The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

Lightly sailler is a beautiful new serif font that's created to complement a classic style for your project needs to be more perfect. Classic curves and sharp serifs make the Lightly sailler Serif feel elegant and nostalgic, at the same time, while still leaving enough simplicity to use for both headings and body types. It is also equipped with four special ligatures (ct, st, it, ck, sl, el, et, the, and end) as well as alternate features either capital or lowercase with a little tail that bumps the letters after which is a combination idea to give a more elegant impression. provides extra flair and body text legibility. Test the Lightly sailler in the box above to see how it works for your next project! Lightly sailler Includes: Uppercase & lowercase letters Numbers & Punctuation Ability Foreign language Ligature Alternate

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.

Heavy techno music, a personal computer, a font creation program and some inspiration had been the sources to the Face 2 Face font series. Thomas Nagel and his friends had the demand to create new unusual faces that should be used in the leading german techno magazine Frontpage" Even typeset in 6 point to nearly unreadability it was a pleasure for the kids to read and decrypt the messages. WhaleTree is a hommage to Walbaum. The word is a gemanized translation where Wal means Whale and Baum means Tree. :-)"

Le Tarot is a modern serif font with celestial motives. The font is created in classic proportions and decorated with the moon and stars. Le tarot includes stylistic alternates and ligatures. The font is suitable for the design on the theme of astrology, mysticism, spirituality, witchcraft, magic, esotericism. Le Tarot has extensive language support, it includes English, French, German, Italian, Spanish, Portuguese, Danish, Norwegian, Swedish, Finnish, Estonian, Turkish. Le Tarot includes stylistic alternates for symbols: A, a, D, d, G, g, J, j, M, m, O, o, T, t, U, u, W, w. There are also ligatures: Ka, La, Ma, OO, Ra, aa, am, ka, ko, la, lo, ma, mm, mo, oo, ra, rm, ro, rr, tt, xa, za.

Hello Anggela Script a new fresh & modern script with a handmade calligraphy style, decorative characters and a dancing baseline! So beautiful on invitation like greeting cards, branding materials, business cards, quotes, posters, and more!! Hello Anggela Script come with 275+ 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 savvy 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. How to access and use font glyphs on a Windows PC : https://designbundles.net/design-school/how-to-access-use-font-glyphs-windows Accessing Font Glyphs with Font Book on Mac : https://designbundles.net/design-school/access-font-glyphs-mac Can't find Glyphs on Mac? Make sure you are in Repertoire Mode! https://designbundles.net/design-school/cant-find-font-glyphs-mac NOTE : Tail is available only for lowercase letters. Thank you

Chottlen Script is a vintage script typeface. Drawn and created by Toni Studio and Mans Greback in 2022, this cursive lettering has a sympatic character and a down to earth personality, perfect for your retro logotype or a rustic article headline. The Chottlen Script font family consists of Regular and Italic, and comes with multiple decorative swashy letters. Use * and # after any letter to make a tail. Example: Signature# Use _ anywhere in a word to make a swash. Example: Love_letter Use multiple underscores to make different swashes. Example: Hand_____writer The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Black Seashore is a script typeface with noble and vintage looks. Created in response to current graphic design trends. Inspired by classic labels, vintage packaging, and old sign paintings. This Black Seashore will add a touch of worldly knowledge to your artwork, Classic nuance is perfect for those of you who need fonts for especially the types of logos, clothing, signage, branding, packaging, advertising, and more. I have designed a number of examples, so you can see how it can be used. Black Seashore also has many alternatives for ascender, descenders, swash, and ligature. It also has several options for tail and underline. To provide a number of good possibilities to play and make some unique designs. Black Seashore is equipped with: • Uppercase, lowercase letters, numbers, punctuation & symbols • Multilingual support • Alternative style • Stylistic Set 01 - Stylistic Set 014 • Swash • Ligature If there are problems, questions, or anything about my font, please send an email to greatstudi92@gmail.com

Marsden is a bold, no-nonsense Grotesque. It was designed for display, branding, advertising, packaging or anywhere a strong voice is needed. Marsden is built on a geometric foundation, with just enough warmth to keep the style confident and lively. The family features 8 widths in 12 weights; from a Slim Hairline to an extremely bold Wide Super. The fonts flow from condensed to wide with design intent. The condensed forms feature flat sides and subtle curves, while the wider forms feature rounded sides and open curves. The character set is robust, covering extended latin. The default forms are contemporary with alternates including: single-story a, two-story g, curved terminal l, raised vertex M, rounded top A, fully rounded G, rounded leg R, straight tail Q and straight descender y, all separated into individual style sets for control and customization. Completing the family are the Text fonts where the weights, widths and spacing are adjusted for smaller use.

Raw herring is the Dutch sashimi. Every year at the beginning of the summer a new batch of freshly caught herring arrives at Holland’s quays. Fishing boats actually race each other to be the first boat bringing it home. The fresh herring is called ‘Hollandsche Nieuwe’ (Holland’s new). This typeface, designed by Donald Roos, is based on the typography of Dutch fish shops and stalls. Inspired by lettering from the 30’s and 40’s, infused with some ‘techno’ flavour, Hollandsche Nieuwe is the brand new fresh fishy type flavor on your computer! It is traditionally eaten with sliced onions and pickles. Simply pick up the fish by the tail, open your mouth and take a bite! Enjoy!

Oh, Brush … beloved script emblem of plumbers, mechanics, bodegas, lunch counters, and other low-rent concerns. Since 1942, you have given faceless apartment buildings a name, brought life to the badges and banners of otherwise tedious trade conventions, and lent excitement to the postcards of middle America’s unsung travel destinations. We have seen so much of you … but not enough! We need more weights: how about five, extending beyond humdrum Medium? We want swash alternates, too, plus lively ligatures and sporty underline tails! Give us cleaner curves and smoother connections, but stay true to your frisky self! Like a nail salon that offers cucumber water, the new ATF Brush is one step classier than the rest.

Karl-Heinz Lange presented his first drafts of Rotola during a Typoart® type design competition in 1985 under the name "Boutique". A year later, Norbert du Vinage, former manager of the type design department, integrated "Boutique" in his production plan. Due the Fall of the Wall, it took about 18 years until Lange finished this font family in cooperation with Elsner+Flake. Karl-Heinz Lange was born on July 29, 1929 in Wiesenkirch in West Prussia. He was enrolled in the Humanistic Gymnasium at Elbing from 1939 to 1945 and changed to the Wernigerode High School after his family had to flee to central Germany. From 1949 to 1951, Karl-Heinz Lange studied at the Werkkunstschule Halle, where one of his teachers was Professor Post. After 1951, he continued his studies at the Hochschule for Grafik und Buchkunst in Leipzig with an emphasis on book design. He received his diploma in 1955 with distinction based on his design of a hot metal typeface. From 1956 to 1961, Karl-Heinz Lange worked as a lecturer for Type and Commercial Graphics at the Hochschule für Angewandte Kunst in Magdeburg. From 1961 to 1963, he taught at the Hochschule für Grafik und Buchkunst in Leipzig, and finally as a freelance commercial designer in Magdeburg. He worked on a variety of assignments, one of which was the design of trick films. From 1969 to 1976 he took the position of Artistic Director of the Henschelverlag, Berlin; from 1976 to 1994 he was Professor of Type and Typography at the Fachschule für Werbung und Gestaltung in Berlin; and, until 2004, he taught at various institutes for advanced professional education. From 2005 to 2007 he taught at the Fachhochschule Magdeburg/Stendal. Karl-Heinz Lange was awarded the second prize at the "International Type Design Contest 1971" for a headline typeface, and, in 1984, at the XI. Biannual of Graphic Design in Brno, he won a Silver Medal for the design of his typeface family Publica. He created the telephone book typeface Minima and re-designed the Typoart Super Grotesk® (Arno Drescher, 1930) as well as the Newspaper typeface Magna® by Herbert Thannhaeuser for the use on digital typesetting systems. To the day of his death on June 29, 2010, Karl-Heinz Lange lived and worked as a type designer. Among others, he closely followed the designs of the typefaces which were developed under his guidance for Typoart®: "Publica®", "Typoart Super Grotesk®" and "Minima®" which he launched as "Publicala", "Minimala" and "Superla" in 2009. In cooperation with Elsner+Flake, he developed the Typeface family "Rotola" between 2006 and 2009 as well as the script families of the "Viabella®" series. To the end, he followed the development of his first typeface, the "Diplom Antiqua", which he also wanted to bring to market together with Elsner+Flake.

Danish type designer Per Jørgensen created this script FontFont in 2002. The font is ideally suited for advertising and packaging, festive occasions, film and tv as well as software and gaming. FF Bagel provides advanced typographical support with features such as ligatures and alternate characters. It comes with tabular oldstyle figures.

A font designed by Christian Acker (2002), based upon neon signage in downtown New York. 24Hrs was an exercise in creating flat artwork from the inspiration of neon's three dimensional forms. All of the tubing's overlapping and twisting is documented and taken into account in the design of the letterforms.