The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

I am a coffee person, but two years ago, just before the whole Covid-thing happened, I came down with what I assumed to be the flu. It was a really nasty flu as well: I was down for 10 days or so and when I sort of recovered, nothing tasted the same. Coffee tasted like cardboard and I couldn't stand the taste of it, so I decided to drink tea instead. The 'supermarket tea' we have in Holland is quite bad and tasteless, so I ordered some proper strong English tea online and I have been drinking it ever since. Of course I was thinking of this when I created Imperial Tea font. Imperial Tea font was made with... yes, you've guessed it: Chinese ink and a brush. Imperial Tea is a nice, 'oriental-ish' looking font that comes with a set of alternate glyphs and an impressive language support, including Vietnamese and Greek.

VLNL Boulangerie was originally an incomplete set of early 20th century wood type letters, that Donald Roos found in a dust covered carton box stashed away somewhere at the Royal Academy in The Hague. Charmed by the letter forms Donald decided to print them on paper with a printing press. Next he digitised the prints as they came out, including small imperfections and damages. The missing characters were composed and added digitally to complete the alphabet. (See if you can spot those!?) We think VLNL Boulangerie is a little French in appearance (hence the name), it's joyful, warm, a little crunchy and round-ish. It defenitely has that ‘je-ne-sais-quoi’ that seperates it from most wood type grotesques. It can be perfect for lettering on a storefront window of – let's say a bread shop or a lunchroom. Or a logo for a downtown hipster café. VLNL Boulangerie hardly has any limitations actually.

Back in 2006 when we first released our Happy Holidays font, we thought the War on Christmas was over! We'd taken down our Menorahs, our Christmas trees, reclining Buddhas and red, black and green Kwanzaa decorations, and were prepared to sprinkle nothing more than a little Season's Greetings over our end of year celebrations. When we saw our friends and neighbors at department stores, we'd greet them with a simple, cordial, non-denominational “Happy Holidays.” But the font showed up at our company party this year having learned over 200 new languages (and, it must be said, a little bit loaded on Stylistic Alternates) in a mood to celebrate EVERYTHING. It was wishing people happy Bodhi Day, Solstice, Festivus, you name it! It even brought (count 'em) THREE new outfits based on the colors of Christmas, Hanukkah and Kwanzaa. So may the designs on the cups of the hot beverages that take you through the long dark coffee break of the soul that stretches from Halloween to Thanksgiving to New Year's Day be a little more festive this year with the refreshed, Remastered, all-inclusive spirit of Happy Holidays!

Arthur Sans is a new font design in the spirit of the Art Deco era, the age of elegance, stylishness and refinement. Use this unique typeface for distinctive personal stationary, outstanding business papers, captivating brochures and invitations; for marvellous posters, wonderful menus, hotel leaflets, exciting ads … for outstanding designs. You’ll find out that Arthur Sans is your friend for more than just fine typography. Five weights plus Italics – all equipped with a comprehensive Euro-Latin character set – will hardly leave anything to be desired. Additionally, the font Arthur Sans Regular contains an outstanding extra range of 70 ornamental characters, carefully designed to the very tone of the typeface, to give you a very special kick of extra value to enchant your designs. Alternatively, you can get this set of ornaments seperately, look at the Arthur Ornaments! Arthur Sans is but one part of a greater suite of exciting fonts: you may wish to also check out the sister fonts of the gorgeous Arthur Cabinet family, which will offer you another wonderful scope of fascinating typographic possibilities. For a matching Greek font go to Artemis. And finally, Arthur’s Irish friend is the fabulous Ardagh. __________________________________________________________________________________________

Outside Voice is a handwritten, all-caps typeface, created as an homage to the robust history of handwritten protest signs. It's a beautiful display font for a huge range of projects, from poster art to holiday cards. With contextual alternates enabled, this font will automatically cycle through three sets of handwritten alphabets as you type. The result is type that looks as imperfect and handmade as a digital font can get. This makes Outside Voice a wonderful choice for pairing with hand-drawn illustrations. Consider varying the size, slant, and/or color of each line in your layouts. These adjustments make Outside Voice look even more handmade and organic, which is great for fun designs like posters and quotes. This typeface is quirky and ligature-rich, with over 600 glyphs and icons. It supports Latin and Modern Greek alphabets, and includes all European language diacritical markings. It includes a set of decorated word ligatures comprised of common protest words like 'peace,' 'vote', and 'yes!'. Additionally, you'll get a full set of common protest icons, such as a raised fist, planet, dove, and peace sign.

Stayhill Script was inspired by Retro style and combined with a Handwriting style. Stayhill has many alternative swash and features like stylistic alternates, stylistic set, ligatures and swashes so you can mix and match as you wish. Stayhill Script comes with open type features such as alternative styles, style sets and great features for logos, posters, badges, book covers, t-shirt designs, handwritten quotes, product packaging, headers, posters, merchandise, social media & greeting cards. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or newer versions. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ Stayhill Script is coded with PUA Unicode, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows to attach to your favorite text editor / application. Thank you very much and please let me know if you have questions.

Presenting Heirloom Artcraft-- by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform. Gentleness and subtlety keep this font far away from kitsch. This font sincerely says "ma'am" and "sir" and is perfect for business cards, custom stamps, coffeetable books, letterhead, invitations and anywhere you or your client wish to make an extremely well mannered and charming statement. There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N. It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key. Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic. It also features Metrics and Optical kerning - metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Magola is a creamy flavor font family whose purpose is to season with emotions the reading of words and phrases formed by puffy glyphs coated with a caramel of empty spaces external and internal. Independently or in groups, members of the family serve to decorate and organize packaging or advertising material in letters apparently crafted for food or entertainment contexts. Its starting point was to draw letters like a ballon fish evolved into a black version with empty areas and microscopic contrasted with colorful inflated and filled areas. Then the challenge was based on the sum transferred between full and empty into a lighter caliber. In that vein, its overall design adapted skeletons of italics and Roman calligraphy. Therefore, its regular, bold and black files have great height "x" with upwards and downwards extremely short and large internal counterblocks to facilitate reading. In this regard, to strengthen its objective and capture the reader's attention, its kind of contrast and simulated auctions flat tip brush strokes, and amount of contrast between thick and thin in the black version is slightly inverted. Its sizes, smooth strokes and irregular lines reinforce its traditional spirit, so it is favorable to shine the information on posters or large-format media. In short, its optical conformation based on a non-literal way, in metrics similar in all family members to be easily exchanged without changing the ìxî height. It is therefore a striking and versatile tool, that besides being useful in large sizes, can be used in small sizes as well. And more importantly, its general concept is more profitable when its members are mixed to nest headings, subheadings and short paragraphs, designed according to size, position, color and location in logos, covers, posters, ads and flyers.

Roll up! Roll up! The world’s largest three (letter-)ring circus of Great and Tall Elephantmen fonts is now touring cities and towns in your area! See the amazing exploits of fonts of heretofore unimagined heights and weights! Gasp as x-heightwire artist John Roshell walks great and tall on the typerope up above your headlines! Look in wonder as Elephantmen get greater and taller on stilts, staggering around with their trunks high in the air as well as loose around their waists! Peer cautiously into the sky as the greatest and tallest Elephantmen disappear into the clouds as they swing up on the trapeze... Yes, the Comicraft Big Top is always full of surprises... so hurry, hurry, hurry to download your ticket to the Greatest and Tallest Show on Earth in the comfort of your own home! See the families related to Elephantmen Greater & Taller: Elephantmen, Elephantmen Great & Tall, & Elephantmen Greatest & Tallest.

Roll up! Roll up! The world’s largest three (letter-)ring circus of Great and Tall Elephantmen fonts is now touring cities and towns in your area! See the amazing exploits of fonts of heretofore unimagined heights and weights! Gasp as x-heightwire artist John Roshell walks great and tall on the typerope up above your headlines! Look in wonder as Elephantmen get greater and taller on stilts, staggering around with their trunks high in the air as well as loose around their waists! Peer cautiously into the sky as the greatest and tallest Elephantmen disappear into the clouds as they swing up on the trapeze... Yes, the Comicraft Big Top is always full of surprises... so hurry, hurry, hurry to download your ticket to the Greatest and Tallest Show on Earth in the comfort of your own home! See the families related to Elephantmen Greatest & Tallest: Elephantmen, Elephantmen Great & Tall, & Elephantmen Greater & Taller.

Reilief is an elegant font, timeless and sophisticated choice that adds a personal touch to any design project. With its flowing strokes and graceful curves, this typeface captures the artistry and fluidity of a skilled calligrapher's pen. Each letter is thoughtfully crafted to convey a sense of elegance and refinement, with delicate flourishes and tapered strokes that lend a sense of movement and grace. With many available ligatures, joining certain letter combinations it creates more legible and pleasing appearance, with the letters appearing to dance across the page. Whether used for wedding invitations, branding, or editorial design, Reilief Fonts brings a touch of intimacy and personality to any project. Its warmth and beauty create a connection with the reader, conveying a sense of care and attention to detail. With its timeless appeal and ability to convey emotion and personality, an elegant handwriting font is a versatile choice for any designer looking to add a touch of sophistication and style to their work.

Coumins has soft, elegant brushstrokes, with typography that looks like handwriting. The brushstrokes appear to be produced by fluid, skillful hand movements, giving the font an artistic and handcrafted feel. Medium to large typography sizes will display brush stroke details clearly. This lettering font is perfect for designs that require a personal and organic touch. Coumins is supported with additional characters that have Alternate forms and swashes that will help you achieve beautiful styles with your own creations. FEATURES; -Uppercase, Lowercase, Foreign Support, Numbers and Punctuation -Alternative, Swash -Works on PC -Simple installation -Accessible in Adobe Illustrator, Adobe Photoshop. Adobe InDesign, even works in Microsoft Word - Fully accessible without additional design software. Coumins is encoded with Unicode PUA, which allows full access to all additional characters without having to design special software. Mac users can use the Font book, and Windows users can use the Character map to view and copy any extra characters to paste into your favorite text editor/app. Thank you for visiting:)

Slab serif with a 70’s aesthetic A version of AW Conqueror Sans, AW Conqueror Slab draws inspiration from geometrical slab serifs of the 1930s, of which Rockwell is a perfect example. Lubalin Graph, a reworking of the genre, came out in the wake of the Avant Garde wave of the early 70s. In recent years, ‘slabs’ have made a comeback in the graphic design world. AW Conqueror Slab advances the cause quite happily. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skillful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

Baltimore Type Foundry released its Antique Geometric series by 1883, including it that year on advance sheets for their 1886 Specimen Book, shortly after the firm was taken over by Charles J. Cary. We have chosen to call our version of the face “Baltimore Geometric” because we like the name better. The Central Type Foundry-Boston Type Foundry combine followed with a similar typeface in 1884, using an engraving machine to cut directly into matrices (Gray page 124). It was called simply “Geometric”. As noted in the write-up for HiH font Teutonia, a number of similar typeface designs have appeared over the years. The simplicity of concept is inviting and certainly fits nicely with some of the intellectual theories that developed in the early twentieth century, like the De Stijl and Constructivist movements. This font is useful in conveying an image that is logical and mechanical, implying a high degree of functionality.

Higery – Serif Typeface: Uniquely Engaging Distinctive Tapered Details: Higery – Serif Typeface stands out with its unique tapered serifs. These details add a sophisticated charm. This font is ideal for captivating visual displays. Perfect for Visual Displays: Higery’s elegant tapering makes it perfect for eye-catching displays. It excels in adding an artistic touch to posters, ads, and more. Its uniqueness ensures your design stands out. Versatility in Design: Though unique, Higery remains versatile for various design needs. It seamlessly fits into digital and print media. This adaptability makes it a valuable tool for designers. Ease of Use for All: Higery is designed with user-friendliness in mind. It’s easy to use for designers of all skill levels. This approachability makes it a popular choice in the design community. Elevating Aesthetic Appeal: Incorporating Higery into your projects can significantly enhance their aesthetic appeal. Its distinctive serifs and elegant design elevate any content. Higery isn’t just a typeface; it’s a visual experience.

Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

Reviving a handwriting style from centuries past is similar to playing antique musical instruments; the pleasure of communing with live music arranged centuries ago by brilliant composers is heightened by the use of authentic or reconstructed artifacts. A new revived" script from the Baroque epoch is the Waza typeface, developed by Polish designer Franciszek Otto. Waza is inspired by a Wilhelm Hondius (Hondt) etching. Hondius was a Dutch court engraver for the Polish king, Ladislaus IV of the Vasa dynasty. The decorative character of the script engraved in the etching is a display of Hondius's calligraphic skill. The tangle of the flourishes in the capital letters, as well as the decorative lengthening of ascenders and descenders in the lowercase, contrast ideally with the rhythmic 30-degree slant of the design. Waza includes a set of alternative capital letters that have been deprived of ornaments; these allow the setting of proper Roman numerals, e.g., Ladislaus IV."

Manicuore is a hand-drawn typeface inspired by Italian movie posters by the prolific movie poster artist Symeoni (a.k.a. Sandro Simeoni). Being a talented and skilled painter, portraitist and illustrator, Symeoni enjoyed a long and fruitful career and was remarkably productive during the sixties and seventies. He counts over 3,000 works to his credit, which truly fed the imagination of several generations. This all-caps font brings different lettershapes on upper and lower case slots, which work as alternates, providing handy options to spice up your compositions. When using it in OpenType savvy applications just turn on contextual alternates feature to instantly cycle lettershapes – a one click way for adding spontaneity while also preventing neighbor double letters from using the same glyph. To put the icing on the cake, Manicuore brings a cool set of graphic elements that match the typeface look and feel. An inspiring toolbox for creative lettering designs. Now... Lights! Camera! Action!

Jeanne Moderno is a revisionary type family. A synthesis of Bodoni Italic and 19th Century Ultra-Bold "Fat Faces"—distilled with personality taken from early 20th Century Modernists; the Futurists, Dadaists, Suprematists, Constructivists. Historically, Jeanne Moderno could have appeared on the scene around 1918—after the First World War—when new cultural movements, manifestos, theories and countertheories shaped art, industry and society. Spatter in a few later influences—from De Stijl, the Bauhaus, the types of Herbert Bayer, Josef Albers, Paul Renner—plus a twist of Art Deco and High Fashion—Jeanne Moderno is a remanifestation of 19th + 20th Century Modernist thinking; traditional + revisionist, raw and elegant! Jeanne Moderno can best be used for magazines, advertising, posters, flyers, fashion reports, letterpress experiments, silkscreen endeavors, exhibitions, DMV signage, paper money, revolutionary political statements as well as formal declarations of peace or war. Jeanne Moderno is about the future, the past. The Avant-Garde. Humanist geometry + vintage footwear. Form, function, style, art and life.

Sneakers was a typeface that I originally drew all the way back in 2005, with a release in 2006. Its most recent iteration, Sneakers Pro was released in 2009. Since then, the idea of reworking the design has lingered in the back of my head, but I wanted to add additional flexibility and value to anything offered beyond the originals. Sneakers Max does just that and I am happy to see it released and available to everyone. Sneakers Max raises the bar in terms of functionality… incorporating all of the options found in Sneakers Pro (e.g. Small Caps and a biform/unicase located now in Titling Alternates), but it expands the character offering, improves on letter designs (everything was redrawn) and explores more flexible settings by providing 5 distinct counter widths to keep more uniform multi-line settings with mixed letter heights. Special thanks to Potch Auacherdkul for his additions to the original character set and for his engineering skills.

As one of the most distinguished lettering artists of the 20th century, Meyer “Dave” Davison’s greatest contribution to the American visual landscape is arguably Davison Spencerian. The alphabet made its first appearance in Photo-Lettering’s 1946 catalog and remains a benchmark of the ornamental script genre. Thanks to the skillful hands of Mitja Miklavčič and the tireless eyes of House Industries designers Ben Barber and Ken Kiel, we have preserved the poise and precision of Davison’s masterwork in this faithfully-rendered digital incarnation. From automotive exhaust accessories and pirate-themed wedding invites to New Orleans sissy bounce hip-hop CD covers and upmarket bivalve ambrosia packaging, Davison Spencerian offers sober sophistication and unparalleled flexibility. DAVISON SPENCERIAN CREDITS: Typeface Design: Meyer “Dave” Davison Typeface Digitization: Mitja Miklavčič Typeface Direction: Ben Kiel and Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Scan is literally a barcode font, made of actual barcodes, shaped in De Stijl style. It is a monospace, all-caps font with two different barcodes per letter. These offer the user a choice of a heavier look with the upper case and a lighter look with the lower case. Numbers and letters each have their own distinct barcodes. Also included are an alternate K and R. This font offers numerous ways to create artistic presentations with its unusual design. In certain contexts it has a foreboding look of impending doom, or a cool, cutting edge futuristic look, which lends itself to artwork for album covers, video games, movies, television, novels, and more. It can even have a whimsical look with the use of different colors for its individual bars. Some renderings reveal a ridged or textured look, even a 3D or three dimensional look. Scan gives the user a very high degree of creative potential! Digitized by John Bomparte.

Introducing the OpenType font ‘Athena’, the beautiful calligraphy script. It’s inspired by Athena, goddess of wisdom, courage, inspiration, mathematics, strength, strategy, the arts, crafts, and skill. Athena font is a font that comes with very beautiful changing characters, a kind of classic decorative copper script with a modern touch, designed with high detail to bring stylish elegance, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many letter connections. This is the representative of two styles; you can use it for modern minimalism and also classic expert penmanship styles. Both of these style can be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, letterhead, labels or any type of advertising purpose. ‘Athena' has a lot of alternate characters, including various language support and numerals & punctuation. Please contact me if you need any help by drop a messages. So… Enjoy Athena and best regards. - 38.lineart studio

Galiano is an elegant combination of a script and a narrow modern serif. It is slender, feminine and classy, while still maintaining a friendly feel. Galiano is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its 1500+ glyphs the Galiano Script is perfect for creating original and functional designs. It has extensive language support and tons of ligatures, alternates, stylistic sets and swashes that add visual interest to every letter. The Galiano Font Family in a nutshell: - Galiano - a dancing baseline script with signature loops for ascenders and descenders - Galiano Inline - similar feel to Galiano, notably featuring a standartized x-height - Galiano Text - a simpler version of the script with no fancy loops for ascenders and descenders and no swashes and alts. - Galiano Serif + Italics - perfect for headlines - Galiano Ornaments - a set of 80 beautiful ornaments to embellish your typography. You can use the Galiano Family for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, book covers, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

Vintage, country, distressed or just plain worn out. The Texas general store on the side of the highway that has been there since 1954 and they're still selling old fashion bottled soda. A renovation/excavation at a downtown urban construction site reveals the old ad on exterior brick. Barn Owl provides the headline in your project with the ultimate in aged retro visualization. It is a basic minimal font set which includes only uppercase letterforms. It is a headline font best used above 36 points in size. The first of our “Trifonictype” (Tin Sign is the 2nd) there are three components to the font, Barn Owl Outline, Barn Owl Fill and Barn Owl Shadow. These can be used in different combinations for different effects, copy and paste type then indicate a different font each time. Paste in the front or back in application to see effects in combination. Fill and Shadow could be used with irregular letter spacing for various effects. Outline could be used with just Shadow for a another effect. Use your photo manipulation program to overlay and change the transparency of your headline. There are a few extended glyphs and barn(ding)bats in the lowercase letter strokes indicated in a poster sample, these are found only in the Barn Owl Outline. Download PDF manual for complete showing.

The famous lettering “Capital Trajana” (inscription at the bottom of the column that bears its name erected in the year114 A.D.) is usually identified as the classic example that defines Imperial Capital forms. However, much earlier, there were already countless examples of Greco-Roman epigraphy of excellent execution, as evidenced by the monumental inscriptions from year 2 b.C. sculpted in the Portico di Gaio e Lucio Cesari in front of the facade of the Basilica Emilia, in the Roman Forum, erected by Augustus, dedicated to his two grandchildren for propaganda and dynastic needs. It has been more than two thousand years and the forms of these letters are still part of our daily life, product of their qualities of readability and beauty. It is probably the added semantic value that have made them an icon full of symbolism that expresses majesty, monumentality, order and universal power. Numerous authors, calligraphers and designers have studied this legacy such as Giovanni Francesco Cresci, Edward Catich, L.C. Evetts, Armando Petrucci, Carol Twombly, John Stevens, Claude Mediavilla, just to name a few. Marcus Traianus font is a fitted version of the two models mentioned, which is accompanied by Small Caps, lowercase (carolingas) and a set of numbers (Indo-Arabics) in addition to the Romans figures and diacritics for Central European languages Marcus Traianus is presented in two weight: Regular, Italic, Bold and ExtraBold.

The Yorkten family of fonts is back with another satisfying addition to its clean style. The rhythmic, new Yorkten Slab expands Yorkten’s basic, contemporary form of geometric and simple lines and adds a level of self-confidence and elegance to your work. Slab's basic structure is compact. It’s more condensed than most slabs, so you can save space yet still have clear, consistent readability. The added serifs create a fresh text color, too, that syncs well with the new font’s inherited features. Like its predecessor, Yorkten Slab offers its natural, simple structure with more than fifty fonts in the family and three different widths - extended, normal or condensed. Each group has eight weights from a lean thin to tough looking black, giving Yorkten Slab plenty of bragging rights among its peers. And like Yorkten, too, Yorkten Slab’s greatest value is the ability of its members to work easily and well together and with a variety of other fonts. Yorkten Slab ensures that you have the necessary tools for any challenge. In combination with its superior functionality and excellent readability, this versatile font can be effectively used for many print and screen operations: e-books, applications, headlines, banners, posters and websites to name a few options. Don’t wait any longer. Start tapping the possibilities that Yorkten Slab offers your work.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Akagi started as a rough sketch while on a really long plane ride to Tokyo in 2007. I wanted to develop a sans that was a complete departure from my successful Aaux Pro (now Aaux Next) sans serif family. Whereas Aaux and its siblings are rather unforgiving and stark in their presentation, I wanted this new sans serif to "smile" at you when it's on the page. When the plane landed and I realized I did not sleep through the 15 hour trip, my brain shut off, the laptop closed and I hopped in the car to the hotel—forgetting the "new sans" folder on my desktop. Fast forward a few months and I found myself seeing a lot of crisp, rigid, robot-like sans serif typefaces everywhere... I enjoy these new crop of faces but wanted to see something "friendlier" and remembered my earlier sketch work. The groundwork was there screaming at me to complete and Akagi arose from the ashes. To be truly satisfied with it personally, a great deal of time was spent trying to create a harmony between line and curve in an attempt to show that you can be crisp, clean and legible and still keep some personality. The Light and Fat weights (regular and italic) are my favorites and I hope to see them as the workhorses of the typeface.

The Farfa fonts were designed for institutional use, commissioned by the City of Fara in Sabina, Italy. This project started from the study of the manuscripts found in the Abbey of Farfa, penned in a variant of the lower case of “Carolingian” typical style of that area. The Capital, ligatures and Small Caps, however, are based on the uncial writing that often appears in those codes and manuscripts. Farfa Abbey is a territorial abbey in northern Lazio, central Italy. It is one of the most famous abbeys of Europe. It belongs to the Benedictine Order and is located about 60 km from Rome, in the commune of Fara Sabina The origin of the Abbey is still unknown. Archaeological discoveries seem to prove that the first monastic establishment was built on the ruins of a pagan temple. The Vandals destroyed the first monastery in the fifth century. Only a few documents from the sixth-century prove the early presence of the monastic community. It had the heritage of Charlemagne (S VIII), the Lombard chiefs, and later the Carolingians, succeeded in withdrawing Farfa from obedience to the Bishops of Rieti, and in securing many immunities and privileges for the monastery. Farfa was at this period the most important monastery in Italy both from the point of view of worldly possession and ecclesiastical dignity.

‘Skiart Serif Mini’ is now available online. Originally inspired by the san serif font ‘Skia’ by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

I am First Contact, a super ultra condensed all caps font with support for over 90 languages and over 540 ligatures. I am a cutting-edge font that is both cool and chic, yet still personal. I am perfect for a wide range of design projects, from logos and branding to headlines and posters. I am the future of your typography. I am the font that will take your designs to the next level. I am bold, I am confident, and I am here to make a statement. I am not like other fonts. I am not afraid to be different. I am unapologetically myself. I am First Contact, and I am here to shake things up. I am the perfect font for anyone who wants to stand out from the crowd. I am the font for the bold, the brave, and the innovative. I am First Contact, and I am the font for the cool kids. I am the font for the trendsetters. I am the font for the people who want to be ahead of the curve. I am First Contact, and I am here to help you create something truly unique. I am more than just a font. I am a movement. I am a call to action. I am a challenge to be different. So what are you waiting for? Use me today!

A couple of years before the second World War, Marcel Jacno, the popular French graphic designer who in the 1930s designed iconic posters for Gaumont and Paramount and famously illustrated the Gaulish helmet that first adorned the Gauloises cigarette packs in 1936, was asked by Deberny & Peignot to design a calligraphic typeface for the advertising market. Jacno's Scribe design, billed by D&P as a "virile ad writing" typeface, was released to some great fanfare in 1937, enjoyed some time of French spotlight, and was ready to make waves in the rest of Europe before the war broke out and snuffed its chances at international recognition. However, samples of it can still be found in some specialty post-war publications as an example of a trend that lasted a couple of decades, when Western European type manufacturers commissioned famous visual artists to design typefaces in order to capitalize on the artists' fame - the trend that brought us standards like Futura and the long list of Lucien Bernhard and Imre Reiner faces. This exclusive digital version of Jacno's design expands on the original concept with a large character set that includes plenty of alternates, a couple of different ways for seamless lowercase connections, three sets of figures, and extended Latin language support, adding up to over 540 characters in a one big, contextually-programmed font.

Zitter Decorative Serif is a serif-style product font that looks luxurious and elegant. This font has many features that will make your designs look more beautiful and elegant. It is very suitable to be used as a type of logo and for branding your brand, and there is still much that you can do with Zitter Decorative Serif. Its unique shape adds a creative impression to it, so it can also use for any fancy, unique, vintage, and elegant themed designs. Languages Support :Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations OpenType Multilingual

Some time ago I bought my smallest book ever: Kate Greenaway’s Alphabet* 57 x 72 mm. I thought it was the sweetest little book I had ever seen. Not knowing about the fame of the designer Kate Greenaway (1846-1901), I put it in some dark drawer and looked at it from time to time. Kate’s books were all outstanding successes in English publishing history; she was an icon of the Victorian era. Some of those books are still being reprinted today. This little gem I had accidentally acquired has become very rare and I have not found any reprints yet. So I thought maybe I could adapt her drawings for use on today’s computers. I ventured to redraw her delicate illustrations, blowing them up 300 percent, being forced to simplify them without losing her touch. It took quite some time! While redrawing them, I discovered that she most certainly drew them in at least three different sessions as well. Then I scanned my drawings and put them in a font. To make the font more usable, I added the ten numerals in Kate’s style; the original does not have those. I hope she would have liked my adaptations. Yours in a very preserving mood, Gert Wiescher. * Kate Greenaway’s Alphabet, edited by George Rutledge & Sons, London and New York, ca. 1885.

Jim Rimmer aptly described his Dokument family as a sans serif in the vein of News Gothic that takes nothing from News Gothic. Building on that internal analysis, Dokument Pro is the thoroughly reworked and expanded of the original main set released in 2005, with different widths still in the pipeline. This new version updates Jim’s work to six Pro weights and their italic counterparts, each of which takes advantage of OpenType stylistic sets to introduce different degrees of graduation from gothic to humanist. Dokument Pro is now a unique text sans family, with an adaptable personality suitable for the kind of edgy, uncompromising corporate and media typography that just tells it like it is, instead of having to resort to the common contemporary luring and baiting tactics. Dokument Pro’s range of weights, styles and features (over 775 glyphs per font, built-in small caps, alternates galore, and support for over 45 Latin languages) allows for multi-application versatility and clear, precise emotional delivery. This is the kind of straight-shooter sans that should be in every designer’s toolbelt. For more details on the fonts' features, text and display specimens and print tests, consult the Dokument Pro PDF availabe in the Gallery section of this page. 20% of Dokument Pro’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.