Competition is a state of the art sports typeface. A large width range, slant angles from –12 to 12, and an adjustable inline make it extremely versatile. It’s devided into 5 subfamilies, from the sizes S, M, L & XL with decreasing inline weights to Solid without an inline at all. (By the way: S doesn’t mean it doesn’t look good in large sizes!) Choose from 105 predefined styles, or 1 variable font with axes for width, slant and inline weight (which is included in the family package). Competition embraces the Latin S character set and therefore supports 400+ Latin-based languages. Go for Gold!

Motiva Sans is the chosen typeface for Valve’s Steam OS, a 125.000.000+ users gaming platform. With 7 weights and matching italics (a total of 14 fonts), it comes with essential OpenType features such as small caps, caps to small caps, tabular, lining, oldstyle figures, fractions as well as extended language support and alternate characters in the italic weights. It performs well in printed and digital environments. The italics are more cursive than the average sans serif design and provide very good contrast to the their roman counterparts. Motiva Sans pairs beautifully with our high-contrast didone serif Tenez or with our cute vertically connected script Primot.

I just loved the design idea behind this font, but the original font had a lot of ugly artifacts - so I have completely redrawn ALL the letters, before expanding the character set. The lowercase has been redrawn with a higher x-height, making the font even more usable (with more "normal" word shapes). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Grimoire on the other hand combines two seemingly contradicting principles — calligraphic and constructive ideas — and makes them work together. The font is based on a modular system but simulates a handwritten typeface. Felix Braden about this concept: "I was so fascinated by this idea, that I have since designed a couple of typefaces following this principle, e.g. the psychedelic Bikini released by Volcanotype. Even my recent work, the multi awarded FF Scuba is inspired by this concept, however with increasing age I have become less interested in experimental typography and more so in designing typefaces which are more versatile in use." For a detailed type specimen have a look at: http://on.be.net/17WyhE6

Payu display font is a unique, intriguing, and quirky typeface that we present to all of you. This font was created to satisfy the demands of beautiful and quick graphics, allowing you to quickly produce attractive and elegant projects. Take a look at the font’s harmony and harmony; your project will shine like a prima donna. This graffiti font is great for product logos, poster titles, headlines, packaging, film titles, logotypes, gorgeous writing, and trendy graffiti designs, among other things. Of course, if you utilize this font in your numerous creative projects, they will be perfect and outstanding. Use this typeface right away for your one-of-a-kind and remarkable projects.

Chyletoon, a hand crafted cartoon font consisting of 24 styles. Crafted from childish mind, the cartoonish characters of this font are suitable for many uses, the limit being the boundaries of your own imagination.

The Scriptorium got its start in the early days of personal computers with a few font designs for the Commodore 64, and the very first font which we did back then in the early 1980s was a gothic calligraphy font. That style of fonts - the medieval, gothic and black letter genre - has always been the backbone of our collection, but with recent releases we've stayed away from them to introduce a bit more variety. Well, with our new Zauberer font the antique, medieval and gothic look is back with a vengeance. Zauberer isn't a true medieval calligraphy style. It's based on early printed type from Germany which combines calligraphic elements with decorative embellishments from the woodcut printing era. The result is decorative and antique looking and rather appealing. The name comes from the German word for a magician or illusionist.

Dutch Mediaeval Book ST is a special version of the popular Dutch Mediaeval Book text fonts, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help in typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Dutch Mediæval design is the historically renowned one made in 1912 by S. H. de Roos. It stands out as one of the most classic Dutch text faces. This Book version comes in two weights and an italic, optimized for body copy use between 8 and 12 pt. Aside from the SciType additions, all the fonts contain OpenType features for ligatures, ordinals, automatic fractions, eight kinds of figures, and a few ornaments. For details about the functionality of Dutch Mediaeval Book ST, please consult its Access Chart PDF available in the Gallery section of this page.

Dutch Mediaeval Pro ST is a special version of the popular Dutch Mediaeval Pro family, engineered specifically for science writing. It is equipped with SciType, a combination of additional characters and OpenType programming included in the fonts to help in typesetting science text. For more information about SciType, please consult the SciType FAQ available in the Gallery section of this page. The Dutch Mediaeval design is the historically renown one made in 1912 by S. H. de Roos. It stands out as one of the most classic Dutch text faces. This digital version comes in two weights and their italic counterparts. Aside from the SciType additions, all the fonts contain OpenType features for small caps and caps-to-small-caps, ligatures, ordinals, automatic fractions, seven kinds of figures, and a few ornaments. For details about the functionality of Dutch Mediaeval Pro ST, please consult its Access Chart PDF available in the Gallery section of this page.

This font is the younger sister of HexBraille with which it may be combined to create new patterns. This also explains why their introductory text are similar. Introduction The purpose of this monospace font is to display braille in an original and "steganographic" way. The Kernig prefix means "Robust" in German, this is because of the crank shapes . The core of the glyph design is a flat hexagon which can be read as 3 rows of 2 dots (i.e. regular braille glyph grid). Even if within a glyph, braille dots ("square dots" indeed) are placed on the vertices of a flat hexagon, the difference with HexBraille is that edges connecting vertices are not straight lines but "crank shapes" instead. This can be summarized by saying that the whole glyph is a Hexcrank (a flat hexagon where vertice pairs are connected by a crank shape) NB: The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 6. A. "Kernig Lattice" In KernigBraille, glyphs are connected to each other, thus for each Hexcrank glyph there are 6 connections: 2 on left/right and 4 on top/bottom. In the final design some cranks were removed for esthetical reason (i.e. leave empty space for allowing patterns diversity). In summary, a text using this font won't display a honeycomb but a lattice instead. NB: Please notice that in order to obtain the lattice without vertical gaps, you must set the interline to 0. The lattice is made from 3 kind of shapes: a.1. Hexcrank a.2. Square a.3. Irregular cross (mostly unclosed) The design favored squares over crosses. The whole slightly resembling a PCB. B. Text Frames It's possible to frame the text with 4 sets of frame glyphs (as illustrated by poster 2) b.1. Kernig { € ° £ µ § ¥ ~ ¢ } b.2. Rectangular-High { è é ê ï î à â ä } b.3. Rectangular-Low { Â ù Ä Ê Ë Ô õ ö } b.4. Mixed Kernig+High: a mix of Kernig and Rectangular-High frame glyphs When using frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes in this font (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

The Monotype Typewriter" series contains three typefaces. These were made to enable type to be set that could emulate output from real typewriters. Use where a typewritten look is required for reports, tabular work, where the fixed pitch nature of these faces is an advantage, technical documentation and correspondence. Typewriter Regular is the base style of the family. Typewriter Elite is lighter than Typewriter Regular, and is monotone in weight, being designed to retain readability even when multiple carbon copies are produced. Typewriter Gothic is a medium weight sans serif typewriter face designed to give good readability from a fixed pitch typeface. Originally made for daisy wheel printers, the Typewriter Gothic font is useful for tabular work, technical documents, correspondence and reports."

Dainty™ is a flower font inspired by the delicate and beautiful structure of the spurge plant Tithymalus. The various sizes of the 52 illustrations in this font make it easy to create stunning compositions.

When we fall asleep, we become free in our thoughts, in our judgments, in our choice, we decide on bold actions and words. This font will bring all this to life. UNCONSCIOUS-This font is for brave, free and liberated creators. For people with a good sense of humor and able to derive joy even from bad things.

This is a font to build an hebrew Bible (Tanach) or any Hebrew prayer book. Hebrew Esther Tanach has all unicode hebrew marks and others like, ShevaNa, Dagesh Chazak, Qamats Katan and Cholam Chaser. This font has a complex and exclusive programmation of opentype features. This font is very good to read even in small texts

The design for Granjon was produced at the English branch of Linotype under the direction of George William Jones and appeared in 1928. This reproduction of a Garamond typeface was based on the typeface sample of the Frankfurt font foundry Egenolff from the year 1592 . The roman characters of the sample were made by Claude Garamond and the italic forms were designed by Robert Granjon. Jones made sure that the Granjon font remained true to the original characters of Garamond and Granjon.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Simple Nib is a simple, modern and elegant serif font. The corners of each letter are rounded, making them dynamic and eye-catching for any design project. The embedded standard features are enough to meet your standard typography needs. However, if you like this font and need additional features, please feel free to contact me.

In 1885 Heinrich Wallau, printer and typographer in Mainz, picked up the idea of creating a rounded gothic font written with a broad nib. This idea was then realized by Rudolf Koch between 1925 and 1930. RMU Wallau is a bringing back this beautiful font for present typography.

HGB Info is a display typeface for my Linotype Nautilus Monoline. This came about while working on the corporate design for the municipality of Weissach im Tal. Shorter ascenders and descenders and a broader letter shape result in more compact word images. The ups and downs are cut vertically. This works particularly well in large degrees. This is the area of ​​application on signage and information systems.

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

A group of unique metal plates with stencil initials cut into them was spotted while browsing through online auctions for source material. What made these items even more interesting was how some of the stencil letters had been sectionally divided - not vertically or horizontally as in most stencils, but lines cut at angles. This is the basis for Steel Stencil JNL and Steel Stencil Oblique JNL.

A piece of vintage sheet music with the hand lettered title "Solitude" is the namesake and inspiration for Solitude JNL. Purely Art Deco in its typographic curves and angles of the period, this typeface typifies the "Streamline" style that permeated designs of the 30s and 40s.

Zart is a heavy yet delicately sensitive display typeface filled with character, a free interpretation of the classical French styles from the late eighteenth century, reimagined for modern use. While it’s vertical strokes carry the typical weight of this style, the thinness of the horizontal strokes is further extended into the characters with the introduction of large vertical ink traps. This allowed us to design slightly narrower letters which, coupled with shorter serifs, result in a overall darker expression, creating really impactful headlines. Zart is available in three versions: Regular, Italic and Script.

SK Dusha is a playful geometric decorative font based on the combination of the modern Cyrillic alphabet and Glagolitic characters — the ancient Eastern European alphabet. Each letter and number of this font has a stylistic alternative, which increase the variable capabilities of this typeface. In addition, the font supports a multilingual set — extended Latin and Cyrillic, which makes it available to almost the whole world. Now in every corner it will be possible to get acquainted with the unique forms and geometry of Slavic writing, which is available for use in modern design.

About the font family Cumhuriyet is an Arabic concept that means "the form of government in which the nation holds the sovereignty and uses it through the deputies elected for certain periods". The reason why I gave this name to the font is that 2023 is the centennial anniversary of the Republic of Turkey, which was founded by Atatürk. This typeface, which is sans serif, consists of three families: ▪ Cumhuriyet: Font family with Latin letters ▪ Cumhuriyet Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Cumhuriyet World: Font family including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Cumhuriyet is a family of multi-purpose typefaces designed in a geometric style. This font is an extremely useful font for media and digital media as well as for printed products. In this respect, the Cumhuriyet font can be used as a text and title font in publishing and printing areas, magazines, newspapers, books, banner and poster designs, and websites.

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments._ Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script._

Aromo was initially conceived for editorial purposes. This typeface mixes the versatility of a simple and modern sans-serif, with the sensibility of the humanist feeling: thus making it useful in a wide range of purposes when a balanced and friendly font, with elegant proportions and high readability is required. The functional nature of its design is complemented by a family of 14 variants (7 weights, plus their matching true italics) interpolated optically for application as a hierarchical resource, where the middle weights (Light, Regular) have been optimized for use in small bodies, while the extremes (Ultra Light, Black) where designed for display environments. Aromo also offers a wide range of historical and discretionary ligatures, small caps, eleven different types of numerals and a set of more than 700 characters covering about two hundred languages of Latin script.

Maracay is a tropical typeface that works for texts or headlines, mainly as a display font and designed to work in layers of overlapping texts. Maracay is a unique design with nine fonts based creating a particular style of design and the combination of a couple different looks can be obtained eighteen. Thanks to the versatility of coloring matter, together form a coherent and attractive ideal for a variety of different projects such as invitations, menus, magazines, brochures, packaging, design, etc. Maracay provides alternate characters, swash, ligatures, icons, ordinals and fractions. Maracay has 4 shape styles : Regular Maracay base as essential as Tooled variations of brightness or wood with the appearance of a WoodType vintage wooden texture . Inner font as serves as Light or inner contour of the foregoing. Follow three fonts contouring as Outline, Shape and Umbra as a 3D projection. For decorative purposes Shape that there is a textured lines or Half as a split in the top half letter. Maracay has been carefully studied to provide the best combinations of the most of pairs and trios of glyphos avoiding undesirable extensions between ornate characters through its Opentype programming.

Tazugane Info is a screen-ready Japanese font family, that follows on the debut of Monotype's first original Japanese typeface – Tazugane Gothic. It offers a more restrained personality, with calligraphic design details pared back to create a geometric letterform – a good alternative for designers looking for a matter-of-fact alternative to the warmer Tazugane Gothic tone of voice. Tazugane Info was updated to support the “Reiwa” new era symbol. Reiwa can be written as two kanji: 令和. This update to Tazugane Info includes Reiwa designed as a single ligature and is encoded as U+32FF. “While Tazugane Gothic fits perfectly when your job requires an organic and friendly tone of voice, Tazugane Info provides a more solid look,” says Kobayashi. “I hope that having two options will make it easier to choose an appropriate tone of voice to convey information or brand messaging.” Its strokes create a smooth uninterrupted flow that's designed for use on-screen. Although books, newspapers and magazines are traditionally set vertically in Japan, smartphones, information panels and car navigation systems are all set horizontally – and Tazugane Info has been tailored to this environment, featuring a new set of kana phonetic symbols. Tazugane Info is available in 10 weights, and includes the complete set of kanji and latin found in Tazugane Gothic.

Yayazout JNL is the Rock and Roll equivalent of Jeff Levine's other "Love Generation" font, Positive Vibe JNL. This typeface emulates the innovative and outrageous styles of the late 60s-early 70s design period where the message was the music and the music was the message...

The flashy font is a fun, cool, and retro style. Come with a fun alt glyph, it can easily be matched to an incredibly large set of projects, so add it to your creative ideas and notice how it makes them stand out! This font is perfect for headings, flyers, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers. This font is PUA encoded which means you can access all of the glyphs and swashes with ease!

The name “Fiction Crusader” was generated by a random word generator. It may sound odd, but I like the feel of it. Use your imagination: what exactly is a fiction crusader? Each letter has 6 slightly different versions, and they automatically cycle as you type. A great way to make your text look more lively and vibrant! I guess that this is an all-purpose font, because I can’t think of a project that couldn’t use a font like this!

“Innovation” best describes Naghi Naghashian’s new Decora Two font. It is a “Liaison amoureuse” between the Sans Serif typeface and English manuscript style. Decora Two is the second of a series of typeface that enables graphic arts professionals the flexibility to use modern initials. It enables, moreover, the use of this typeface for decorative headlines and is a boon for manipulations of both vector-based and pixel-based graphic programs. Typographers worldwide, whose alphabets derive from the Roman one, depend on such innovations in order to meet increased demands of modern communication. This typeface enriches the possibilities for typographical design, which in turn increases the delight in such design. It gives me great pleasure to present this series of new typefaces to my creative colleagues worldwide!

This art nouveau style typeface is the one that had been used for the signage of the historic Paris metro stations.

Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version, named Zapfino™ Forte. A version of the 1998 Zapfino typeface ships as one of the pre-installed fonts included with Mac OSX. The Mac OSX version's letters are four times larger than the Linotype standard. In order to minimize compatibility problems for Macintosh users, Linotype has created OSX versions of its Zapfino Extra Pro typefaces, which have been enlarged to correlate visually with the Mac OS Zapfino system font. These special Linotype fonts can be distinguished by the letter X" in their name. Zapfino Extra is an OpenType format font, which is available in two versions. Which version you purchase should depend on which software applications you use the most and what features they support! The Contextual version of Zapfino Extra Pro contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing this version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual) and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino Extra family's 1676 glyphs. The Zapfino Extra family's character set supports 48 western and central European languages. Use Zapfino Extra to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities."

A range of retro initials mimicking the keys of an old style typewriter. Expanded from just a basic ASCII character set to our usual large CheapProFonts selection of glyphs. (I'm not sure all of them appears in the beginning of words, though. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Settikef is a handwritten script font with cute and cute nuances but still beautiful and elegant. This font is great for you to use as a title in your designs as well as great for writing names and words. and to be sure this font is not only limited to that purpose but also very special for every need of your project, be it a formal or non-formal project, this font is still beautiful and elegant. start creating awesome designs with this font! This charming font also offers the beauty of abstract typography harmony for a wide variety of design projects, including digital natural handwriting for designs, quote designs, for social media business designs, advertisements, trademarks, food and beverage promotion banners, text, posters, a signature, and all designs require handwriting or whatever design you want. This font is equipped with uppercase, lowercase, numbers, punctuation marks, swhases and several variations on each character including multi-language. ================================================== This font is best suited for open type friendly applications. How to get alternative glyphs from open type fonts: http://adobe.ly/1m1fn4Y PUA Character Code - Fully accessible without additional design software. do not hesitate anymore start using this font. and Feel free to send any message you want to convey.

In the 1959 premiere season of “The Untouchables” (based on the book by Eliot Ness and Oscar Fraley) the opening title jumps off of the cover of the book and stretches out into tall, extremely condensed lettering. This inspired the type font Federal Agent JNL, which is available in both regular and oblique versions.

Andrade is a new typeface designed by Dino dos Santos in 2005. This typeface was inspired in the typographic work of Manoel de Andrade de Figueiredo (b.1670-d.1735), Nova Escola para Aprender a Ler, Escrever e Contar, printed in 1722 at Offcina de Bernardo da Costa de Carvalho. This is one of the most important books, and almost forgotten, about Portuguese calligraphy and typography, and the work of Andrade de Figueiredo is among the most amazing examples of type design of the Eighteenth Century. His work inspired Ventura da Silva, a Portuguese typographer, who in 1803 published a book named Regras Methodicas, where he redesigns some of Figueiredo's type specimens. But Ventura's purpose was to create a more elegant and readable typeface than Didot and Bodoni. This kind of typeface used to be called leitura and is a transition between the baroque and modern typography. Andrade is a brilliant text typeface and is available in Regular, Italic, Bold, Bold Italic, Ligatures, Ligatures Italic, Swashes and Ornaments. Andrade is my tribute to Portuguese typography and to the work of Manoel de Andrade de Figueiredo in particular.