We are very happy to announce the release of our first collaboration with master calligrapher, designer and illustrator Gabriel Martínez Meave from México. The first in the series of new designs is Wordless Script, an emotional calligraphic typeface published by Sudtipos. Speechless. Breathless. Wordless. There are letters that transcend simple functionality and sheer legibility, to be recognized instead by their style, their charm, their emotion. It’s like when we don’t remember the exact sentences, but we recall the tone of the voice of a loved one: it just doesn’t matter WHAT he or she said, but HOW he or she said it. Wordless Script is the font of choice for writing those things that go beyond words. Based on the connected-scripts of late 18th-century England, this typeface preserves the irregular finish and gestural strokes of the pointed nib. It is, so to speak, a personal rendition of the English roundhand as originally executed with the bird’s quill. Imbued with a Rococo, neoclassical, romantic spirit, Wordless radiates the gallantry of a time when the celebrated «douceur de vivre» that Talleyrand was so fond of was still alive and well; echoes of which still haunt us in our eclectic 21st-century, which has once again come to appreciate these magnificent styles of old. Wordless features alternate variants of most letters, ligatures and multiple calligraphic endings, ideal for elegant labels, high-end packaging and personalized stationery, as well as compositions for selected brands, exquisite titlings, verses, letters and short texts, like those meant to be read with the eyes only or intended for whispering into someone’s ear.

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

Looking for a minimalist and luxurious serif font for logos, web design, clothing promotions, brochures, and more? Garelina is the answer. This font has thin and smooth lines that make it look elegant and luxurious. Garelina is perfect for branding and promotion purposes. With its delicate typography, this font can add aesthetic value to your design. Garelina also has several letter variants making it easy to use for various design types. With Garelina, you can create minimalist designs that still look luxurious and elegant. This font is perfect for companies that want to display a professional and stylish image. Do not hesitate to try Garelina on your design now. You will be surprised how easy it is to make elegant and luxurious designs with this serif font. Garelina, the elegant and luxurious serif font for your branding needs. What's Included : - Garelina OTF - More than 250 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations,Ligatures and Stylistic) - Multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. The Bauer Bodoni was done by Heinrich Jost for Bauer Typefoundry in 1927. This version has finer details of the original Bodoni types. It works well for headlines, logos, advertising.

Ramolina Script is an elegant calligraphy script font that comes with lovely alternates character. a mixture of from copperplate calligraphy with handlettering style. Designed to convey style elegance. Ramolina is attractive like a smooth, elegant, clean, feminine, sensual, glamorous, simple and highly legible typeface. Its classic style is perfect to be applied in any type of formal pieces such invitations, labels, certificate, menus, Logos, fashion, make up, stationery, letterpress, romantic novels, magazines, books, greeting / wedding cards, packaging, badges etc. Ramolina Script features 400+ glyphs and 200+ alternative characters. including multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, that allows you to mix and match pairs of letters to fit your design. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to use stylistic sets fonts in Microsoft Word 2010 or later versions: https://www.youtube.com/watch?v=NVJlZQ3EZU0 There are additional ways to access alternates / swashes, using the Character Map (Windows), Nexus Font (Windows) Font Book (Mac) or a software program such as PopChar (for Windows and Mac). How to access all the alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or advice, please contact me by e-mail "megatype04@gmail.com" Thank you for your purchase & Happy Designing!

These fonts just ooze Christmas and holiday spirit from every curve of every letter! If Kingthings Willowless Pro is a Christmas font, well... then Kingthings Willow Pro is a Christmas tree complete with decorations and lights! This font is sooooo ornamented - but still quite readable. I have cleaned up all the outlines, redesigned the F (which looked more like a J), tweaked some more letters and then expanded the font with the usual multilingual glyphs. I loved this font when I first saw it, but was very nervous that it would be difficult to design the accents - but it was a breeze! It has been one of the most enjoyable fonts to rework so far. Hope you will enjoy it, too. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

This font has been described as "one of the cutest fonts I've ever seen. I can imagine a beautiful, young 22-year-old fashion design student from Los Angeles, CA with this handwriting as she's writing in her journal." I have cleaned it up a bit, increased the size of all the dots slightly and then designed all the diacritics and expanded the character set. The lowercase "f" has a big overhang and the lowercase "j" goes really far to the left - I have programmed automatic (OpenType) Contextual Alternate versions that automatically substitute with shorter variants when letters collide. These alternate letters can also be switched on using the OpenType palette's Stylistic Alternates or Stylistic set 01 ("j") and 02 ("f"). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded Script sub-family is a nod to the 50s style of connected logomarks. Words set with both the Regular and the Alternate (with its more flourished capitals and alternate stem connections) can be extended by using the underscore character between letters. You can freely mix and match glyphs from both fonts to create a little bit of variety, and finding that perfect combination. For a matching set of capitals (and disconnected lowercase letters): check out the Regular weights of the Geometry Soft Pro family. All the Geometry Pro fonts are strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) but they are not slavishly modular. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Standing tall as an Illinois cornfield in September, Cornhusker Regular is a strapping condensed sans designed by a champion cornhusker. Inspired by 1940s Midwestern signage, it's warm & charming characters are perfectly at home in logos, beverage bottles and food packaging, restaurant menus, travel advertisements, websites, stationery, handmade product packaging and so much more. If you're looking for a hand-crafted typeface with punch (who can fit into tight spaces!) then Cornhusker Regular is the font for you. This inspired revival excels in both retro & modern designs. Cornhusker Regular includes capital letters, small caps, and alternate cuts (with diacritics) of A, E, F, J, X, Y, ᴀ, ᴇ, ғ, ᴊ, x, ʏ, 0, 1, 2, 3, 4, 5, 7 and a sharp German double s in both cap and smallcap. This font is not affiliated with or endorsed by the University of Nebraska. WHAT'S INCLUDED Cornhusker Regular includes an installable digital Opentype Font file in a single weight. This file contains a basic Latin character set with a full set of uppercase and small caps, multilingual diacritics, numbers, international currency figures, punctuation and pagination symbols. The font also includes alternate cuts for select uppercase and smallcap letters (located in stylistic sets). It is compatible with Adobe CS and CC, Microsoft Word and other type editing apps. SUPPORTED LANGUAGES Afrikaans, Alsatian, Basque, Bislama, Breton, Catalan, Chamorro, Danish, Dutch, English, Faroese, Finnish, Flemish, Franco-Provencal, French, Frisian, Friulian, Galician, German, Greenlandic, Icelandic, Indonesian, Irish, Italian, Ladin, Latin, Luxembourgish, Malay, Manx Gaelic, Northern Sotho, Norwegian (Bokmål), Norwegian (Nynorsk), Occitan, Portuguese, Rhaeto-Romance, Romansh, Sami (Inari), Sami (Lule), Sami (Northern), Sami (Skolt), Sami (Southern), Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Walloon and Welsh.

Karoline is a lovely script font with beginning and ending swashes, 31 ligatures that add more beautiful and aesthetic fonts to perfect your extraordinary project. Karoline is a lovely script with handwritten, sophisticated flows. It is perfect for branding, wedding invites, and other romantic projects. "Karoline" includes a full set of uppercase and lowercase letters, multilingual symbols, Alternate,numerals, punctuation and ligatures. Also it includes: -short lowercase beginning and ending swashes which serve to connect two words or letters (This is so perfect for invitations, monograms) All of features and special characters of this font are included in one file. So it is easy to accessed by using program or software that support the opentype like Adobe Illustrator, Adobe Photosop, and Adobe Indesign). This font also very easy to use because compatible for all software even for non-opentype supported.so it would be perfect for all types of printing techniques+you can do embroidery, laser-cut, gold foil, etc. You can mix and match with Opentype feature: Ekstras 31 ligature More than 540 of glyphs Alternates Stylistic sets from ss01 to ss04 If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Versions, you can access all the alternate glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternate Characters Click The Link Below: Adobe illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Check my other Font here : https://gilarstudio.com/ Thanks and happy designing :-)

Designed by Cosimo Lorenzo Pancini and Maria Chiara Fantini with the help of Solenn Bordeau, Erotique Sans is the sans serif version of Erotique: a typeface that evolved the original design of Lovelace mixing its romantic curves with the glitchy & fluid aesthetic of trans-modern neo-brutalist typography with the aim of creating a design that was feminine in an assertive and self conscious way. With its restrained, didonesque elegance, Erotique Sans is mostly thought for display use. Its high-contrast design is ready to take center stage in projects where a subtle elegance and an edgy, contemporary touch are required. All its weights (regular, medium, bold and monoline) have been paired with an Alternate version to give immediate access to a wide array of exotic alternate letterforms, available as Open Type Stylistic Sets in the standard family. For logo design and titling use Erotique Sans is paired by Erotique Flourishes, a set of whiplike fleurons that can not only be added to some letters, but also be used as interlocking patterns. For editorial use, since its high contrast requires big text size, the family is complemented by the Erotique Text weight that allows for longer text typesetting thanks to streamlined design, lower contrast and better readability. With a character set of over 500 glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you liked Erotique, you won't be able to avoid falling in love with Erotique Sans - the font that can't keep its serifs on...

A stylistic and square outline font suitable for headlines and logos. The original font contained no diacritics at all, so I have designed these to match. I also made the descenders on "g/j/p/q/y" a bit longer - so they would balance better with the letters with diacritics below the letter... I redesigned the "t", but have included the original "t" as an alternate, available via your programs' glyph palette or using the OpenType functions "Stylistic Alternates"/"ss01". Genotype S BRK Pro is the perfect companion for Genotype H BRK Pro (The H stands for Hollow and the S stands for Solid). Can be used as a fill for its companion (using layers), but is also quite a usable font on its own. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

The Madison Ave. family started from Madison Ave. at Fontstruct.com. As my most downloaded font, this was an easy, although not necessarily logical choice to make – regarding taking an existing free font and attempting to offer it for purchase. The font is very basic and simple in its layout, but has achieved popularity over at Dafont with almost 80,000 downloads with its cool, understated nature and inherent sophistication. The original Madison Ave. is now 95 Madison Ave. A couple of glyphs have changed from the original, but mostly the set is the same. The big news here is the availability of multiple variations on the original. Ninety-five refers to the filter settings used to achieve the faint cross lines in the font. The sequence 95-100 provides a gradual fade to solid effect when used together. The other versions use variations on the filter settings that allow each its own distinctive flavor, while at the same time maintaining inherent characteristics of the original. Ninety-five is now joined by 55, 75, 97, 99, 100, 102, 105, 155, 175, 201, 202, and 275. 100 is the solid version which doesn’t contain the trademark lines found in 95. In 95-99, the line width varies to achieve subtle effects. 50 and 85 are distorted by reducing the filter settings in a somewhat minimizing fashion. In 102-205, these are distorted by increasing the filter settings above the normal which is what 100 represents. While some of the effects are extreme and challenge the legibility of text, these can be fun or edgy. They offer a cohesion that can be used to advantage for different projects that require the use of a modern font family.

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

Welcome to Dream Orphanage, a typeface that will bring warmth and personality to your design projects! With its tidy and friendly sans-serif style, Dream Orphanage is a high-quality reconstruction of the beloved 1990s typeface, Dream Orphans. But we didn’t stop there. We’ve included an alternative style of “g” in OpenType-capable apps, giving you even more creative freedom to make your designs stand out. And with seven weights and italics to choose from, you’ll have no shortage of options to craft the perfect look for your project. Whether you’re designing a greeting card for a loved one, a website for a small business, or anything in between, Dream Orphanage will bring a touch of charm and friendliness that will capture the hearts of your audience. So don’t wait—start creating today with Dream Orphanage! 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.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

When you go traveling you always fall in love with something… At this time, it is the inscription of Holland America Line which is sparkling on ‘New York Hotel’, Rotterdam-Holland. Based on the letters I had at my disposal from the Holland America Line inscription at ‘Hotel New York,’ I started to complete the alphabet in the same style as the original text. Eventually, I digitized everything in order to acquire a usable and modern font to be able to use it for all graphic purposes. The font is ideal for head text, posters, logos, editorial, branding, signage, web applications, modern design, etc... Don't hesitate to use this unique historical font! It will give your work that glamour that you will find in this extraordinary font. Enjoy the New York Line. The Holland America Line was founded in 1873 as the Dutch-America Steamship, a shipping, and passenger line. Because it was headquartered in Rotterdam and provided service to the Americas, it became known as Holland America Line (HAL). From 1901 the iconic building on the Kop van Zuid shines. It previously housed the Holland America Line; now it houses the hotel-restaurant, Hotel New York. A building with a great history. Hotel New York has a beautiful history. Built in 1901, many ships sailing away and opened in 1993 as a hotel and restaurant. The New York Line Font comes with uppercase, lowercase, numerals, punctuations so you can use it to customize all your designs. Perfect for Logos, Letterhead, Poster, Apparel Design, Package design, Label design etc. The New York Line Font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. Enjoy your journey with the New york Line!

Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

The idea for Quirky was born while I was looking at a book of etchings by British artist Graham Clarke. His signature, crawling spider-like across the page, fascinated me with its casual, almost messy, inky dark and light drama. I started scribbling the alphabet as I imagined he would write it, based on his signature, then continued, adding curls, making the characters more angular, and refining the dramatic play between dark and light. Finally, Quirky appeared. Apparently casual, Quirky is, in fact, a true connected script. Quirky is characteristic of contemporary handwriting: It appears loose, angular, unstructured, and free, while maintaining good form and legibility. Its baseline is varied, creating an impression of impatient handwriting, without losing legibility. Quirky comes in five styles: condensed -- the most dramatic form, with great drama between thick and thin condensed black -- as with condensed but allows the user to provide exceptional emphasis wide -- increased readability wide black -- increased readability and emphasis splat -- messy and ink-blotted -- a hint of grunge Use Quirky for advertising, for humorous greeting cards, for a funky fashion look or tongue-in-cheek spooky media. Quirky is a fully professional font with extensive use of OpenType Ligatures. For example: most common double letter combinations such as "ee" are rendered as two, slightly different shaped "e"s. This variation in letter shapes removes the cues by which the reader identifies that he is viewing a FONT and thus conveys a strong sense of hand-lettered text. Language support includes all European character sets and has been designed to be used with the following languages: Afrikaans, Albanian, Basque, Bemba, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Icelandic, Indonesian, Irish, Italian, Kinyarwanda, Luo, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Sango, Shona, Somali, Spanish, Swahili, Swedish, Swiss German and Zulu.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Introducing Enamel Brush—the perfect typeface for adding a touch of vintage charm to your design projects. With its bold and expressive brush strokes, Enamel Brush takes inspiration from Emil Klumpp’s Catalina typeface from 1955, a classic typeface that embodies the spirit of post-war optimism and creativity. Enamel Brush has been designed with the modern designer in mind. Thanks to its OpenType features, certain letter pairings are automatically replaced with ligatures, ensuring that your text has a more natural and authentic feel. Whether you’re creating a logo, poster, or website, Enamel Brush is the ideal choice for adding personality and style to your messages. Its bold, confident strokes are perfect for grabbing attention and making a statement. So why not give your next project a touch of vintage flair with Enamel Brush? Get your copy today and start creating something truly special. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

Bigfoot is the fattest font ever made. It began as a simple exercise given to students in a design course: Most people don't appreciate type because they don't really know what it actually is. One way to understand it is looking at it like a combination of sculptures that have to work together to achieve a certain harmony, where each letter form is one of those sculptures. Most people understand and appreciate that a sculpture starts from a rock of an incomprehensible form, which is manipulated by someone into becoming the recognizable or abstract work of art it eventually is. Consider type design a kind of two-dimensional sculpting. You have a rectangle. Take away as a little as possible from it until it is recognizable as the letter A. Repeat to get the letter B, and so on. After all 26 minimal letters are made, do they actually function as an alphabet to build words and sentences that are recognizable to the human eye? This exercise can trigger thoughts and theories about the overall subjective nature of identifying abstract yet somewhat familiar shapes. It can go into the psyche of art in general. But one thing for certain, this exercise has so far helped a few people find a new appreciation for finely crafted typefaces. If you are a design educator, your students' typographical perspective and arguments would benefit from it. And if you are a designer, well, fat faces are all the rage these days, and this is as fat as it can get. Please note that that this typeface, due to its minimalistic nature, does not include accented characters. It does however support the full C0 Controls and Basic Latin Unicode set. All proceeds from this font go to support the Type Club of Toronto.

Hey there, font fanatics. Feeling like your messages are falling flat and lacking some serious funk? Well, we’ve got just the typeface to turn that frown upside down! Introducing Strenuous, the unicase headline typeface with a fashion groove that’s sure to transport you straight back to the ‘1970s. But wait, there’s more! Strenuous isn’t just any old boring typeface—oh no. This baby is unique, distinctive, and funky. And with alternative uppercase and lowercase versions for some letters, you can mix things up and keep things interesting. And don’t even get us started on the eight weights and italics—this typeface is truly versatile and can handle anything you throw its way. So go ahead and give your message the voice it deserves with Strenuous. Your audience will thank you for the groovy vibes. 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.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. 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.

Hello Everyone.. Introducing a new Font " El Fonte Angelia " Beautiful Serif Type Family is inspired by the serif typefaces used in editorial media in the 70s and 80s.such as the soft and gentle shapes found in Cooper or the fluid, angled strokes in Windsor— mixed into one single design that features familiar, fresh, modern flavors. Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator. El Fonte Angelia variable allows fluid design across 5 weights The font broadens its use by supplying weights all the way from Light to Bold. The natural curves, swells and sloping trunks, grow in character as the font gains weight. Whilst the thinner weights have lowered contrast and optical corrections to create a warm and gentle appearance. El Fonte Angelia character set incorporates additional symbols, stylistic alternates, unique ligatures and case sensitive punctuation - producing a stable workhorse family ready to tackle projects of any size.The type family melds organic curves and gentle repetition into powerful and harmonious type. At large point sizes you can appreciate the letter shapes, whilst the same restraint and focus creates an even texture for small point sizes and long reading. Its variety of weights provide a range of choices that will help you find the best typographic color for your project. Lighter weights are well-suited for body text while heavier ones are ideal for high impact headlines. The available stylistic alternates offer a number of different characters that give your logo or business card a unique look. Check my other Font here : https://gilarstudio.com/ Thank you Regards, Gilar Studio

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Introducing Confab, the futuristic typeface that will revolutionize the way you communicate. Crafted with pure geometric forms, this unique font is a testament to the power of technology and design. With its technical letterforms and stark appearance, Confab is more than just a font—it’s a statement. Whether you’re designing a sleek logo or crafting a cutting-edge ad campaign, this font will lend an unfamiliar voice to your message. Imagine your words soaring across the digital landscape, leaving a lasting impression on your audience. Confab makes it possible with its bold, innovative design and stunning visual impact. So why settle for ordinary when you can elevate your message with Confab? Try it today and experience the power of typography in a whole new way. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Fazeta is a type family that uses the optical sections. It is a modern static antiqua (it has not obliqued axis, serifs without slopes) but distant from ceremonious and rigid look of this type category. Inspiration was typeproduction from Czechoslovakia 60’s - J. Týfa, V. Preissig, J. Linzboth or A. Krátky. Common factor of this typefaces is vivid and sharp design with stable serifs, tend to rational construction rather than calligraphy and some sophisticated small details vitalized general impression. In this case are facetted asymmetrical arches (some abbreviation). Specific of this typeface is a short arch of glyph “f” that allows comfortable typesetting without ligatures obligation. In character set are besides classical ligatures discretionary ligatures for special occasions. Another surprising element is that all vertical strokes are slightly expanded upwards. These details become invisible in small text but in larger sizes impressed the eye and fix attention to headline. For traditional text feeling are here alternative glyphs “a, c, f, j, k, r, y, K, R” terminated with typical serif. Typeface is graded by optical size into 3 variants - caption (robust structure with low contrast, suitable for size 6 - 9 pt), text (medium contrast, suitable for ordinary text about 10 pt) and display (high contrast and subtle details for 20 pt and higher). Every variant has 5 weights (light, regular, medium, bold and black) with italics. Typeface is with their naked cold expression suitable for neutral text without emotional feelings. In contrast with most antique typefaces this is intended for modern glossy white paper where crisp details can excelled. Every font contains 1140 glyphs, between them original small capitals, various digits, fractions, indexes, matematical symbols, arrows, borders and many alternative glyphs. To see more please check the PDF specimen.

Say hello to 'Orange Flower'!! A bold and beautiful font with a brush and a lot of additions! I am very pleased to present 'Orange Flower' - a versatile and artistic set of handmade fonts with a brush! The font comes with alternative uppercase and lowercase characters. Thanks to the very clear contrast in weight and authentic style made with a brush, 'Orange Flower' is guaranteed to give your text an individual, individual feeling - ideal for logos, printed quotes, invitations, postcards, product packaging, headlines and everything your imagination is capable of, use in ink-based drawings or watercolors or independently in the form of bold handmade inscriptions!! :) The font comes with a lot of great features to keep you busy :) Each character has its own alternative version, which allows you to create unique words and layouts. There is also a second font brush 'Orange Flower Brush', which contains brush strokes, underscores and brush splashes. This gives you the opportunity to create an artistic image of your text, which will give your design a sloppy realistic look :) Both fonts have a large selection of characters, including ligatures. 'Orange Flower' includes ligatures and stylistic alternatives for those who have software with opentype support (for example, Photoshop/Illustrator). I really hope you enjoy it, and please feel free to write me a message if you have any questions or concerns! :) 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

Looking for something new for setting powerful headlines? Need a font that can create logos with ease? How about something masculine, a design with authority and panache? Then ITC’s newest typeface, ITC Sportbet™, may be the perfect choice. ITC Sportbet is a design that should be set tight, creating an arresting graphic image as well as words. Although a capital-only typeface, it benefits from a large suite of alternate characters that enable individual words and headlines to be customized with a distinctive personality. In addition to the obvious power of ITC Sportbet’s square-jawed character shapes, it’s fun to use. Exchange one or two letters with their alternative designs and a brand new headline or logo appears. ITC Sportbet was designed by Dane Wilson, the principal of the London-based design firm of Dane Design. Although this is his first commercial typeface design, Wilson has ample experience creating logos and custom typefaces for corporate branding. In fact, Sportbet grew out of such a project. “The idea initially came from wanting to provide a client with a stylish, modern and graphically impactful corporate identity logo font,” recalls Wilson. “Although the first sketches looked promising as a typeface, because of time and budget constraints, developing an entire alphabet would be overambitious.” Not to be deterred, Wilson continued to work on the design when time permitted. He eventually completed the font and started final application tests. The results looked good to Wilson, but he felt that the design was missing something. “I hit upon the idea of breaking out the left side of all the closed counters,” Wilson wrote about the design. “This simple device gave Sportbet the kick it needed.” Although one weight and a capital-only typeface, Wilson’s ITC Sportbet should prove to be a powerful and versatile communicator.

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.