»XPress-Rounded« is my new addition to »XPress«, my Sans-Serif that impresses – especially in small sizes – with its outstanding readability. »XPress-Rounded« looks very different, almost like a completely new font. But the rounded version has the same seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. The »XPress« fonts got their bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. Enjoy! »XPress-Rounded« ist meine neue Erweiterung zur »XPress« Familie, die durch aussergewöhnliche Lesbarkeit auffällt. »XPress-Rounded« sieht jedoch vollkommen anders aus als sein älterer Bruder. »XPress-Rounded« hat jedoch die selben sieben präzise aufeinander abgestimmten Schnitte von »Thin« bis »Heavy« und die dazu passenden Kursiven. Das macht die Schriftfamilie vielseitig einsatzfähig. Die »XPress« Schriften basieren auf der Formensprache der grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar. Viel Erfolg!

Fontoddler Font Family, This font was created with the personality, in mind, of my two-and-a-half-year-old granddaughter Chloe Bella. I believe strongly that fonts have personalities that’s why we refer to their members as ‘characters’ or to be more accurate, ‘glyphs’. This font is playful, bold, colorful in form and design, a bit irregular, a bit informal, a bit irreverent, a bit humorous, a bit sassy, and a bit independent just like my little one. When used in color Fontoddler sings. She’ll be writing and creating visual words in just the nick of time. At 2 she started recognizing many colors and identifying people, places, animals, and objects and now she’s recognizing letters. I can’t wait for her to understand that this font was designed and named after her. Fontoddler currently exists in 3 styles, Medium, Heavy, and Heavy Outline. Naturally Heavy and Heavy Outline are congruous, ie. They are fitting together. I hope you enjoy and use this 24th font family from Cozyfonts Foundry. It will fit well with greeting cards, signage, birthday parties, holiday occasions, invites, stationary, headlines, logos, posters, cartoons, animation titles, movie titles and even sports events and sports logos. Have fun with this one. Tom Nikosey

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Gens De Baton is based on a charming lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris 1886) under the heading “Amusing Grammar Lessons.” Gens De Baton means simply “Stick People.” The unknown designer turned the bare letter forms into drawings of people for the enjoyment of the children for whom the almanac was intended. The letter forms themselves were based on the French Romain du Roi (King’s Roman), except for the ‘g’ and the ‘j’ -- which were based on Baskerville. The letters ‘w’ and ‘y’ were not included, as they are seldom seen in French. We have left the letters somewhat rough, as they appeared in the Almanach des Enfants , resisting the temptation to clean up all the lines and render them with digital perfection. We have used our HiH Firmin Didot to supply an upper case and auxiliary characters, as Didot was originally a modified version of Romain du Roi. It is interesting to observe the contrast between the polished look of the Didot upper case and the rough, hand-drawn look of the lower case. Purchasers of this font have our permission to use it for the amusement of adults as well as children. We recommend setting Gens De Baton at 24 points or larger.

World Discovery is a stunning calligraphy font that exudes a sense of beauty, romance, and exploration. The artistic swirls and slanted serifs come together to create a distinctive, high-quality, and exclusive typeface that will bring an antique charm to your designs. World Discovery has its origin in 15th-century discovery maps. Designer Mans Greback procured maps from the state library, and the exquisite penmanship and intricate details on the map, showcasing the venture of exploration and the grandeur of the Age of Discovery, sparked the unique and evocative letterforms that now make up the World Discovery font. The font offers an impressive array of 19 styles, including six distinctive main styles, their italic versions, as well as light, regular, and bold weights, as well as a Swash style for added flair. Combining the fonts gives you infinite possibilities to create a truly customized typographical artwork. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Dawned is our san serif font created with a sweet and enchanting imagination which we applied to this font design. every arch we make is dramatic and dazzling. start using this font to get the perfect work in your project. Not limited to that, the bold calligraphy font is designed to keep paying attention to the beauty of each letter, there are alternate options for the letters which are certainly easy for you to access, so you can automatically customize the letters you want to enhance the visual appearance of your design project. This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. ============================================================================================================ What’s Included : Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters – Fully accessible without additional design software. Fonts include multilingual support for; Afrikaans, Albanian, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish Thank you for your purchase! Hope you enjoy our font!

Awardos is a complete solution for awards, badges and all kind of certificates. This font allows to mix various borders, laurels and icons to create a very unique badges. To quickly create an unique badge, type any number, any uppercase character and any lowercase character, for example 0Aa, 5Gk, 9Kl, 7Fr etc. To add starfield, start with a symbol (!"#$%&'()*+,). Glyphs included: 12x starfields - characters: ! " # $ % & ' ( ) * + , 16x borders - characters: 0 1 2 3 4 5 6 7 8 9 : ; < = > ? 36x laurels and outer elements - characters: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z À Á Â Ã Ã Ä Å Ç È É Ê   12x crown icons - characters: a b c d e f g h i j k l 12x cup icons - characters: m n o p q r s t u v w x 12x number one digits - characters: y z à á â ã ã ä å ç è é ê It is not required to use a symbol from every category. For example only laurel with crown icon can be used, or only starfield with the cup icon. Awardos Inverse is an inversed version. The outline borders are still included, used symbols are: [ \ ] ^ _ { | } ~ ¢ £ ¤ ¥ ¦ § €

To obtain maximum pleasure in working with Hangulatin, please use the typeface as follows: 1 Open an OpenType-savvy program 2 Select the "Hangulatin“ typeface. 3 Copy the following test text into your document: HEL LO WORLD ! THE QUICK BROWN FOX JUMPS O VER THE LA ZY DOG . If this fails to bring about the desired result, please make sure that you are using an OpenType-savvy program and that usage of the OpenType features is activated in that program. Standard graphic programs are suited to that purpose. The same applies to Microsoft Word starting from the 2010 version upwards.To have fun and success with your new typeface, please write all words in the format shown in the sample text, i.e. all syllables need to be written in capital letters and separated from one another using spacecharacters (for single letters leave 2 spaces). If, however, a desired syllable is not to be substituted, proceed as follows: Please check + to see whether it is a word from the English language; + whether the word has been spelled correctly; + whether the word has been subdivided into syllables correctly; + whether the syllable has been terminated with a space character (allow 2 spaces for single letters).

At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of openwork iron products or the bent iron of the decorative little railings in a Prague park. The so-called "hidden" and, furthermore, curved serifs complete the inconspicuous "charm" of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a magazine, a brochure or an annual report, in short whenever illustrations dominate. It is not by accident that the basic design of "Ideal Gothic" has such a light tonal value - it competes neither with fine pencil sketches, nor with sentimental landscapes. It is very suitable for business cards and corporate identity graphics.

Evoque is a humanist serif type family designed for both text and display purposes. Its appearance is crisp and modern while echoing a classical Garamond heritage. The inspiration for Evoque came after reminiscing over Apple’s advertising of the eighties and nineties that utilised incredibly tightly-spaced headlines set in Apple Garamond. I wanted to create a typeface that evoked nostalgia of those times and that distinctive typographic style. A number of swash alternates and discretionary ligatures enhance Evoque, giving you the opportunity to add more flair and personality to your title and branding designs. Simply activate Stylistic Sets to start adding these flourishes to your typography. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 36 fonts altogether, with 6 weights in roman and italic from Thin to Heavy weights across Condensed, Narrow, and Regular widths. Evoque has an extensive character set (900+ glyphs) that covers every Latin European language. Please also take a look at Evoque Text which is specifically designed for the publishing sector. Key features: 6 weights in both roman and italic 3 widths – Regular, Narrow, Condensed 80 Alternates 26 Ligatures Small Caps Full European character set (Latin only) 900+ glyphs per font.

Change Serif is a typeface family designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021. The main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms. The starting point was the preparation of most of the glyphs provided in unicode for Latin, Cyrillic and Greek. From the formal point of view, the Change family is based on Renaissance proportions with contemporary details. Classic upright version is paired with expressive and calligraphic italics, inspired by the works of Robert Granjon. Each of the styles contains about 4,000 characters, allowing for a broad range of typesetting capabilities – multiscript publications, historical translations, and texts transcription. The crucial aspect was to treat all scripts equally. All OpenType features, such as swashes, final forms, decorative ligatures, can be found in Latin, Cyrillic and also Greek. The name of the typeface refers to the design process in which there are constant changes and corrections. On the other hand, it means to convey how this project influenced my perception of typography and allowed me to embrace it as a medium of artistic expression. Due to its similar proportions, Change works perfectly with the Gaultier typeface.

Wolby is a rough and organic hand drawn typefamily which draws inspiration from a variety of sources such as sign painting, hand lettering, comic books, cartoons, health food, sticks and stones to name a few. The letter shapes were all originally created by writing with a pointed brush. The use of one writing tool results in an aesthetical harmony between the very different styles making them all fit together. The family consists of eight styles; upright and slanted caps in regular and bold, a layered block style in fill, outline and shadow styles and a lively script. Wolby is capapble of creating very different moods depending on which style you choose to highlight. Because of it’s aesthetics, range of styles and extensive language support, Wolby is especially suitable for use in advertising, packaging design and gritty branding & fashion design. When using the layered block styles you’ll get the best result by placing the shadow layer on the bottom, the fill in the middle and the outline layer on top. These can also be combined freely so you can use just shadow + fill, shadow + outline or fill + outline. The script style is armed with a set of ligatures and swash capitals which allow you to supercharge your designs.

Welcome aboard the Hyperspace Race Capsule! Let the weight of gravity slip away as our interplanetary transport system takes you around the solar system in unparallelled style and comfort. Our reclaimed UFO has been remodeled with soft, luxurious curves on the interior and the latest cutting edge flight technology under the hood, to meet all your typographic travel desires. Each weight and package includes these luxurious five-star amenities: Kick your Capsule into TURBO mode to access eleven sleek, fast-moving alternate letter shapes. Hit WARP SPEED to cross time and space with hundreds of auto-connecting letter pairs. Chat with passengers from all over Earth, as Hyperspace Race Capsule effortlessly presents speech in 224 languages. Use the versatile Variable font to access 20 preset weights plus over 100,000 options between. Hyperspace Race Capsule is a versatile, full-featured font that's perfect for galaxy-wide branding projects, now and into the future.

For decades, visitors to Times Square could look up and read the up-to-the-minute news flashes that moved across a giant electric sign on the face of the old New York Times Building (now known simply as One Times Square). According to Wikipedia's article on OneTimes Square: "On November 6, 1928, an electronic news ticker known as the Motograph News Bulletin (colloquially known as the "zipper") was introduced near the base of the building. The zipper originally consisted of 14,800 light bulbs and a chain conveyor system; individual letter elements (a form of movable type) were loaded into frames to spell out news headlines. As the frames moved along the conveyor, the letters themselves triggered electrical contacts which lit the external bulbs (the zipper has since been upgraded to use modern LED technology)." An example of this was seen in the 1933 Warner Bothers film "Picture Snatcher" starring James Cagney. This example inspired Moving Headlines JNL.

I decided to create Hebrewish because the only Hebrew Latino font I have ever seen didn't really live-up to my expectations. Each Roman letter and Arabic numeral in this font is based directly on one or more of the Hebrew characters. Originally I was tempted to create an upper case only - since there is no lower case in Hebrew that I know of. But, as this would have limited it's usefulness, I changed my mind and added a lower case also. Nevertheless, those who want to create very Hebrew looking text, need only use the upper case. I've also added some typical Judaic symbols for the artistic minded, e.g. David's star *, the Menorah ^(Jewish candelabrum) and brackets{ } based on this, as well as brackets [] which, used together, produce a 'Ten commandments' stone-tablet symbol(use this [~] for another version). In short, you can either have some fun with this font or use it for serious work - the choice is yours.

“Sympathetic Font” multi-purpose use is an open designed font. It is possible to produce unlimited designs using this font. “Sympathetic Font” is made up of 24 different forms. Hearts, square, triangle, circles, moon and stars, horizontal and vertical lines, sloping inner lines and wavy lines. Shading and decorations are also available. Ideally suited for advertising and packaging, logo, branding, slogans and creative industries, poster and billboards as well as web and screen design. You can create unique designs using fonts in layers. TECHNICAL: Sympathetic provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. “Sympathetic” has 24 different forms and italics total 48 types. The family contains a set of 321 characters. Stylistic Alternates, Localized Forms and Old Style Figures just one touch easy In all graphic programs. Sympathetic is the perfect font for web use. You can enjoy using it.

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

Stadtmitte is a grotesque font with a distinctly industrial flair. It is inspired on a reinterpretation of the Berlin’s vernacular signs and characters created under the DIN 1451 norm. By the early 1900s, german painters and sign makers started to spread this unmistakable way of font drawing used back then on freight trains. Such letter design was both very easy to read and build, hence it started to quickly spread until it became a standard in 1936 for highway signage. Stadtmitte is not aimed to be yet another literal remake of those drawings but rather a revision of shapes and concepts that seeks to transport us to Germany’s industrial way of creating and displaying information, therefore being suitable for a wide scope of design uses, considering its own nature and different available weights. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 618 characters with ligatures, alternates, small caps, old-style and tabular numbers, and case sensitive figures. It supports 219 Latin-based languages, spanning through 212 different countries. Stadtmitte supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi,

Timeless Renaissance looks, gently updated. For novels and billboards alike. Allrounder Antiqua is an old-style serif member of the Allrounder superfamily. A timeless typeface based on classical proportions, Allrounder Antiqua is perfectly suitable for advanced book and editorial design well as packaging and branding. True: its main purpose is to set flawless body copy and to generate an evenly textured page—but its refined shapes work fantastically in display applications, too. Some details, such as the small and sharp bowl of the lowercase a, are fully appreciated in large sizes only. If you need a sophisticated serif typeface for packaging, food, fashion, consumer goods, or lifestyle branding, Allrounder Antiqua is up for it. It's also apt as an outstanding corporate typeface, be it for a more conservative venture or the latest hipster start-up. This classy serif typeface comes in four weights with corresponding true italics. Just like its sans-serif counterpart, Allrounder Grotesk, Allrounder Antiqua is equipped with plenty of Opentype Features like small caps, six sets of figures, case-sensitive forms, superiors, fractions and many ligatures. You will find alternate letters with swashes within this extended character set, as well as all the accented glyphs necessary to support more than 200 Latin-based languages. Historical Background The (French) Renaissance-influenced typeface started as Moritz Kleinsorge's graduation project within the "Expert Class Type design" course of the Plantin Institute for Typography, located in the famous Museum Plantin-Moretus in Antwerp, Belgium. There, Moritz Kleinsorge decided to create a revival of Robert Granjon's "Ascendonica Romain", described as "a beautiful face; typical of Granjon's mature style" in the inventory list of available material. "To touch punches and matrices cut by Robert Granjon back in 1567 was an invaluable inspiration", Moritz explains. Over time, the typeface moved away from being a true revival. Rather, it evolved into a Granjon-inspired typeface. That typeface is now available as Allrounder Antiqua. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Grotesk is the ideal complement to Allrounder Antiqua. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Grotesk to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose.

Beauty Style is a luxurious font collection that includes both a signature script and a sans serif typeface. Beauty Style scripts come in four weights including 12 alternates and 56 ligatures. Programming has been added to the scripts for flow and elegance. Use Beauty Style for sophisticated designing. Fonts designed by Cindy Kinash. See font details below. SANS FEATURES: All caps letters Condensed Sans OpenType Common ff fi fl ffi ffl ligatures Available in Extended Latin Pro (Standard) or American (US) version. SCRIPT FEATURES: Signature style OpenType Common ff fi fl ffi ffl ligatures Available in Extended Latin Pro (Standard) or American (US) version. 12 alternates and 56 ligatures Programmed ligature feature for optimization. Every time you type specific pairs, ligatures are programmed to pop up to avoid letter pair collisions. Programming ligatures gives the script a more elegant and pretty flow. Make sure to turn on the feature in your preferred program that supports ligatures. FREE WORDS FEATURES: 52 free words useful for beauty and sales promoting. Keyword examples include you, sale, and beautiful. Intended use for beauty, fashion, newsletters, websites, magazines, sales, commercials and packaging. VERSIONS: American and Extended Latin Pro AMERICAN (US) Shorter version 12 alternates and 56 ligatures (scripts only) Common ff fi fl ffi ffl ligatures OpenType Includes the common alphabet, numbers, American symbols and punctuation. EXTENDED LATIN PRO (Standard) Extended version of the American. 12 alternates and 56 ligatures (scripts only) Common ff fi fl ffi ffl ligatures OpenType Includes characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, Finnish Scots, French, Gaelic, Galician, German, Greek Transliterated, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Maltese, Nynorsk Bokmal Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh. TIPS: Try the OpenType ligatures by turning on the feature in your preferred program that supports ligatures. FONT LAYERING — Layer the script over the sans to give a cool retro effect. There are so many fun and creative possibilities. FONT CONNECTING — Interconnect the sans and script letters together creating TYPE ART. All you need to do is convert the font into an object and have fun! (Watch the upcoming tutorials on the cultivatedmindtype Instagram) SANS — When sans text is small, widen the text tracking for legibility and style variety. Sans is diverse and can work as tight or loose tracking. Use Beauty and Style for type art, beauty marketing, fashion, apparel, product design, music, websites, promotions and film. Last tip…Always have fun when creating. This isn’t a race. Creating should always be enjoyed. TUTORIALS: For more Beauty Style font tips including font layering, vlogs and tutorials, check out @cultivatedmindtype on Instagram.

Introducing Kleptocracy: the compact industrial typeface that’s taking the design world by storm. With a sleek and efficient assembly line design, this font purrs where other factory-made fonts rattle and buzz. But don’t be fooled by its hard edges and utilitarian lines. Kleptocracy’s cursive elements add a touch of warmth and whimsy, bringing together the best of both worlds. From the gentle curves of the “g” to the playful loop of the “y”, this font is anything but stark and frigid. Available in three weights, three widths, and italics, Kleptocracy is the versatile typeface that can adapt to any project. Its compact design makes it perfect for small spaces and modern layouts, while its industrial roots give it a bold and confident presence. So whether you’re designing a logo, creating a website, or crafting the perfect brochure, Kleptocracy has you covered. It’s time to ditch those outdated fonts and upgrade to the sleek and stylish Kleptocracy. 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.

Welcome to the world of Warmer, a typeface that brings the cozy charm of homemade crafts to your designs. With its cut fabric look and compact, counterless letterforms, Warmer is the perfect choice for anyone seeking a touch of warmth and whimsy. But Warmer is more than just a font—it’s a creative tool that allows you to experiment with two effects layers to achieve the look of a random check fabric. Stack the effects layers to create a textured, tactile appearance that’s sure to catch the eye. With Warmer, you can play around with different color schemes to create a truly unique design that’s tailored to your specific needs. Whether you’re creating invitations for a cozy winter gathering, designing a quilt pattern, or crafting a heartfelt message for a loved one, Warmer is the perfect choice to bring your vision to life. So why settle for a bland, generic typeface when you can add a touch of handmade charm to your designs with Warmer? Try it out today and see the difference it can make! 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.

Since their first appearance as Italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + Russian Cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms. In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choices and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.

Textus Receptus is a historical revival based on the Roman and Greek types used by Johann Bebel (and later also Michael Isengrin) in Basel in the 1520s. The Roman is a low-contrast medium-to-heavy Venetian reminiscent of Jenson or Golden Type. The unusual polytonic Greek, not previously digitized, is lighter in weight and supplied with all the ligatures and variants of the original. Yet when used without historial forms the Greek has a surprisingly contemporary feel: it’s quirky and playful as a display face, but still easily legible in running text. Bebel’s Greek extended and refined the one used for the first printed Greek New Testament, Desiderius Erasmus’ Novum Instrumentum Omne, published in Basel in 1516 by Johann Froben. The name of the font was chosen in honor of this edition, which was so influential that it was later called the Textus Receptus (the “received text”), serving as the basis for Luther’s German Bible in 1522 and much subsequent scholarship for over 300 years. Following 16th century practice, Textus Receptus contains 130 ligatures and stylistic alternates for Greek, accessible either with OpenType features or with five stylistic sets. The Greek capitals, often printed bare in early editions, have been equipped with accents and breathings for proper polytonic or monotonic typesetting. The Roman includes both standard and historical ligatures along with the abbreviations and diacritics typically employed in early printed Latin. For expanded language coverage it has the entire unicode Latin Extended‑A range and part of Latin Extended-B. The capital A is surmounted by a horizontal stroke, as in some 16th century Italian designs, and the hyphen and question mark have both modern and historical form variants. Mark-to-base positioning correctly renders fifty combining diacritics, and with mark-to-mark positioning the most common diacritics may be stacked, permitting, for example, accents and breathings on top of length-marked vowels. Numerals include old-style, proportional lining and tabular lining. For further details, please download the 31-page Textus Receptus User Guide.

American Revolution is a unique collection of signatures of 84 key personalities from both sides of the American Revolutionary War, one of the supreme dramas in history. A must-have for autograph collectors, desktop publishers, history buffs, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous Revolionary War figures. This font includes signatures from the following American Revolutionary War personalities, from both sides: Ethan Allen, Charles T. Armand, John Armstrong, Benedict Arnold, Pudhomme de Borre, John Cadwalader, George Rogers Clark, George Clinton, James Clinton, Thomas Conway, William Davidson, Philippe du Coudray, The Chevalier Louis Lebegue dePresle Duportail, Chistopher Gadsden, Horatio Gates, Moses Hazen, John Glover, Mordecai Gist, Nathaniel Greene, William Heath, Edward Hand, John E. Howard, Robert Howe, Isaac Huger, William Irvine, Henry Knox, Baron Johann de Kalb, Tadeusz Kosciuszko, Marquis de Lafayette, Charles Lee, Henry Lee, Andrew Lewis, William Maxwell, Benjamin Lincoln, Francis Marion, James Moore, Daniel Morgan, William Moultrie, Peter Muhlenberg, Alexander McDougall, Lewis Nicola, Lachlan McIntosh, John Nixon, Hugh Mercer, Samuel H. Parsons, Thomas Mifflin, John Paterson, Richard Montgomery, Andrew Pickens, Charles Cotesworth Pinckney, Enoch Poor, Count Casimir Pulaski, Israel Putnam, Joseph Reed, Elisha Sheldon, Arthur St. Clair, William Smallwood, Philip Schuyler, John Stark, Charles Scott, Adam Stephen, John Sullivan, Jethro Sumner, Thomas Sumter, James Varnum, Baron Friedrich Wilhelm August Heinrich Ferdinand von Steuben, Lord Stirling, Artemas Ward, Joseph Warren, George Washington, Anthony Wayne, James Wilkinson, Otho H. Williams, John Paul Jones, William Woodford, David Wooster, John Burgoyne, Sir Guy Carleton, Charles Cornwallis, Sir Henry Clinton, Sir Thomas Gage, Richard, Earl Howe, Sir William Howe, Sir Banastre Tarleton. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant “s” for the Upright Italic.

The elegant Grenale brings a new look to the classic didone. This shimmering sans-serif family with its mild deco shades alters the typical serifs and terminals of the classic style to form a gracefully eye-catching, high-contrast font. While high-contrast, sans serif forms tend to disappear in the copy, Grenale's meticulously designed features exhibit proper balance in the spacing and in the thorough improvements of its contours. The rigorous consideration given these details leaves a delicate typeface that doesn't get washed out in certain applications. Its pure, polished, geometric structure has a glamorous sensitivity, drawing heavily from the inspiration of the haute couture influence. Grenale's thin weights are simple but vibrant--elegant forms that naturally lend themselves to high fashion journals, high-end branding, and other five star applications. With added energy and power, the thicker weights with their ink traps and optical compensation intensify the gravitas for a statelier look to the graceful forms. Grenale's upright versions are also matched by optically adjusted italics, intentionally tailored to maintain their counterparts' sharp edge, causing the font's fierce characteristics to shine through the refined face. The typeface also includes a wide variety of alternates that can be accessed in any OpenType-enabled application. The stylish features include a large group of alternates, swashes, and meticulously precise details with teardrop terminals and alternate titling caps to accessorize the font. Also included are capital swash alternates, old style figures, and small caps. Take a look at the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also offers the glyphs to support a wide range of languages. It's time to think high-class. Graceful and confident, Grenale's carefully crafted features transfer pleasantly to each page with elegant charm. With its variety of alternate glyphs and its high, classy contrast, this five star font is a great option for bringing a more refined look to your work. Production assistance for Grenale provided from Lucas Azevedo and iKern.

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

In Adrian Frutiger, the discipline of a mathematically exact mind is joined with an unmistakable artistic sense. His independent work possesses the controllable language of letterforms. Personal and intensive, this work is the manifestation of his expressive will. Frutiger's precise sense of outline reveals itself two- or three-dimensionally in wood, stone, or bronze, on printing plates and in the form of reliefs. However, even his independent work can be understood as objectivized signs; in their symbolism, they are embedded in the fundamental questions of human existance. They might have developed in the spirit of playfulness, but their nature is always conceptual, directed towards a complex, yet harmonic, whole. Following function, form also necessarily follows the content of the language. The entire spiritual world becomes readable through letters. Essentially, Adrian Frutiger attempts to fathom the basic, central truth which defines our lives: change, growth, division - beginning and end. In a virtual synthesis, he seems to close the circle in which the world reflects itself in symbolic forms. Frutiger Stones is for Adrian Frutiger the example of his formal artistic sensibility par excellence. Searching for the fundamental elements in nature, he has discovered the pebble, rounded and polished over innumerable years by gently flowing water. And out of this, he has created his complete system, a ruralistic typeface of letters and symbols. It depicts animals and plants, as well as astrological and mythical signs. Because of its unique aura, Frutiger Stones is particularly well-suited to different purposes - in headlines and prominent pictograms, as symbol faces, illustrations, and more.

Pietro Aretino (1492 – 1556) Was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics. The most vigorous and versatile vernacular writer of the 16th century He was a very versatile writer, famous for his Lascivious Sonnets – which caused great scandal at the time – but also for his satirical verses, addressed to all the powerful people in Italy, without forgetting the many plays that he wrote for the theatre. Part of the charm of his letters is that through them you may know the whole of Venetian society from the top to the bottom. The little-known church of San Luca in Venice (in St Mark's district) has been a place of pilgrimage for centuries for people who are decidedly not devout: journalists, writers, free thinkers. In 1556 Pietro Aretino, a unique character of the Italian and Venetian Renaissance period was buried there. Such strong of personality, has contributed to generate the powerful wind of change that emerged from the italian renaissance. We have inspired on that talent searching for a new sight the famous Venetian typefaces. Probably looking for more vigour and contemporary digital style. This typeface is slightly condensed, lighter and has more contrast between the thick and thin letter-strokes, it has concave bracketed serif. Their ascender and descenders strokes are very shorts. Aretino family is completed by four weigh: Regular, SemiBold, Bold and ExtraBold, while Italics has three weighs. These fonts came with a full OpenType features and CE languages.

The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.