The typeface Yusyad is designed mainly for a very sentimental and emotional reason. Metaphorically, it is a modest artistic gift offered virtually from the designer to one of his beloved and cherished persons in this life, namely, his loyal and devoting wife. She represents one of the most essential motives for many artistic and non-artistic works that the designer achieved during his life. This was done through her tranquil personality, infinite patience, sincere support, and endless encouragement. The designer's partner (i.e., the significant other) lives with him along with their three children looking both always for a life full of peace, achievements, philanthropy, and of course love. The typeface's name Yusyad is a portmanteau word consists of two morphemes. It is a simple name-meshing for two different names. Those names represent the name of the designer's wife (Yusra) and the name of the designer (Eyad). Yusyad is like an epithet that ties the two partners' honest and eternal relationship until the last day of their lives. Technically, Yusyad is a sans-serif condensed and display typeface. It comprises seven fonts with dual styles and multiple weights. Specifically, it has two main styles, namely, the normal and the inline design. The normal style comes in five weights (i.e., thin, light, regular, bold, and black) whereas the inline style has two weights (i.e., regular and bold). The typeface is designed with more than 700 glyphs or characters. Its character set supports nearly most of the Central, Eastern, and Western European languages using Latin scripts including the Irish and the Vietnamese languages. The typeface is appropriate for any type of typographic and graphic designs in the web, print, and other media. It is also absolutely preferable to be used in the wide fields related to publication, press, services, and production industries. It can create a very impressive impact when used in movies' or TV-series titles, posters, products’ surfaces, logos, signage, novels, books, and magazines covers, medical packages, as well as the product and corporate branding. It has also both of lining and old-style numerals which makes it more suitable for any printing or designing purposes. To end, Yusyad's condensed appearance—especially the inline style—makes it very memorable, eye-catching, and striking for advertising, marketing, and promotional purposes.

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Introducing Linefeed, the retro-inspired monospaced typeface that transports you back to the 1960s and 1970s era of computer band printers. Drawing inspiration from the revolutionary technology of the time, Linefeed captures the essence of the clunky yet iconic machines that were responsible for producing some of the most important documents of the time. Imagine a row of hammers, one for each column, smacking the paper against the ribbon and raised characters embossed on a constantly revolving steel band. This is the heart of the Linefeed font, paying homage to the technology that paved the way for the digital age. Most band printers of the time were restricted to uppercase, digits, and a little punctuation to ensure maximum efficiency, but Linefeed brings this beloved typeface to life with added lowercase letters, extra punctuation, and accents. Linefeed was once one of the most widely used computer fonts during the 1960s and 1970s. It could be found on a plethora of documents, including driver’s licenses, magazine subscription labels, report cards, invoices, and auto dealership window stickers, among other things. In a world where sleek and modern designs dominate, Linefeed offers a refreshing throwback to the golden age of computing. Its technical design, inspired by the machines of yesteryear, is a testament to the ingenuity and creativity of early computer designers. With its monospaced layout and vintage charm, Linefeed is sure to bring a touch of nostalgia to any design project. 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.

Turnkey is a modern grotesque typeface, it could be described as a neo-grotesque with hints of geometric shapes. A workhorse typeface designed to be versatile for both small and large sizes, ink traps have been used as a design feature above 26pt and a technical feature when printing small body text. The combination of 36 weights and styles allows you the freedom to create. Each weight includes extended support for over 90 languages (Including Cyrillic), fractions, tabular figures, arrows, ligatures, alternate glyphs, and more. Demo licenses are available from colttypeco.com In addition to a standard style set, the Turnkey family also has an italic set plus soft versions of both. Turnkey Soft is a slightly rounded version of the standard and italic, which looks more friendly, warm, and soft. It's corporate but with a personality. Current instances are: Turnkey Standard - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic. Turnkey Soft - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic When used as body type, Turnkey pairs well with: Take Note, Stroom and Markout. Turnkey is perfect for; headings, titles, body copy, logos, magazines, editorial design, corporate branding, brand identity, websites, blogs, apps, games, ebooks, publications, and signage. Turnkey can be found in the Typodarium 2024 OpenType features: Access All Alternates, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Proportional Figures, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Tabular Figures. Support for 95 languages: Belarusian, Russian, Ukrainian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, 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, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped with the right attributes for setting paragraphs and headings, and perfect for branding and text use. Some typefaces are a rough tool, like a pumice rock: abrasive to the senses, unforgiving, and unhelpful for most reading situations. Postea is an obsidian: smooth and classy, with attractive nuances in any light. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of geometric font needs. Because of these qualities, Postea makes normal reading in paragraphs a cinch and your branding memorable. Compared to midcentury attributes of restraint and a sparse appearance, Postea’s deliberate play between character widths injects life and distinctiveness into its personality. The default ‘t, f’ have lyrical doses akin to a robust evening drink and are rounded out with a serpentine ‘s’ and rotund ‘o, g, b’. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the expected, slightly looser spacing for text. Setting the test word ‘bogarts’ brings all this together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Postea is opinionated and its modern stylistic sets allow it to be accommodating with softer, specially-designed alternative characters. SS01 replaces ‘b, f, M, m, t’, while SS02 changes only the lowercase ‘a’ to the round style, and SS03 swaps out the angled ‘y’ for a straight version. The fourth and sixth stylistic sets are packed with wallpaper-worthy geometric patterns, ornaments, arrows, and symbols aplenty. Postea’s 14 styles (seven upright and italic) and two variable fonts are accompanied by an all-new family of icons in three weights, which we developed a new, easy way to activate. Simply bookend the desired icon name with colons (:arrowUp: :chargingStation: :aid: :firstAid:), making sure to capitalise each word after the first word, then highlight and activate SS05. Icons include wayfinding, social interface, sanitary precautions like face masks, thermometers, and hand washing, and much more. Postea is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. Beginning with midcentury virtues, Postea is the rational response for text — a lyrical take on geometric sans serifs.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

Introducing space-bright COLORED hologram font. Soft color transitions combined with minimalistic clean glyphs. Ideal for modern web and print design. Excellent readability of glyphs for both the title and the large volume of text is preserved. Multi-colored modern family with different types of coloring - a highlighted gradient border of letters or fully hologram glyphs - a large selection of 11 ready-made font styles. Originality of the font will fit well into the fashionable logo, headline in the magazine or on the website, emphasize the trend of the product in branding and complement web advertising on social media. This font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 11 OTF SVG color fonts in the family Free Demo font to check it works. Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

We introduce our Variable Font from the high-complex BD Gitalona font family. Consisting of 3 axes; weight, optical size, and serif, that will give you a different experience extending the family of BD Gitalona. We don't want to mention how many families can be generated from this variable font. During the development process, we got up to more than 50 families and stopped to allow you to continue to play with the slide buttons. And again, BD Gitalona is filled with an explorative and experimental decorative version that we present separately. Figure out the decorative version BD Gitalona Moxa to make the aesthetic appeal of this whole typeface here! Inspiration The world of entertainment moves non-stop. One by one, figures appeared and left. We expect to create something to entertain previous trends with packaging more relevant to the present. More specifically, we admire and are inspired by some of the world's leading and top singers with a segmented nature. We imagine so many figures that can affect every viewer. However, each artist or singer has a segment because almost all of them have characteristics. The Design The basic design of this typeface begins with a transitional serif shape with sharp, shapeless corners. Then in the middle of the invention, there was an opportunity to explore it further from the readability side by adding an optical variable that can adjust the serif thickness when used together between large, medium to paragraph text sizes for editorials. The shift from serif to sans-serif with the contrast initiated by the shift of the serif family form as a different variable also makes this font richer in terms of the features it contains. Parts are expected to add to the user satisfaction with the complexity of this font. The Features BD Gitalona consists of one sub-family intended for body text with nine weights from Thin(100) to Black(900) and four other display sub-families such as Display serif, Flick, Harmony Sans and Contrast Sans. Each consists of four weights Thin(100), Regular Weight(400), Bold(700), and Black(900). And again, there are also retailed separately; the BD Gitalona Variable font, which is designed to accommodate all Subfamily in 1 font file, and BD Gitalona Moxa, an experimental typeface. A total of 700+ glyphs in each style. Advanced OpenType features functionally and aesthetically, such as Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Supports multi-languages ​​including Western Europe, Central Europe, Southeast Europe, South America, and Oceania.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Introducing Amstrong Signature Script font. Hi Designers, come again to complete your script font collection! This is a classic thin font with an italic style. This font comes with several modern swirly alternates that can make your work look elegant, sweet and perfect. With this style, this font will be suitable for logos, branding projects, product packaging, mugs, quotes, posters, shopping bags, logos, t-shirts, book covers, business cards, invitation cards, greeting cards, and all your other beautiful projects. Amstrong Signature Script font, includes various language support. You can use this font for your work very easily because it contains many features. Contains a complete set of upper and lowercase letters, punctuation, numbers and multilingual support. This font also includes several ligatures and alternative styles Set Stylistic For those of you who have software that is able to work OpenType (Corel Draw / Photoshop / Illustrator / InDesign). Files include: Amstrong Signature Script.OTF If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows): How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw

Carlton is based on a typeface designed by Prof. F. H. Ehmcke. In 1908, Ehmcke released his Ehmcke-Antiqua design through the Flinsch typefoundry in Germany. Ehmcke-Antiqua was later distributed by the Bauer typefoundry in Frankfurt am Main. The Caslon Letter Foundry in England discovered the design and released their own typeface based upon the model, which they named Carlton. Carlton entered the Stephenson Blake program after they acquired the Caslon Letter Foundry in the late 1930s. As hot and cold metal typesetting became outdated technologies, Carlton and Ehmcke-Antiqua fell out of general use. In the 1990s, Letraset revived this classic design, distributing it under its English name, Carlton. Carlton's clean and generous capitals, as well as its understated yet detailed lower case, have found popularity again in recent years. The elegance of Carlton is best used for displays with large letter and word spacing. Carlton shows all of the hallmarks of a delicate serif typeface design; its forms capture a distinct moment that was common within Central European type design during the first third of the 20th Century. Carlton is similar to several other expressive typefaces from the early 1900s, including Bernhard Modern, Koch Antiqua, Locarno, and Nicolas Cochin."

We Redesigned this Slantblaze-Pro. Slantblaze Pro is an exteme slanted display script with characteristics: Simple, Thick, Contrast, and Dynamic. First launched in 2011, and now we present it again in a new version to provide the best user experience. As italics (default), Slantblaze Pro has aloof challenge as a display font. It was designed as an alternative for headline, title in any purpose such as header, brands, packaging, identity, automotive logo, etc. What’s new and changed: This version 2.02 comes in a True Type OT-flavor version. The outline were designed to be smoother than before. Redesign of ‘C’, ‘E’, ‘F’, ‘G’, ‘T’, and some changes to all other smallcases Removed: question.sc, questiondown.sc, exclam.sc and exclamdown.sc assuming they will never be used Rewrite the features structure and adding some new related to all changes New swashed glyphs: A-Z The writing system of numbers is completed with the old-style version and each tabular and proportional method New contextual (calt) to an alternative look of “A" when combined with all lowercase. Also in this feature we have another way to access Ornaments is more interactive by combining dlig and calt features. Another new glyph may be access only in feature (salt)

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!

Khatija Calligraphy is a beautiful calligraphy font in base style of penmanship with a modern look, an eclectic concept by paying attention to the beautiful choice models. This fonts consist of 2,484 letters ready to use. To make it easier for you to use it, we utilize the access all alternates feature so that you only need to type and then select one of the letters then the alternative letters will appear automatically. We also use the stylistic set selection feature from SS01 - SS20, because we made a very unique alternate pair, alternate 1 paired with alternate 2, alternate 3 paired with alternate 4. We matched the alternate pair's kernings perfectly. For wedding themes and elegant product brands, believe it.. this font is the perfect choice, because we also prepare a ligature that raises flower ornaments to complement your design, you only need to press your keyboard | 1 | 2 | 3 to | 10. Now you have very beautiful flower ornaments. You can combine these ornaments again according to your needs. Khatija Calligraphy has 27 language support: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Slovak Slovenian Spanish Swedish Turkish Zulu.

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940s, which decorated the traditional brown bars of Amsterdam. In the beginning, these letters were strongly associated with the pubs connected to the Amstel brewery, given that Visser was the company’s official painter. As the years passed, the style became increasingly popular, and various business owners in Amsterdam and other Dutch and Belgian cities also commissioned its use. In the 1970s and 1980s, Leo Beukeboom, another talented letter painter, continued and expanded this lettering tradition while employed under the Heineken brand. Much of his work can still be found in the Jordaan and De Pijp neighborhoods in Amsterdam. The Amsterdamse Krulletter, or Amsterdam’s curly letter, is strongly inspired by the calligraphic works of the 17th century Dutch writing masters, of which Jan van den Velde was a central figure. However, distinct characteristics of this style, for example, its unusual and beautiful ‘g’, originate from a model that was published by Johannes Heuvelman in 1659, which J. W. J. Visser referenced. Typographic circles have somehow overlooked the Amsterdamse Krulletter and its heritage. The Dutch calligraphic hands preceded and influenced the formal English penmanship which has inspired numerous typefaces in the Copperplate style. In contrast, the models from van den Velde, Heuvelman, and Jean de la Chambre, among others, are a missing chapter in Dutch typographic history, and had never been turned into typefaces until now. Conscious of the cultural and identity issues that arise in reviving a unique style, and concerned about the speed with which the lettering style was disappearing, Ramiro Espinoza focused the project of designing ‘Krul’ on digitally recreating the calligraphic complexity of these beautiful letters. Created through several years of research, ‘Krul’ is not a direct digitization of the Amsterdamse Krulletter, but instead, an interpretation that incorporates numerous alternative characters absent in the original model, and improves upon details where necessary, resulting in an optimal performance on the printed page. The typeface is presented in Open Type format, with an abundance of intricate ligatures, fleurons, and swashes, which permit the creation of numerous calligraphic effects. The very high contrast and rhythm of the strokes in this typeface make it especially suited for media applications conveying a sense of elegance and sophistication. Designers of feminine magazines, advertisements, and corporate identities within the fragrance and fashion industries will find in this typeface to be an extremely useful and appropriate resource.The great Amsterdamse Krulletter is finally back, and we are proud to make it available to you.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

The original Gelato Script has been updated and improved, not once, but twice. This version is kept here for legacy and compatibility issues, but I would encourage new users to check out Gelato Luxe or Gelato Fresco instead. Gelato Script is a smooth-flowing typeface with an air of familiarity. Influenced by both formal scripts and mid-Twentieth Century hand lettering. The power of OpenType is used with precision in the Contextual Alternate feature to make sure letters connect seamlessly, t’s cross where they can and swashes don't crash into neighboring glyphs. 781 glyphs make up this font, which is capable of speaking in many different languages. Alternate forms are grouped into stylistic sets to make it easy to change the mood of the text. For example, ss01 makes droopable letters drop below the baseline to break it up a little if required. I recommend using it sparingly, one glyph at a time, but if you do enable it for a whole chunk of text, the clever OpenType programming ensures that it doesn't go overboard. Sets 2, 3 and 4 bring about alternate forms of S, s, B and Q. Set 5 changes AE and OE to some perhaps controversial Upper/lowercase ligatures. Engage ss06 for the underline feature. After a word, simply type two or more underscores and a line extends backwards under the word you just typed. Don't worry if you have to break for a descender, the OpenType programming will take care of making sure it connects properly to the preceding character. Sets 7 and 8 are for alternate ampersands, and ss09 swaps the script r for a regular shaped r. There are swash capitals available for most uppercase letters, and the OpenType programming makes sure there is room for them under or over the following letters. There’s also a good amount of ligatures thrown in. The localised forms feature can be set for Polish, where acutes get steeper and lslash takes on its script form; Dutch, where IJ and ij digraphs become cool ligatured combinations; and Romanian and Moldovan, where cedillas are subsituted for comma accents. The stylistic alternates feature groups together a few of the stylistic sets for users that can't get to them directly. Gelato Script is a highly usable, powerful typeface. Perfect for everything from food packaging to wedding invitations, sports team logos to magazine headings. Use it however you see fit. Just one thing - it’s not designed for all-caps settings, so avoid that at all costs!

The typeface Typewriter 1950 Tech Mono is designed for the Typo Graphic Design font foundry in 2017 by Manuel Viergutz. A display slab serif type for headlines. Based on an old typewriter machine from 1950. Plus state-of-the-art OpenType-features like contextual alternates (calt), decorative ligatures e. g. type the word “LOVE” for ❤ and the word “SMILE” for ☺ and Versal Eszett (German Capital Sharp S). For use in magazines, posters, headlines and advertisement, plus as webfont for decorative headlines. Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5× A–Z, 5× a–z, 5× 0–9 and 290+ extra icons like arrows, dingbats, symbols, geomatric shapes, catchwords and many alternative letters. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! How To Use – OpenType-Features ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the glyphs panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. ■ For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ Font Name: Typewriter 1950 Tech Mono ■ Font Weights: Regu­lar + Negative + Black + Mono + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Slab Serif Dis­play for Head­line Size ■ Font For­mat:.otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1490 glyphs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 290+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. ■ Open Type Fea­tures: Kerning (kern), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Ornaments (ornm), Titling (titl), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Old­style Figu­res (onum), Lining Figu­res (lnum), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2017–2018 ■ Type Desi­gner: Manuel Vier­gutz

Initially, letterform was inspired by the gothic style of Romance decorative letters in transitional art in the Middle Ages. The conservative type in the Gothic era, especially in decorative romance, has led to the Victorian style being embedded in several forms as accents related but not forced to be combined. Rounded serif seems conventional combined with historically relevant letterform to create a harmonious blend. The art nouveau style also inspires this typeface. Approach to architectural ornamentation from 1880 to 1915, adopting the dynamic lines and curves typical of the civilization of the time. Continue time travel; we also present a more modern form influenced by the digitalization of art nouveau derivatives, familiarly called the psychedelic style. Paying homage to predecessors, we presented The Onamura font in a Japanese Ukiyo-e style that influenced the fine arts movement that broke old conservative art in Europe. We designed this font carefully with the information about the Middle Ages, Ukiyo-E, & Art Nouveau that greatly influenced art worldwide. In this font family, there are collaboration vibes. Both are the basis of the phenomenal blend of idealism between western and Japanese artists. Consisting of 10 fonts in 10 weights, it features an extended charset of over 850 glyphs, covering multilingual support, including Western European, Central European, and Southeastern European. Complete with advanced open type features like stylistic alternates, discretionary ligatures, ordinals, small caps, fractions, and case-sensitive forms. The elegant and refined details seen in this font provide a new aesthetic input, satisfy contemporary style, and give a range of choices for luxury typographic projects. This font is perfectly suited for high-impact headlines. Advance open-type features are stunning on logos, branding, magazines, website, etc. Supports languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. - What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. - What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. - Usage recommendations: Display type or text-setting. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality.

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Greetings: We are introducing an advanced version of the Kage font released and received great exposure from users and worldwide font enthusiasts. The massive development puts forward experimentation on the alternate letters. We redesign each shape to make it more functional and comfortable when text size escalation occurs. In addition to rejuvenating the letterform, we also apply an oblique style to provide diverse style choices. Learn more about Kage Pro here: Graphics presentation | Type Specimen | The Inspiration: The radical exploration world of fashion inspires us. It leads our minds to the Neo-classical type style created during the age of enlightenment in the 18th century. It has a reasonably extreme contrast from the previous serif style, making the impression that it is emitted more expensive and classy. Organically, this Neo-Classical typeface is closely related to the fashion world, especially in Europe, and even spread across the globe. Fashion and this typeface reflect each other. After, we boldly observed Japanese fashion designer Rei Kawakubo. Famous for radical & deconstructive fashion, which makes the world of fashion more flexible and dynamic. The Design: As well as the typeface that we made, we started it with a cultural foundation of the Didone typeface. We tried to deconstruct the appearance. The decoration that better reflected the dynamic of fashion implemented in the fashionable alternate and calligraphical stylistic set ended with ball terminals. The versatile impression created is like taking off a scarf on the model's hair during a fashion show. The deconstructive image is combined with a legibility structure like the appearance of the Neo-Classical style. Kage Pro is designed to visualize a costly and exclusive image of a thing, product, world clothing brand, famous fashion magazine, etc. The modern transitions of each letterform are softer, so when repositioning and escalating the size of this font, it will remain beautiful without injuring other elements. So, Kage Pro is a bold choice on headlines and more prominent media with a portion of 50% even more. The Feature: Kage Pro has 11 upright and 11 oblique styles from thin to black; all family-style consist of one variable font with 2 axes. The total number of glyphs is 1,665 in each style. She comes with tons of swirly ligatures and stylistic alternates in Advance OpenType features, including: Case-sensitive forms, small caps, standard and discretionary ligatures, stylistic alternates, ordinals, fractions, numerator, denominator, superscript, subscript, circled number, slashed zero, old-style figure, tabular and lining figure. Support multi-language including Western European, Central European, Southeastern European, South American, Oceanian, Vietnamese.

Introducing the unique family of COLORED fonts "Boldini" with minimalistic clean letters of a harmonious form in the style of modern POP culture. You no longer need to adjust the gradient for each letter, letters are immediately printed in gradient! Gradient fonts is perfect for headlines for fashion websites, magazines, and print design, and the basic solid font is suitable for branding boutique signs as well as for large amounts of text, because the font is very readable in a small size. Font family has two thicknesses - bold & regular, 6 gradient directions, gradient fonts also 2 type - with transparency and without transparency, as well as 2 basic monochrome fonts. Font consists of letters of the same height without division into uppercase and lowercase glyphs. *See also these fonts, which based on this family: Culoare & Anaglyph. Which means that if necessary you can combine these families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Such color combinations in gradients are universal and very convenient for repainting. IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. Try to experiment, it is so interesting and very easy! ld.luxfont@gmail.com

A true workhorse. The only Grotesk you’ll ever need. Allrounder Grotesk is a neutral, powerful Neogrotesk member of the Allrounder superfamily. An unobtrusive teamplayer as well as an excellent soloist, this hard-working sans-serif typeface is ready for any task you’ll throw it at. A workhorse that lives up to its name, Allrounder Grotesk consists of ten weights ranging from a delicate Air to a powerful Black with 900+ glyphs per font. Each weight is accompanied by carefully hand-corrected italics. Allrounder Grotesk supports more than 200 Latin-based languages, containing the complete “LatinPlus” glyph set developed by Underware. It also provides you with plenty of OpenType features and additional goodies: small capitals, ten sets of figures, case-sensitive forms, ligatures, superiors, fractions and arrows. Equipped like this, you’ll be ready for any kind of sophisticated typesetting scenario you might encounter. With Allrounder Grotesk, you’ve got a sans that works great for body text, yet looks crisp and clean in headlines and display sizes. Whether annual reports, magazine and editorial layouts, nonfiction books, branding and packaging work, large-scale advertising, forms and contracts, or contemporary posters: Allrounder Grotesk is up for it. This multitalented font family was developed in a 2-year process by Moritz Kleinsorge. It was the first release of the Allrounder superfamily, a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Antiqua or Allrounder Monument, may be easily combined with Allrounder Grotesk. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Antiqua is the ideal complement to Allrounder Grotesk. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Antiqua to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose. In any kind of design, in any type of medium, working with Allrounder fonts is effortless. That’s why Allrounder got its name.

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.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.