my vision of this creative font, which, I am sure, will be suitable for all the interesting projects you are working on. Font Features: A-Z; a-z character set; 1 language (English); numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

The Times Europa Office family is designed after the model of the original serif family produced by Walter Tracy and the Linotype Design Studio in 1974. A redesign of the classic Times New Roman typeface, Times Europa was created as its replacement for The Times of London newspaper. In contrast to Times New Roman, Times Europa has sturdier characters and more open counter spaces, which help maintain readability in rougher printing conditions. Times Europa drastically improved on the legibility of the bold and italic styles of Times New Roman. Overall, text set in Times Europa is easier to read, and quicker to digest. Akira Kobayashi, Linotype’s Type Director, brought Times Europa up to speed for the new millennium in 2006. Now optimized for office communication instead of newspaper design, Times Europa Office offers a familiar yet refreshingly new appearance for serif text. Because of The Times of London’s specific printing conditions in the early 1970s, Times Europa originally had some intentional errors built into its letterform design. These inconsistencies created an even image in newspaper text in the long run. However, these design elements bear no role on modern office communication and its needs. Kobayashi redrew these problem forms, eliminating them completely. Now Times Europa’s font weights appear clearer and easier to read than ever before.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer's personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. There are many subtle details in Cyan that become more interesting in larger sizes, for instance the subtle curves in the serifs and the overall smoothness as a result of the mostly rounded angles. Cyan is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". The color cyan can have many different variations. One definition is a color made by mixing equal amounts of green and blue light (it also is a pure spectral color). As such, cyan is the complement of red: cyan pigments absorb red light. Cyan is sometimes called blue-green or turquoise and often goes undistinguished from light blue. Obviously the Cyan family is a perfect companion to the Cyan Sans family.

Sultan is a revival and expansion of a 1954 Matrin Kausche typeface called Mosaik. This design highlights the unmistakable Arabic/Moorish calligraphy influence on Celtic lettering, by way of the highly active Andalusian culture from the ninth century until the crusades in the early eleventh century. Although Celtic lettering evolved on its own and prompted different calligraphic styles after the crusades, elements of the Arabic influence survived with it, its appeal remaining evident to this very day. For instance, this kind of lettering is very similar to the one Louis Tiffany used to make the most recognizable athletic insignia in North America - the New York Yankees logo, which is now over 110 years old, and has inspired hundreds of spin-offs in many athletic and non-athletic fields all over the world. The original character set made by Kausche was quite minimal, consisting of only numerals and uppercase letters along with a few alternates. But in this digital version the set has been considerably expanded into uppercase, lowercase, numerals, punctuation, a complete set of accented characters, and more than 15 alternate letters built into the font. Sultan is a great font choice particularly for design contexts of fantasy, middle ages legend, mystical and new age content, pirate literature, and Irish history. But it is also an excellent all-purpose display and poster font in general.

Sunday Popice is a delightful display font that brings a dose of cuteness and whimsy to your designs. With its rounded shapes and high contrast, this typeface exudes a unique charm that is perfect for adding a touch of playfulness to any project. Designed with love and attention to detail, Sunday Popice captures the essence of childlike joy and innocence. Each character is carefully crafted with rounded edges, creating a friendly and approachable appearance. The high contrast between thick and thin strokes adds a dynamic and lively quality to the font, making it truly stand out. This font's rounded and soft shapes evoke a sense of warmth and coziness, reminiscent of a Sunday afternoon spent in the company of loved ones. Because of the unique style, for the best readability use this font at large text sizes. Enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Sunday Popice fits in children's books, product packaging, greeting cards, headlines, logos, and any design project that requires a touch of whimsical elegance. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Sweet Upright Script is the first release for Sweet Fonts Collection, published by MVB Fonts. It is an interpreted revival of a vintage, social engraving lettering style that was popular during the 20th Century. It is probably the first digital version of the design. With the advent of the engraving machine (a pantograph device) around 1900, commercial engraving moved from the use of hand-cut plates to the use of masterplates (lettering patterns). Lettering was traced from the masterplate using the engraving machine, letter by letter, onto a coated steel plate, that would then be etched in a chemical bath. The resulting plate was used to print engraved stationery with the raised print distinctive to the process. Many of these lettering styles were used for decades for commercial and social applications (letterheads, wedding invitations, etc.), but as they were merely traced alphabets, were not "fonts". Many remain unavailable in digital form. Over time, a number of the most popular styles were adapted to phototype, which sped up the process of plating for engraving, avoiding the need to trace each letter by hand with the engraving machine. Later, when type went digital, these phototype fonts were revived as digital fonts. As a result, the styles offered by engravers narrowed over time, as has the range of engraving styles revived in digital form.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

Introducing One Heart is a handwritten font, using a brush and ink effects that combine calligraphic brush styles, irregular base lines, rough edges, thick and organic movements. One Heart Script includes 242 characters, ligatures as well as multi-language support. One Heart can be used for various purposes such as posters, logos, t-shirts, signage, business cards, magazines, book covers, wedding invitations, greeting cards,brand projects, product packaging, invitations, news, blogs, everything including personal charm ,etc. Files included: ~One Heart ( otf ) ~One Heart ( ttf ) ~One Heart Swash ( otf ) ~One Heart Swash ( ttf ) To enable OpenType Stylistic Ligatures, you need a program that supports the OpenType feature. such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7.How to get access ligatures glyphs from open type fonts : http://youtu.be/iptSFA7feQ0 One Heart is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. You can use the Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program 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 Thanks so much for looking and please let me know if you have any questions.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

For several years I have been thinking about the design of a type family that explores, on the one hand, the modernist aesthetic that we know, from the Alphabet "a.r." designed by Władysław Strzemiński, and on the other, to the multiscript pre-war Warsaw. This is how the idea of creating the Polin Sans typeface was born. After researching on geometric variants of the Cyrillic alphabet, I was inspired by the text "Towards an open layout: A letter to Volodya Yefimov". I was intrigued by the fact that circular forms, which we are mostly familiar with in the Bulgarian Cyrillic, can be implemented in the classical version, without disrupting the reading process. At the same time, while working on typoteka.pl, I was fascinated by the Hebrew typeface jaffa, published by the Idźkowski & Sk-a foundry, which at some points looks like the Hebrew equivalent of the Alphabet "a.r.". Ben Nathan from Israel joined the project and was responsible for creating his native script. The idea of creating a multiscript family expanded to include Greek and Vietnamese. As a result, Polin Sans is a historical journey through the nooks and crannies of Polish modernism, which was created by people with diverse cultural backgrounds. The Polin Sans family was designed by Mateusz Machalski and Ben Nathan with the support of Michał Gorczyca and Małgorzata Bartosik.

Introducing Glorial - An Elegant Script Font The handwritten calligraphy script works perfectly for classy designs. Glorial Script includes a full set of uppercase & lowercase letters with beginning swashes , a full set of lowercase letters with ending swashes, a full set of contextual alternates lowercase letters , 50+ ligatures features that makes the font look more natural. Glorial fonts that special for fashion and matches applies in some designs such as the logotype, brand, magazine, website or blog headlines, packaging, branding, quotes, invitation cards, greeting cards, business cards, and wedding more. Glorial is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book, and Windows users can use Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Glorial Includes: - 50+ Ligatures, Contextual alternates, Stylistic alternates, and Swash - Uppercase, lowercase, numeral, punctuation and symbol - .OTF format files - PUA Encoded Characters - Fully accessible without additional design software - Multilingual support for English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian How to get access alternate glyphs with designing software to open type fonts check this link : http: //adobe.ly/1m1fn4Y If you have any question please do not hesitate to contact me. Happy creating!

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.

This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike. A similar version of this font with lowercase and radiused serifs was produced by the James Conner's Sons Type Foundry around 1888. In the past other foundries such as the Carroll foundry, Type Founders of Phoenix and the Los Angeles Type Foundry have produced an all caps version of this font. After examining several printed sources of this font from more recent books I found that the original from Bruce's 1882 book was by far the best in design quality, it was also the only printed source that included the lowercase. New open faced, ornamented and distressed versions have been added to this old classic font, there are also many extended characters for Western, Central and Eastern European countries. The Gold Rush Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. Also available is a spurred version of this font listed under the name Gold Spur.

Sofia Pro is a geometric sans font family who dares the modernism and the harmony of the curves. Created in 2009 and completely redesigned in 2012, it has become over time a popular alphabet and has received many accolades from graphic industry professionals. It has very rounded curves with very open terminals that makes this font family elegant, friendly and contemporary. Sofia Pro has been designed with a higher x-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences, circled numbers, and more alternative characters to give personality to your projects. This typeface already has a powerful home kerning system called “Pro Kerning”. With all its specificities, Sofia Pro is a geometric sans that can meet the needs of professionals who want a family of clean geometric font; elegant with a wide character set for more than 130 languages of Western Europe, Europe Eastern, Central Europe, Greek and Cyrillic for international communication.

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.

Introducing NEWS NOOK – a font family that captures the essence of newspaper headlines and front pages, with a rugged twist. This versatile sans-serif pairing is perfect for creating a modern, professional look that is both eye-catching and easy to read. With its unique ruggedness, it makes it stand out and suitable for outdoor designs. The font family includes two distinct styles: NEWS NOOK, a bold headline font, and NEWS NOOK MINI, a thin and stout sans-serif font. Together, they provide a range of options for creating headlines, subheadings, and body text that are sure to grab attention. The headline font is particularly great for creating bold and sturdy design elements. Inspired by the traditional newspaper style, NEWS NOOK brings a touch of nostalgia to any design project. But this font family is not just a replication of traditional newspaper style, it’s more of a modern take on publishing type with a handwritten spin. This makes it perfect for any print project, including magazines, newspapers, and more, creating a polished and professional look that is suitable for outdoor designs. NEWS NOOK (Regular) comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³ªº¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ NEWS NOOK MINI comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³ªº¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ

Etelka was designed for purposes of corporate identities, branding, product package design and outside lettering. It works anywhere an extremely legible typeface is needed. Package and label design often requires a wide choice of weights and widths: light and narrowed fonts to fit huge amount of mandatory informations onto a small box, or to squeeze text lines around a bottle, fat and wide styles to emphasize information on a poster or vehicle. The regular styles will serve well for business card, small texts and for your website. Etelka’s design idea is wide, open rounded square. Some details are extremely minimized: lower-case “a, n” or “u” lack their typical spur. The typeface has a distinctive industrial expression with all diagonals slightly softened, and her overall strict mono-linear principle is exceptionally broken only for fine optical adjustments in joints. Cyrillic and Greek scripts are present for international business, as well as rich latin diacritics. Etelka is actually very well suited for all kinds of visual communication, especially orientation systems in modern architecture. The first drawing of the font, which was later named “Etelka”, was submitted in 2004 for the Czech Television identity competition and was rejected by the jury. We later concluded that the design was worth extending to the current superfamily of 42 fonts. It is a reliable typeface for corporate identities and websites.

Gerard Unger’s new typeface Alverata is a twenty-first-century type-face inspired by the shapes of romanesque capitals in inscriptions of the eleventh and twelfth centuries, without being a close imitation of them. It is additionally based on the early twentieth-century model, but tweaked so as to prevent blandness and monotony. Alverata performs beautifully in both screen and on paper, delivering excellent legibility. Its letters are open and friendly in small sizes and lively and attractive in large sizes. They are robust, and show refinement in their detail. It is an extensive type family, with versions for both formal and informal applications. Alverata consists of three different fonts: Alverata, Alverata Informal and Alverata Irregular, that variate in form and width, but maintain the same spirit. The ‘irregular’ version is particularly inspired by the Insular letterforms, the uncials, and their constantly changing positioning. Alverata PanEuropean includes Greek and Cyrillic relatives. The typeface strikes a balance among Europe’s diversity of languages, combining contemporary typographical practices with features of medieval letterforms, from the time when Europe came into being. Visually, some written languages, such as Czech and Maltese, differ quite strongly from languages like English and German, notably because of their many accented characters. While other typefaces will show this difference, Alverata removes it. As a result, Alverata enables harmonious convergence of languages.

Kufi Mutamathil is an Arabetic (extended Arabic) typeface design with heavy Arabic Kufi calligraphy accent, both on a single letter level and in an overall text look and feel. Although Kufi, the earliest Arabic calligraphy style, is often described as “stiff”, it is in fact a very flexible style. The Kufi Mutamathil typeface design underlines this calligraphy style flexibility and openness through visualizing a very legible Mutamathil design with Kufi shapes. The Mutamathil type style utilizes only one isolated glyph per Arabic Unicode character or letter, as defined in Unicode Standards. It is a very light style which does not require any standard glyph substitution or the shaping engine. The Kufi Mutamathil font family employs variable, unrestricted, x-height values. It comes in regular and left-slanted italic styles. Kufi Mutamathil includes all required Lam-Alif ligatures. Soft-vowel diacritic marks, or harakat, are selectively positioned with the majority of them appearing on the same level, over or below, following a letter, to ensure that they would not interfere with individual glyphs appearance. Kashida, or tatweel, (shft-j) is a zero-width character. Keying it before Alif-Lam-Lam-Ha will display the Allah ligature. Kufi Mutamathil includes both Arabic and Arabic-Indic numerals, in addition to all Standard English keyboard punctuations and major currency symbols.

Have you ever searched for a font that looked like it was really someone's handwriting, only to find that it was too feminine or too hard to read? I used to want a font like that, too, until I discovered that a font like that had been residing in my attic, in letters to me from my late grandfather. Not only was I thrilled to have a font like this at hand, but also one that would be a memory of my grandfather every time I used it. He was a hard-working man, raising a family during the Depression, yet was still fun-loving, kind, and generous. We called him Grandhappy. As a wedding present, I received from him rolling pins and a cutting board made of 8 different kinds of wood that he pieced together. In this font, the bullet is a rolling pin in honor of that! Other than the fact that this is a font from the hand of one greatly loved, my favorite thing is that although a True Type Font, it has some features of an Open Type font. There are many alternative letter choices available through the use of little-used keys on the keyboard and alt codes. This font was chosen to portray Jay Gatsby's handwriting in The Great Gatsby (2013).

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Alimentary (adjective): relating to nourishment or sustenance. If you've seen my other fonts, you know I tend to lean into food-based names. This name has to do with food and science combined, so it's double nerdy in the ways I like to be nerdy! I started with Alimentary Medium, which was inspired by my shorter, wider font MacGuffin - I wanted something taller, narrower, with a hip and retro feel. When I finished the Medium weight, I felt like I wanted a Light weight. Then a Heavy weight. Then I figured, "what the heck," and made an outline version of the Medium weight too. In the end, I wound up with four members of the Alimentary family, each with over 700 glyphs! Not only do they all have the basics (A-Z, a-z, 0-9, and tons of punctuation), but they also each have 330 characters for European language support, and a limited selection of Greek, Coptic, and Cyrillic characters. Plus a double handful of alternates and ligatures to add a little variety to your designs! And of course, all of the Alimentary fonts are super-smoothed, with reduced nodes and clean curves, so whether you're cutting them out, printing them, engraving them, or using them in a way I haven't even thought of, these fonts will be sharp and crisp!

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Sedid, “solidity; It is an Arabic term meaning “righteousness”. In particular, the correctness and soundness of a word is indicated by this word. The fact that I gave this name to the writing family is to point out its accuracy and robustness. This typeface, which is sans serif, consists of three families: ▪ Sedid: Font family containing Latin letters ▪ Sedid Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Sedid World: A family of typefaces including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Those who want to meet a new face of writing for their works and projects and make a difference in their work should meet the Sedid writing family. This typeface is as serious as it is affectionate, and solid as well as elegant. The Sedid font family can be used as a text and title font in all publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites. Sedid also has a pleasant-looking, flexible face with smooth lines and transitions. The inner and outer spaces of the font are proportioned so that the text can be read easily. Sedid font family consists of 14 fonts, seven plain and seven italic. The font family includes open type features, as well as a large number of ligatures, small caps, modifiers, and currency symbols of many countries.

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

The branding agency's client wanted an ultra modern"" typeface that was ""futuristic without being gimmicky or ephemeral,"" according to the design brief. Designer Sebastian Lester took on this intriguing custom font assignment, but soon, a bureaucratic decision cancelled the project. ""I was left with a sketchbook full of ideas and thought it would be a shame not to see what came of them,"" says Lester. He decided to finish the design on his own. Lester's research confirmed that the principal ingredient of an ""ultra modern"" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. To conceive a typeface that crossed the line from modern to futuristic, Lester decided to amplify these qualities. About a year after Lester's initial conceptual work, two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as ""legible without being neutral, nuanced without being fussy, and expressive without being distracting."" Both the Neo Sans and the more-minimalist Neo Tech families are available in six weights, ranging from Light to Ultra. Each has a companion italic, and Neo Tech offers a suite of alternate characters. While engineered to look modern as tomorrow, Neo Sans and Neo Tech display the functional and aesthetic excellence that earns them a place in the list of classic designs from the Monotype typeface library.