What's Included : • Ligatures • Works for PC and Mac • Simple installation • 7 styles: 1 undistressed, 6 distressed • 500+ glyphs in each type • More than 75 languages are supported, including extended Latin. • Each style includes 12 OpenType features, including stylistic alternatives, ligatures, old-fashioned figures, and other helpful elements. • Two different swash ending varieties. • Non connected forms • All connected forms, including caps • Randomly selected character forms for organic looking textures. Sophima exudes languorous luxury. The writing glides around, changing elevation above and below the standard x-height, giving it a lively and raucous vibe. Sophima is designed for 3D printing. I required a contemporary script with technical elements that could be printed using a 3D printer. This necessitates the use of quite thick linking characters. Another result of this technology was the need that all letters, including caps, be linked. Such letters are included in optional Opentype style sets. The unusual technological limitation gave the design a new and distinct vibe. Sophima may be used for a variety of purposes, including headlines, weddings, social media, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signage, gift/post cards, cafés, and weddings. Designers have a plethora of alternatives from which to pick, giving them greater variety, power, and creative flexibility. Automatic ligatures for best character connections are supplied, as are alternate ending characters that appear at the end of words that lack connectors or have lengthy swash endings. Sophima is made up of five fonts: one standard and five texture variants that change the tone of the typeface. Each design has 500 characters and is available in more than 75 languages. The typeface has 15 OpenType features, such as stylistic alternates that change the look of characters, ligatures, and more. Constraints and a desire to solve challenges breed the finest creativity. And there's no question that Sophima came up with a solution to the situation. Now use Sophima to create your own designs.

Acarau is a 6 fonts display typeface with high reverse contrast—since from Roman capitals and calligraphy, usually Latin alphabet letters have thiner horizontal steams and thicker verticals, these features being optical or visual—quite adequate for logos, headlines and posters. Moreover, the style of the typeface is inspired by Italics form factor: lowercase letters having less strokes to make their shapes; A has one story; E has one stroke shape, such as K, G, Y and Z; F has a descent. To give it more calligraphic feeling, there is contrast for uppercases as well, this is very perceived by the diagonal letters like A, K, M, N, V, W, X, Y and Z. J also has a descent. Q and R have natural swashes, but they have alternates in case the costumer want to go for more usual forms—including accent marked letters. Acarau is a 12 months project, the contrast for uppercases were increasing as the process was made. In the middle it is found suitable blend the letter shapes with the history of Brazilian music from the 70’s and 80’s, since the font has a tropical, warm, spicy and nostalgic feeling. Songs from bands and singers that emerged on Rio de Janeiro like Paralamas do Sucesso, Cazuza, Lulu Santos and Kid Abelha bring the beach accent and rhythm that this font has. OpenType features complement the set, which has Multi-Lingual support for a comprehensive Latin set, including Vietnamese—meaning more than 640 glyphs: Case-Sensitive forms, so symbols can properly align to uppercase letters; Ligatures, to better reading for z_y and L_I, and style for s_s, w_w_w; also for ease arrows and punctuation typing; Stylistic Set 1: two story a—including accent marked letters; Stylistic Set 2: two story g—including accent marked letters; Stylistic Set 3: diagonal (usual) z—including accent marked letters; Stylistic Set 4: flower i and j dots; Contextual alternates; Terminal forms, for R and Q; Ordinals.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Mantika Book was originally conceived and drawn parallel to the first Agilita drawings. *[images: pencil drawings] It took several years before having a chance looking at these designs again. But then, my first impulse was to turn this alphabet into a new sanserif, which was to become Mantika Sans. This was the starting point to conceive a super family consisting of different design styles and corresponding weights. The initial drawings of Mantika Book were refined and an Italic was developed to go with it. The aim was to create a modern serif typeface which is reminiscent of humanistic Renaissance typefaces, yet without following a particular historic model. Its large x-height for one is far away from original Renaissance models. Mantika Book was designed as a companion serif typeface to Mantika Sans that can be set for lengthy texts as in books, hence its name. It shares the same x-height with Mantika Sans but has longer ascenders and descenders, making for better word shapes in long, continuous reading. The approach of an ›old-style‹ looking typeface with large minuscules makes Mantika Book also a choice for magazine text settings where one often needs smaller point sizes to fit in a multiple columns layout. The unique details of Mantika Book are the asymetric bracketed serifs in the upright font and its higher stroke contrast than usual in a Renaissance style. The stems are slightly curved inwards. Also, the Italics have a low degree of inclination, which makes longer passages of text set in Italic rather pleasing to read. Another feature Mantika Book shares with Mantika Sans is that all four weights take up the same line length. It covers all European languages plus Cyrillic and Greek, is equipped with lots of useful scientific symbols [double square brackets, angle brackets, empty set, arrows] and the regular weight has small caps. There is a kind of an old-style feeling to Mantika Book, yet these citations were turned into a contemporary serif typeface with a soft but sturdy character.

Created by Jovica Veljović, the Agmena typeface family is a fine melding of digital technology and beautifully crafted Renaissance fonts. This typeface makes skillful use of proportion, form and spacing rather in the way that a practiced storyteller varies the timbre of his voice and deftly inserts longer pauses to bring his tale alive.

Marcu San is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest. Designer Markus McCallion designed his sans serif font with unusual forms based on circles and circle fragments. Legibility is thus decreased for the sake of a unique look and a variety of design possibilities.

Quaderno is a light and monolinear upright script, accompanied by the heavier weights. This connected script combining elements of the traditional Italian script Bella Scrittura and French script. Quaderno is suited for middle length texts and headlines and evokes both vernacular and commercial lettering of the 20th century and a typeface for school book purposes.

Pop Tune JNL comes from the hand-lettered title on sheet music for "Does Your Heart Beat for Me?". This 1940s hit was co-written and made famous by Russ Morgan and His Orchestra. Many vintage pieces of sheet music employed hand-lettered titles and cartoon illustrations to emphasize the topic of the song itself.

The name says it all: here's a faithful revival of a Schelter und Geiseck release from 1911, designed by Moritz Greishaber and originally called Monos. Although it predates the Art Deco era, it has a Deco vibe. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

The second in our Cool Japan series, Odaiba Soul echoes back to some of the futuristic amusement centers and entertainments found on Odaiba Island in Tokyo Bay. Tailored for sci-fi lettering, anime awesomeness or even just making flyers for a day trip across the Rainbow Bridge, this is one to keep in mind!

Philomena is a signature script that brings the classy and luxury look. The natural feel of the signature works perfect for those who needs a typeface for headline, logotype, apparel, invitations, branding, packaging, advertising etc. This font is comes in uppercase, lowercase, punctuation, symbols, numerals, stylistic set alternate, ligatures, etc., as well as multilingual support.

Betula is the scientific name for Birch - I probably don’t have to explain that birches are my favourite trees! They always look like the ghosts of the forest with their papery white bark and dark blotches. Betula is a rough, crayon-like font. Very legible with a childlike appearance. Comes with a forest of diacritics.

A type foundry example showcasing some letters from a narrow slab serif wood type design served as the inspiration for Wood Serif Poster JNL. This condensed typeface is available in both regular and oblique versions, and digitally recreates the kind of lettering found on flyers, broadsides and newspaper headlines of the mid-to-late 1800s.

Fox was originally designed by W. Rebhuhn for the former German Genzsch & Heyse foundry. In reminiscence of the good old times, Ralph M. Unger redrew and digitally remastered this font in 2007. His work is based on artwork taken from old font catalogues. Fox is a very lively script, quite typical for the 50s

Tabor Sinfonia is a blackletter typeface that marries the historic beauty of Gothic script with the rhythm and harmony of music. This decorative font is perfect for logotypes, artistic projects, and designs that require a touch of vintage elegance. The inspiration for Tabor Sinfonia came from a fascinating combination of medieval manuscripts and musical compositions.

Introducing Beyond Comfort - A classy and stylish font duo inspired by 80's editorial type. At first glance, they look pixel perfect, but on further inspection, you'll notice perfect imperfections, revealing that the fonts are in fact entirely hand-drawn; As all of my fonts are, adding to the overall character of the duo.

Best Bet JNL is a hybrid approach in reinterpreting the classic display font Beton. Using examples of the condensed version found on old sheet music, redesigning a few additional characters and melding them with slightly condensed versions of numbers from the standard weight, Best Bet JNL offers an interesting new version to an old favorite.

Blood Moon - typeface is a typographic creation that combines unique and captivating elements. Crafted specifically to celebrate the Halloween ambiance, this font carries the aura of a mysterious and thrilling Blood Moon - typeface" With an elegant serif design, the font seamlessly blends sophistication and tension, making it a perfect choice for various design projects.

Versals is based on Lombardic style letters which are sufficiently broad to allow for decorated piercing and flourishes. They may also form the basis of illuminated capitals. The face is presented as capitals with reduced copies in the lower case locations. It is a full latin set with, uniquely, a set of roman numerals.

Balburdia is a font based in the street art letters of Brazil. Inspired by "pixação" from the brazilian cities of Rio de Janeiro and São Paulo, Balburdia can translate the street culture and add a little extra to your designs. Balburdia can be used for art, branding or fashion itens that contain this theme.

One in the series of fonts called Whiz-Bang Wood Type, intended to be set large and tight. Rio Grande is a classic ultrabold "Egyptian" face, named for the river that separates Texas from Mexico. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Alambart is one of a new series of ‘wood type’ inspired fonts. Alambart is a hand-cut oblique Roman, suggesting the late Victorian era, but the type of thing that continued in use well into the twentieth century. If you want a title face that has versatility and suggests a past history, this is it!

Umbra was designed by R. Hunter Middleton for the Ludlow Corporation in 1935. This is a three-dimensional typeface, unique in that the main character shape is defined only by its shadow. It was originally designed to be a second-color drop-shadow for the typeface Tempo, but stands alone as an unusual display face.

Another one of those faces that caught my eye in one of my art deco type books, and I wanted it. After I finished the face, I noticed that there is a more clean-cut version of this face in digital format, but my version retains more of the funkiness of the original drawings.

The titles and credits from the 1960 French film “Le Passage Du Rhin” (English release title: “Tomorrow is My Turn”)” are hand made in a free form bold alphabet resembling both cut paper and quickly sketched lettering. This avant garde style inspired the digital type revival, which is available in both regular and oblique versions.

ITC Buckeroo was designed by Rick Mueller in 1997, and as the name suggests, it is reminiscent of the Wild West in the US. It is a small caps alphabet with extremely heavy characters, which makes it particularly good for headlines. This ornamental font should be used in point sizes of 12 or larger.

Adelita by Adela de Bara, Laura Meseguer / OpenType, 4 styles   Adelita has its origins from Adela de Bara’s hand drawings, a display typeface with balls at the end of the strokes. Helped by Laura Meseguer, this artist entered our catalogue in the nineties with four weights: three display faces and a collection of naive dingbats.

I watched the movie Red Dragon a while ago and it inspired me to make this rather spooky font. I was going to call it Dolarhyde (after the antagonist), but settled on the more unsettling Fearsome. Fearsome is a handmade script font with a ‘psychopath’ feel to it. Comes with a gruesome amount of diacritics.

Italian Futurism (1908-43) was one of the 20th century's first and most influential avant garde art movements. Futurist typography sought to disrupt traditional notions of harmony, space and composition on the printed page. The bold and jarring shapes of this set faithfully recall a tumultuous era in both Italian history and Italian graphic design.

Linotype Fluxus is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This fun font was designed by German artist Andreas Karl. Its wavy contours give the font a restless, choppy feel. Its relatively strong strokes make Linotype Fluxus particularly good for headlines.

CompassOne was a design I began in 1990 or so, but did not bother to finish until five years later. Its name comes from the fact that all the letters could have been drawn with a compass (which draws circles) and a straight edge. The typeface Demotte was a further development of this design idea.

Linotype Colibri is a delightfully playful display face, from the award-winning German typeface designer Hans-Jürgen Ellenberger. Linotype Colibri's letters dance up and down across the baseline, and appear as if they had been drawn quickly and whimsically with a felt tip pen. The design is available in two weights: Light and Regular.

This is a blocky typeface with thick lines and no serifs. It's a modern design with a hint of vintage lettering with a thicker vertical line on one side of each letter. Most letters are square shaped. The two styles are regualar and hollow, with the hollow style having the thicker areas hollowed out.

Trencher JNL is based on hand-cut stencils spray-painted onto a vintage 1947 Cleveland Trencher acquired by the Marine Corps Mechanized Museum at Camp Pendleton, California. Restoration volunteer Brian Platzer supplied to Jeff Levine the images of the stencil markings - and they were quickly re-drawn and turned into a digital type face.

Hyggebukser are very comfortable trousers in danish. Trousers you'd wear after a long days work, when you just need to relax. The same goes for this font - it has something very comfortable to it! Also, don't forget to enjoy the 5 (!) different versions of each letter, along with the drawings, swashes and small caps!

Sometimes you want to go unnoticed, sometimes you don't. This font is definitely for the second option. Pedrita is a generous type, a bit bold, somewhat showy, quite authentic. When you need that extra-something, go with caps and turn on the stylish interlocking pairs: added eye-catchingness guaranteed. And let the good times roll!

Vivian Script was designed from the study of typeface references like Doyald Young. It has optical adjustment in the details and funny contrasts to get an amazing result. It can used to be applied on different commercial topics like street wear, food and traveling for tourism. This is Vivian Script, the love of my life.

Introducing the new Handwritten Script Font by Aestherica Studio. Proudly Present, Vintage Painting Vintage Painting is perfect for product packaging, branding project, megazine, social media, wedding, or just used to express words above the background. This font includes multilingual support. Enjoy the font, feel free to comment or feedback, send me PM or email.

The pen lettered opening credits for the 1937 film “The Awful Truth” inspired Date Book JNL, which is available in both regular and oblique versions. A hybrid of both Art Nouveau and Art Deco influences, this casual type design is perfect for any project that wants to convey its message in a pleasant, informal manner.

'HU Thegame KR' was created with a game as a motif, and is a characteristic font with sharp and strong elements. The finishing of the same strokes gives the font a sense of unity and makes it look sharper and colder. This font is suitable for use as a headline. It contains Hangul, Korean.