Jill Bell's typefaces are energetic, highly decorative, and refreshingly unpredictable. Some are friendly and childlike, while others are rough and nervous. Her latest creation is ITC Swank, a connected script whose shabby-chic" sophistication communicates a worn elegance. Bell begins the design process "with black stuff on white paper," she explains, preferring to draw letters before she digitizes them. Often the inspiration for her typefaces comes from a piece of hand-lettering. "Bruno began as a reminder to buy cat food," she says, "and ITC Swank started out as a small bit of lettering for Wurlitzer Pianos." Bell finds that working with blocks of lettering is a good start for script typefaces. "If I'm drawing a script typeface, I have to write out sentences in the letters first," she explains. "Drawing each letter separately doesn't establish the flow and spontaneity that scripts deserve." Bell's newest design is ITC Swank. It's a somewhat tattered formal script with definite links to early copperplate scripts. Though probably not for wedding invitations, Swank's elegant underpinnings are evident, with its slightly narrow proportions and a baseline that can best be called "bouncy." Graphic designers will appreciate the abundance of swash letters, making it easy to create distinctive headlines and short blocks of copy. Bell has a fondness for the "open, genuine" quality of Chinese and Japanese calligraphy. "Eastern styles incorporate the natural flow of the hand," she says. "Natural, human qualities shine through. Mistakes are accepted, not scorned as in the 'white-out' Western culture." This philosophy is evident in Bell's own designs. Whether it's ITC Clover 's carefree spirit, the slightly spooky Hollyweird, Caribbean 's< rustic charm or the weathered elegance of ITC Swank, there is a natural honesty in her work."

To Rafaella, a menina dos cachos. We, designers, have grown accustomed to seeing that lowercase letters—not only in calligraphy but also in typography (1)—may be very playful and decorative. Almost every part of them can become a potential swash, ligature or decorative accolade (2) if the designer has some expertise regarding this matter. However, since we are living in an era that elevates the status of handcrafts, lettering has gained a lot of ground in different kinds of mediums, and with it there’s a sort of overuse of capitals. This may be due to the reason that lettering pieces need a high impact to convey their messages and many times why big capitals are the only solution. With this in mind, I started Rafaella: A font consisting entirely of capitals which go from unadorned to very decorative. Rafaella has ductus and forms vaguely based on the 1970s Bookman-like styled fonts. The presence and behaviour of serifs and ball terminals in this style were the perfect excuse to make really attractive aternates which the user can choose from the glyphs panel. The result is a font full of life. Able to be both very playful and formal due to its roman style which can be combined with (and between) a wide range of other styles of expressive scripts or geometric fonts with nice results (3). Also try Rafaella Shade Solo combined with Rafaella or Rafaella Bold for a layer effect to emphasize any given word or phrase. NOTES (1) See my fonts Erotica from 2013 or Dream from 2014. (2) Accolades is a wonderful word that refers to the ornaments made around the words in the spencerian style of calligraphy (3) Combinations often seen in different pieces of lettering were usually a contrast of style is wanted.

Aure Sable embodies the entrancing mistique of an adventurous spirit. The fluid forms of this brush font engage the reader with a subtext of serendipitious happenstance. Sable Regular brings the soft touch of familiarity to text and titles and imbues astrological expressions and chartwheels with an exotic intrigue. The graceful forms of Sable Italic add the flowing touch of a personal comunique. Sable is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular and italic. The CJ glyphset is a full text font with an extended set of lowercase and uppercase glyphs supporting a variety of European languages. Additional glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining and oldstyle versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Sable is engaging as a text font, but its empathic nature radiates against more traditional fonts that provide the perfect foil to Sable's casual persona. Pair Sable with the formal look of geometric fonts such as Aure Jane and Aure Declare to accentuate Sable's heartfelt nature. Give Aure Sable a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

Introducing "Narony" – where sophistication meets nature in a harmonious dance of elegant typography and organic inspiration. This unique font seamlessly blends the timeless allure of serif with the dynamic fluidity of script, creating a typographic masterpiece that is both refined and enchanting. Serif Elegance: Embrace the classic charm of serif letterforms that exude sophistication and readability. Narony's serif elements add a touch of timelessness to your text, making it perfect for both formal and creative contexts. Dynamic Script: The script elements in Narony bring a sense of movement and fluidity to your words. The dynamic script flows effortlessly, adding a touch of personality and modernity to your designs. Whether used for headings or accents, Narony's script component elevates your text with grace. Natural Harmony: Immerse your designs in the serenity of nature with Narony's natural concept. Adorned with elegant leaf illustrations, each character is delicately intertwined with botanical elements, creating a seamless blend of man-made artistry and the beauty of the natural world. Versatility in Design: Narony is designed for versatility, making it suitable for a wide range of applications. From branding and logo design to wedding invitations and editorial layouts, this font effortlessly adapts to various design needs. Distinctive and Memorable: Set your projects apart with a font that is both distinctive and memorable. Narony leaves a lasting impression on your audience, ensuring that your message is not just read but experienced. Ideal Usage: Branding and Logo Design Editorial Layouts Wedding Invitations Packaging Design Social Media Graphics Nature-themed Projects Elevate your designs with the perfect blend of sophistication and nature – Narony. Let your words flourish in the graceful strokes of this font, where each character is a work of art and each design tells a story of elegance and harmony. Experience the beauty of Narony and redefine your typographic expression.

RF Takt is a condensed geometric grotesque with closed forms of signs. 14 fonts from Ultralight to Black. 878 glyphs and 3738 kerning pairs. 16 opentype features. Multilingual support: Latin, latin extended, cyrillic and cyrillic extended (more than 91+ languages) We have tried to make RF Takt feel as good as possible in the field of graphic design and became a versatile tool for solving a wide range of graphic tasks. The specific feature of the font is that having condensed forms of characters allows you to place a large amount of information in a limited space. RF Takt will be a bright accent in a large size and will keep the readability in a small size. A large amount of opentype features opens up a wide range of options for experiments and original solutions. RF Takt is ideal for poster design, web design, newspaper design, magazine layout and covers, video titles, infographics, logos and branding, packaging, navigation solutions. Opentype features: ligatures, alternative symbols, ordinary and tabular numbers, old-style and old-style tabular numbers, tabular currency signs, fractions and automatic fraction, arrows and alternative arrows, case sensitive forms, upper and lower case numbers, small capitals.

Coil feels comfortable like a well-worn pair of shoes. It could easily pass for an assertive industrial European sans serif of the early 1960s with its slight reverse contrast, monotonous proportions, and squared-off curves, if not for its less predictable side. What appears initially as ellipses upon closer inspection turns out to be irregular shapes, closer to an inverted egg than an oval. The s looks topsy-turvy with its higher curve that is larger than the lower. Some terminal strokes overhang the bowl (as in the a), others open flat (as in the Q, the f, the j, and the t). The resulting effect shakes up this seemingly “retro” face just to make it new. Our midcentury recollections are slightly distorted and reinterpreted by this ironic typeface making it fresh while deceptively cozy and familiar. Coil’s high x-height and even texture make it readable even in small sizes despite its tight apertures. Available in four weights with their italics, with two sets of figures, fractions, and alternates for Extended Latin and Cyrillic scripts. Designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan, 2020-21.

Leisure awaits you at the Palm Club 🏖. The weather is warm, the drinks are cold, and the font choices are excellent. This high energy, retro-fuelled script font is ideal for signature style logos, product packaging, display text and 80s/90s inspired graphics. Palm Club includes 2 font files with added features; 1. Palm Club Script • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Palm Club Swash • Type any a-z character in this font to generate one of 21 swashes. These fast strokes are great for underlining your Beach Club Script text and adding some extra finesse to your lettering. Alts & End Characters • End characters are available for 24 lowercase letters when using the Palm Club Script font. Use these characters at the end of your word to add a stylistic ‘end-swash’. Alternate characters are also available for 11 uppercase letters. These are accessible via software with opentype capability, by turning on ‘Stylistic Alternates’, or via a Glyphs panel. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Ardhelia is a beautiful display font that is suitable for branding, wedding invitations, greeting cards, posters, name card, quotes, blog header, logo, fashion, apparel, letter, stationery and other projects. Ardhelia come with 500+ glyphs. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type features can be accessed by using Open Type programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. And this Font has given PUA unicode (specially coded fonts). so that all the alternate characters can easily be accessed in full by a craftsman or designer. Ardhelia : Uppercase ( Four style variations ) & Lowercase International Language & Symbols Support Punctuation & Number PUA Unicode Range Standard Stylistic Alternates Stylistic Set 1-21 Character Variant Contextual. The file include the following : Ardhelia.otf 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). If you have any question, don't hesitate to contact me. Thanks for your visit.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Japura - Modern Display Typeface for Versatile Designs Japura is a unique and modern display typeface that will give your designs a classic, fun, and trendy impression. This font is perfect for display purposes such as album covers, posters, labels, t-shirts, signage, quotes, logos, and much more. With its elegant design inspired by vintage typefaces and posters, Japura comes with several variations such as ligatures, making it stand out from other fonts. Japura supports multiple languages, and its alternative characters are divided into several Open Type features, including Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligatures. You can access these features using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. In the Zip package, you will find Japura in otf, ttf, and woff formats. It comes with uppercase and lowercase letters, OpenType Alternates and Ligatures, numbers, punctuation, and symbols. With its multilingual support, Japura is perfect for any design project that requires a unique and modern display typeface. Upgrade your design game with Japura, the perfect font for a wide range of businesses and projects. Meta Description: Introducing Japura, a unique and modern display typeface perfect for album covers, posters, labels, t-shirts, signage, quotes, logos, and more. With multilingual support and Open Type features, upgrade your designs with Japura today.

Fragua Pro is a family of 14 fonts (Latin Extended-A and the Cyrillic alphabet) Condensed Sans Serif of geometric construction inspired by the Russian constructivism of the mid-20th century; the typography has a rounded finish in all corners to avoid the coldness of the rectilinear fonts and providing warmth and docility, the ascending and descending short and a high height of the x make it very compact, all this results in a unique typeface with maximum readability due to the careful configuration of metrics and Kerning. The cursive styles have an inclination of 8 degrees and a narrower proportion than the regular ones, they also have their own letters and meticulous optical corrections to compensate for the deformations produced by the inclination. Fragua Sans has Advanced Open Type functions, several alternative letters, full support for numbers, monetary symbols and crypto currencies and more. 681 glyphs. This typography is specially designed for advertising and editorial composition, behaving correctly in both short and medium texts and headlines where horizontal space saving is needed, being an ideal typographic system for signage, editorial or corporate design. This typography is dedicated to the memory of my grandfather C·ndido (Pa), the blacksmith of my town. THE COMPLETE 14 FONTS PACKAGE INCLUDES THE REGULAR VERSION IN "VARIABLE FONT" FORMAT, compatible with Adobe CC 2018.

The hand-drawn script Costa Blanca Cyrillic was handwritten with a thin cola pen and will look great on branding design, posters, apparel, logotype, website header, fashion design, wedding card design, and more. Hand-drawn script font Costa Blanca contains a full set of uppercase letters and 2 full sets of lowercase letters and 36 ligatures - which can be used to create a handwritten calligraphy look. Use alternate lowercase and double-letter ligatures to create a perfect hand-painted look in your creations. The Cyrillic part of the font contains the uppercase letters and lowercase letters and 17 ligatures, giving a realistic hand-lettered style. Additional symbols font Costa Blanca symbols contain illustrations and elements and can help to make your design more original. It is a font with over 60 unique, hand-drawn illustrations and elements. A different symbol is assigned to every uppercase and lowercase standard character plus numbers 0-9 so you do not need graphics software just simply type the letter you need. Multilingual Support for 33 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. Works perfectly on the Canva platform. For Cricut & Silhouette recommended. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages.

The Spaghetti playful cute font includes the main & alternative uppercase, and main & alternative lowercase, and the full set of double letters in an upper and lowercase, and a large range of numerals and punctuation. The Spaghetti font will be perfect for use in all your fun design projects be it logos, labels, packaging design, blog headlines. Also, it will look great on mugs, cards, kids books headlines, or other typographic projects. Spaghetti cute playful font contains the Cyrillic glyphs too. The Cyrillic part of the font contains a full set of uppercase lowercase, and the Spaghetti Symbols is an additional font with 52 hand-drawn doodles, catchwords, arrows, and swashes and can help to make your design more original. Combine and arrange swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z and a-z keys in the included Spaghetti Symbols font). A different symbol is assigned to every uppercase or lowercase standard character so you do not need graphics software just simply type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian and Ukrainian languages. Thanks!

Chalice is a new original Canada Type family inspired by two different engraving eras and locations: Medieval England and 19th century Russia. Chalice's construct is geometric at heart, though the wedge serifs and their contribution to the overall idiosyncrasies of the counterspace give it a spirit entirely different from usual geometric types. Chalice's personality is that of a knowledgeable advisor, clinical yet old-fashioned, aware yet unsurprised, secular yet serene, clear yet artistic, hungry yet redeemable. Chalice comes in 4 weights, light to black, that range in expression from a sobering wise whisper of confidence all the way to the bells and whistles of Judgment Day. Such flexibility in expression among the different weights of the same typeface of this kind is quite rare, and will be appreciated by discriminating graphic artists who require more than just another tombstone type. Chalice's character set comes fully loaded across all 4 weights. Two dozen alternates are built into the map, including unicase variations on the a and e, double-barred alternatives for A, E, F, H and S, and connecting versions of b, d, f, h and t. Such variety gives the user to subtly define the set type without overpowering it. Chalice comes in all popular font formats, and is available in single weights, as well as one complete affordable package.

The font pair Petite Annagri Cyrillic will look gorgeous on wedding stationery, love stories, branding materials, monoline logos, business cards, Insta quotes, elegant fashion sketches, and much more. Petite Annagri script font contains the Cyrillic and Greek glyphs too. Petite Annagri is a pretty monoline cursive font, plus a Symbols font with 36 lovely monoline swirls, flourishes, and illustrations. Petite Annagri script font contains a full set of uppercase and lowercase letters. Petite Annagri Symbols is a font with over 36 hand-drawn monoline elements, illustrations, and swashes that can help you to make your design unique and matchless. Combine and merge swashes, flourishes, and illustrations to create your own designs and make borders, frames, dividers, logos, and more. To make the swirl or flourishes in the beginning or in the end of the word just type the letter (A-Z or a-z and 0-9 keys) and choose the included Petite Annagri Symbols font. See preview images. Multilingual Support for 33 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. Also, the Greek language is supported. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian and Ukrainian languages Kazakh. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Varese Outlined is the perfect font for giving content a retro, dimensional, and playful feel. Use it for headlines or short body text for an optimistic or nostalgic tone. It comes in two variations, outlined and shadow. It has standard uncolored and colored options. Please see the slides to know what each color font is named. This geometric and modular typeface was inspired by Italian posters of the 1920s and 1930s. Its design playfully explores the boundaries between unity and variety. The blocky characteristics lend it well to tightly composed text either horizontally or vertically. The lowercase is similar in form to the uppercase, yet many of the lowercase letters have interior spaces (counterforms). It comes with standard ligatures; ff, fi, fl, ffl and three alternate glyphs for number 1. The color fonts in Varese Outlined are vector-based and in the fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator and InDesign 2018, and QuarkXPress 2018 (and later versions). Those who do not want a color font should purchase the files simply named “Regular” and “Outlined”. These will not have any color words in the names. Varese Outlined has two siblings; Varese and Varese Soft. The designer suggests pairing Varese Outlined with his ornamental fonts FormPattern or FormPattern Color Two, Three, or Six.

Sisters is a lively set of stencil display typefaces designed by Type-Ø-Tones’ co-founder Laura Meseguer. The family features four fresh fonts that share foundational principles of construction yet complement each other—as sisters do—by celebrating their differences. Variations in contrast, weight, and design characteristics result in four distinct styles dubbed One through Four. This cool quartet contains no lowercase, asserting the family’s rightful place in the titling typography space. Like many Type-Ø-Tones typefaces, Sisters was conceived as a custom lettering project—in this case, the design was crafted for the identity of an art exhibition. Laura initially drew only the limited character set the show required, but from the outset, she saw great potential for a fully developed type family based on her lettering concept. The first member of Laura’s new family was, naturally, Sisters One. She later added contrast to produce Sisters Two, then equalized the weight of Sisters Two to create Sisters Three. To round out the group, Laura added a deco touch to Sisters Two, resulting in the festive but retro-elegant Sisters Four. Each Sister shares DNA with the other members of the family, just as human siblings do :). Credit for the Sisters name goes to Eider Corral and we couldn’t imagine a more fitting moniker for this little family.

SchmalfetteCP is the result of another collaboration between designers Jason Walcott and Rob King. King suggested that Walcott revive this wonderful and somewhat forgotten sans serif typeface from the mid 1950s. Originally designed by Walter Haettenschweiler in 1954, Schmalfette Grotesk was used for many years in the German magazine "Twen". The typeface was notoriously hard to acquire at the time and graphic designers in the USA often resorted to cutting letters from the Twen magazines and reusing them in their own designs. Later, when digital type came along several typefaces very similar were created that claimed to be digital revivals of Schmalfette Grotesk. However, they are actually only loosely based on the original. The proportions are different and in some cases a lower case was added. The original font was all caps. At Rob King's suggestion, Jason Walcott has strived to recreate the most faithful digital revival possible of the original Schmalfette Grotesk with the new version of SchmalfetteCP. In some cases small changes were made to accommodate today's digital needs (e.g. web fonts), but anyone who has ever searched for this typeface now has a version available that most closely resembles Haettenschweiler's original work. Schmalfette CP comes in OpenType format in both .ttf and .otf files and offers support for all Latin based and Eastern European languages.

STF Eclectic Two contains more of the useful and the sublime. Alarm clock time icons and many characters which connect add extra usefulness to this dingbat font. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Two almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcTwo features an complete architecturally-inspired alphabet, more of those smiley face variations, the eight ball, alarm clocks for the hours, the bouncing ball (with connecting dotted lines!), the paper airplane (flying and crashed!), the work dog, the chainsaw, Dorothy's slippers, the sideways arrows again, a handicapped symbol, chicken feet tracks, male/female symbols, gears, polynesian-inspired ornaments for patterns, a lighthouse, a torch, and more. Sounds twisted, eh? Make your own juxtapositionsof characters for funky borders. Available in Mac and PC formats. License it today!

Customs Paperwork Pro brings the unique style of the NuMode Type No. 61 vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Customs Paperwork Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Fushar is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin alphabet of European languages, Vietnamese and Pinyin with standard ligatures, digits, punctuation, currencies and other symbols - the total of 555 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic script which is available in Fushar Arabic. The Latin character set is a useful addition and is available in multilingual bundles. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include contextual alternates, standard ligatures, fractions, ordinals, case-sensitive forms, proper mark attachment, superscript (1, 2, 3) & localizations.

The graffiti on freight trains inspired Bomr. The large top left serifs add flair and sparkle. For added effect, use capitals in the midst of a word or go completely crazy and mix upper and lower case. Some letter combinations in OpenType-savvy programs are automatically substituted with custom letter/number pairs for an intriguing effect. 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.

Restraining Order Pro brings the unique style of a vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Restraining Order Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set with full support for three language scripts. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

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

One of the earliest fonts published by Canada Type was Almanac, Phil Rutter's digitization of Imre Reiner's 1957 calligraphic typeface, London Script. In 2007, when the font was revisited for an update, it was shown that it too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch, using larger originals. This new digitization maintains a soft contour and, slightly darker and steadier stroke, and much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates and ligatures were added to the redigitized character set. The name was also changed to Reiner Hand, to better reflect the origins of the design. Reiner Hand is soft and irregular jolts from a calligraphy master's hand. In a very Reineresque fashion, most characters include the one finishing stroke that makes professional calligraphers pause and ponder this additional touch to a letter's personality. Reiner Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them loaded with alternates and ligatures. The OpenType version combines both fonts into one, and includes features for intelligent substitution in software that supports advanced typography. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Introducing Dunver - a display typeface font inspired by vintage albums and posters from 1960s music bands. The classic typeface, combined with fun and groovy impressions, make Dunver a unique and distinct font choice. This font is perfect for any kind of display purpose, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, and logotypes. Dunver is especially well-suited for music and party events. With its retro feel and bold design, it can help you create designs that perfectly capture the energy and excitement of the event. Whether you're designing posters, flyers, or social media graphics for your next gig or music festival, Dunver can help you make an impact. The font comes with a range of features, including alternate characters divided into several OpenType features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. These OpenType features can be accessed using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop CorelDRAW X version, and Microsoft Word. In the zip package, you will find Dunver in otf, ttf, and woff formats. It comes with uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation, and symbols, as well as multilanguage support. Dunver is not just a font - it's a versatile tool that can help you bring your creative vision to life.

More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

Cinecav X is a family of typefaces based on Cinecav™ which is a system of fonts designed for closed caption television (CCTV) applications. Cinecav X cannot be used in closed caption systems that require specialized character sets. Closed caption fonts for television makers can be found at ccfonts.com. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, M?ori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Cas Pixalatte Typeface - Dive into Y2K Nostalgia with Pixel Perfection Unleash the power of pixelated aesthetics with Cas Pixalatte Typeface, a cutting-edge font inspired by the iconic Y2K era. This unique typeface is a masterful blend of typography, graphic design, and pixel art, crafted to infuse your projects with a distinct visual style that's both nostalgic and contemporary. Two Distinct Pixel Font Styles Tailor your designs with precision by choosing between the 'Regular' and 'Rounded' styles, allowing you to achieve the perfect balance between retro charm and modern aesthetics. Multi-Language Support Cas Pixalatte goes beyond borders, offering comprehensive support for Latin-based languages across Western Europe, Central Europe, South Eastern Europe, South America, Oceania, and Esperanto. Why Cas Pixalatte? Here's what sets it apart: Visual Versatility: Whether you're working on a gaming interface, website design, or branding project, Cas Pixalatte adds a unique visual flair, making your creations truly stand out. Easy Integration: With a range of file formats, seamless integration into your design workflow is guaranteed, ensuring a hassle-free creative process. Global Appeal: Break language barriers with multi-language support, allowing you to reach audiences around the world without compromise. Elevate your design, embrace nostalgia, and make a lasting impression with Cas Pixalatte Typeface. Discover the possibilities, unlock creativity, and transform your projects into unforgettable visual experiences.

Thanks for checking out Snowdrop Script! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & alternates, Snowdrop Script is guaranteed to make your text stand out - perfect for wedding invitations, printed quotes, cards, product packaging, headers and whatever your imagination holds. By the way, you can make your own design IN ANY language What's really awesome is that Snowdrop Script comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Here's what you get in the download: 1. Snowdrop Script - A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Fully support of all Latin and Cyrillic languages 2. Snowdrop Swirls - The set of small letters with swirls at the beginning and end of the letter. You can use A-Z and A-z to get to them 3. Snowdrop Alt - The set of small letters with special endings + a set of letters with special curls for the middle of words Fonts are provided in TTF / OTF / WOFF formats. You do not need a special design program. Font easy and convenient to use.

Letterpress Studio -Crafted Vintage Goods Letterpress Studio includes following • 7 fonts - a textured and clean version of each • Ornaments • Catchwords • 25 Logo Templates Letterpress Studios core is seven fonts - textured and clean version of each. Fonts are designed in same proportions and work great together. Here’s a short introduction to the fonts: • Letterpress Script -A connected script with lot’s of OpenType features • Letterpress Script Bold -Bold version of Letterpress Script • Letterpress Condensed -A condensed sans-serif typeface with swash uppercase characters on • Letterpress Gothic -A sans-serif typeface with swash uppercase characters • Letterpress Sans -An extended sans-serif typeface with swash uppercase characters • Letterpress Wood -A woodcut style serif typeface with swash uppercase characters • Letterpress Black -A black woodcut style serif typeface with swash uppercase characters • Letterpress Ornaments -A set of pictograms, ornaments, borders and badges (OTF, AI & PDF) • Letterpress Catchwords -A set of over 100 woodcut-style catchwords (OTF, AI & PDF) All fonts have West European, Central European, Baltic, Turkish and Romanian character sets. Fonts come in OTF format. TTF are also available but OpenType features won’t work with them. Letterpress Templates -25 templates (AI) Letterpress Templates is a set of 25 ready made compositions with font pairings, shapes, ornaments and ready made 2-4 color schemes for each. Templates can be used as such or as a starting point for your own project. Download Letterpress Templates here.

Agretta Hills Cyrillic Textured Script Font adds hand look style to all your design projects: logos, signatures, labels, packaging design, and blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, wedding stationery, and much more. An additional font Agretta Hills Symbols can help you to make a lot of pretty designs and logos. Agretta Hills script includes a full set of uppercase and lowercase letters, numerals, a large range of punctuation, and 16 ligatures, giving a realistic hand-lettered style. The Cyrillic part of the font contains the uppercase letters and lowercase letters and 16 ligatures, giving a realistic hand-lettered style. Agretta Hills Symbols is a font with over 36 unique, hand-drawn elements and swashes that can help to make your design more original. A different symbol is assigned to every uppercase or lowercase standard character plus numbers 0-9 so you do not need graphics software just simply type the letter you need. Multilingual Support for 32 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support Russian, Belorussian, Bulgarian, Ukrainian, and Kazakh languages. Works perfectly on the Canva platform. For Cricut & Silhouette recommended.

Irish Penny is based on the lettering from Percy Metcalfe's beautiful and influential pre-decimal coinage of Ireland, the Barnyard Collection. The font is more monoline than is conventional for Irish insular styles, almost giving the feel of a modern soft sans, and perfect for small and large scale display purposes. Irish Penny contains a full complement of Latin Extended-A accented characters, Irish lenited consonants with the dot accent, and the tironian et which is commonly used in Ireland instead of an ampersand. Lowercase characters are provided small caps style, slightly reduced in size and subtly thickened in weight. The licensed font comes with a faux italic, and although obliques are not common among insular typefaces, Irish Penny Italic is a useful smart and sporty extra. Although the insular G/g is usually understood, Irish Penny also includes a more latinised option as an alternate G/g. The supplemental 'Irish Penny Alternate G' font places the latinised G and g characters at the normal G/g keystrokes, and makes the original insular glyphs the alternates. An alternate E/e with an angled crossbar is also included. The font contains a selection of discretionary ligatures, these include the ligatures that were used for pre-decimal coins: AC/ac, AE/ae, AL/al, AO/ao, AU/au, AT/at (halfpenny, half crown), AX/ax, AY/ay CA/ca, CC/cc, CE/ce, CO/co (half crown), CU/cu, CY/cy EA/ea (halfpenny, half crown), EC/ec, EE/ee, ET/et, EU/eu (sixpence), EY/ey FE/fe (farthing), FF/ff, FL/fl (florin) GI/gi (penny), GU/gu KA/ka, KE/ke, KI/ki, KO/ko, KT/kt, KU/ku LA/la, LE/le (halfpenny, half crown), LL/ll (shilling), LO/lo, LT/lt, LU/lu, LY/ly RA/ra, RC/rc, RE/re (three/sixpence), RH/rh, RI/ri (florin), RK/rk, RN/rn, RM/rm, RO/ro (half crown), RR/rr, RT/rt, RU/ru, RY/ry TA/ta, TE/te, TO/to, TU/tu NOTE - Irish Penny contains some characters that are not accessible directly from your keyboard, but which may be copied from a font viewer such as Character Map, Font Book or FontExplorer, and pasted into documents. They can also be accessed from the Glyphs browsers within OpenType-aware applications like Adobe InDesign and Illustrator, and Affinity Photo and Publisher.