We have created this family from the numerous derivatives in use for newspapers since the middle of the 1800s to the 1970s, inspired by the well known Clarendon. Mainly, the patterns are those used to print Le Petit Journal, a popular French Newspaper of the era (published from 1863 to 1937). The present version contains Normal, Italic, Bold and Bold Italic styles, in two sub families: 1906 French News for texts and titlings with upper and lower case, and 1906 French News Caps (Caps, small caps, small numerals, for texts and titlings).

The font Kyiv is an attempt to unite old-style antiqua with the Ukrainian tradition and modern requirements. Besides having usual italics the Renaissance tradition of "semi-italics" renewed, compact weights are also provided. Special charm is added by decorative motives of chestnut leaves and flowers. The weights are included in a way to promote the solution of various tasks both text, and an accidental set in various combinations. The font Kyiv was awarded the 2nd prize in category of text fonts in the first Ukrainian typeface competition Ruthenia in 2010.

Have you ever struggled while creating a quote with all ascenders/descenders getting on the way? When you can't find a perfect placement for a word because the letters on the upper line crossing the ones on the lower one? Well, I have :) If you want to reduce this struggle to a minimum, the Celestial brush font is for you. Full of open type features and alternates it won't stand on your way to get the job done ;) Most of the font's letters have "longer" or "shorter" alternates. Celestial brush font is fully unicode mapped.

To tell you the truth, I don’t know what a juicy advice is - other than I guess it’s something positive and maybe even helpful. Well, what I do know is that this Juicy Advice is positive, helpful and playful. It’s a handmade comic font, with an outline version to compliment the Regular version. The outline version is also handmade, but not entirely sticking to the boundaries of the shapes of the Regular version. This leaves the outline somewhat off, but deliberately in order to keep the authentic feeling.

Inspired by the 70's design, specially on Herb Lubalin's work, the typeface Garoa is a rounded mechanical display font without optical compensations, ideal for large bodies. The medium weight has lower case for short texts, and the Bold versions have singular upper case glyphs, with some alternates (at least one alternate per letter – some with OpenType features some using caps on the keyboard). The Garoa Hacker Clube Bold version is free and contains no OpenType features, but the glyphs have the same design as on Garoa Bold.

Step Right Up, Step Right Up, the Font Circus is in town and ready to reveal our stupendous new tent-pole feature! Step inside for the best seat in the house. Ringmaster Roshell Beauregard dons his Big Top Hat especially for this occasion and promises us that Clowntime ain't over until the Bearded Lady takes a custard pie in the face. Our Big Top Bonanza performance begins with sideshow attractions and distractions, high-wire acrobats and low-cost rubber band guns. Can you smell the greasepaint and hear the roar of the crowd already...?

Inspired by the heuristic typography of the Concrete Poetry movement, Solidus is a hardworking and unobtrusive sans in the Neo-grotesque style. Its simplified features, generous spacing and squarish curves imbue a sense of sobriety and allow the textual information to take centre stage, whether in body copy or at display sizes. Solidus is available in nine distinctive weights from wafer-thin Hairline to a hefty Black, each with accompanying italics. Typical of the Neo-grotesque style the italics are slanted in construction and have the same advance width as the uprights.

The Quandary Font is created for a horror theme in use with an illustrated book ‘The Predicament’ by Edgar Allan Poe. It is designed as a highly expressive face to accentuate a sense of mystery and the macabre. A comparatively more carefree and free-spirited face, it comes as a uni-case single weight family used exclusively as the main face for the book. The characters are developed from the numeric glyphs found on the astronomical clock-face at Prague Old Town Square, Czech Republic. http://www.behance.net/gallery/Quandary/383204

Inspired by the archive of music flyers and skateboarding magazine created in the early 90s. Bubbley is made for the purposes of making posters, magazine headers, book titles, flyers and other print media. Bubbley is made for digital needs that are more modern but still have a vintage feel Every line and curve in letterform is made for the needs of the future industry, the latest version in the modern lettering industry. Bubbley is very suitable to be combined with the illustrations that we provide for free, to complete your needs

The font accelerates the process of adding inscriptions and eliminates the need to redraw the same letters every time. The lettering is based on a simple felt-tip pen. The lines have minimal contrast and are not meant to be perfect. A simple and uncomplicated design goes great with a happy holiday mood. The font is suitable for small postcard texts, social media images, invitations, branding, mockups, packaging, ads, and captions. The TS Remarker typeface consists of 4 fonts: 2 upright (normal for regular lettering and alternative for a more colorful impression) and 2 italic.

Linotype Pide Nashi is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. German artist Verena Gerlach created a typeface which looks almost like Arabic at the first glance, only with the second do the familiar forms become clear. Rounded lower case letters, generous, sweeping capitals and diamond-shaped ornaments give the font its Arabic feel. The exotic Linotype Pide Nashi is best suited for short and middle length texts and headlines and especially for ornamental texts.

Tropea is a elegant ligature serif font This font has a regular weight and looks amazing in logos, branding, arranging wedding invitations, business cards, packaging, titles and much more, it is very readable and recognizable. This font includes alternates for Uppercase and Lowercase, with them you can make your project more elegant and originality. Also, this font has many ligatures for upper and lower case, they will add charm and uniqueness to your project This font is easy to use has OpenType features. Font includes: Full alphabet with Uppercase and Lowercase A-z Numbers, fractions Punctuation and symbols Alternates for Uppercase and Lowercase Ligatures for Uppercase and Lowercase

Ahkio is a brushed disconnected script family of 5 fonts. Ahkio’s roots are in 1930s sign painting and showcard lettering but with a modern and individual twist. Main characteristics are soft, rounded forms and a bit curved stems. Ahkio is a friendly and gentle font that suits well in titles, packages, logos and for example posters. 5 weights makes Ahkio a versatile font that gives you a possibility to add contrast and interest to your typography. Ahkio includes black and white manicules. You can use them easily with OpenType options. Just choose Stylistic set 1 and make sure Standard ligatures are on. Then just type: >> for Blackmaniculeright >> for Whitemaniculeright

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Sacred letter is a font that follows the rules of calligraphy writing, but the difference is there is a natural emphasis on handwriting. The Thick and thin are not smooth to describe the flow of natural ink. The pure calligraphy tends to the classic style with nuances of the grandeur of the past. This font is more open and appears as-is. The flexibility of the style makes it can survive in the classic style and modern style. Sacred Letter is a flowing and classic handwritten font, described by an elegant touch, perfect for your dearest projects. Fall in love with its incredibly distinct and timeless style and use it to create spectacular designs! This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates.

The family keeps growing, Ciutadella Slab is the ‘serif’ counterpart of the popular Ciutadella font. The former alternate characters like 'a', 't' and '&' are now the default ones (and the former default characters are now the alternates), giving way for a typeface more suitable for texts. Thus, the new Ciutadella Slab is not only a great headline family, it will also work in texts of intermediate length and size. Especially appropriate for magazines, brochures or branding. This new addition provides even more versatility to the family started with Ciutadella and Ciutadella Rounded. It is available in Open Type format and includes Alternate Characters, Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. It supports Central and Eastern European languages. As the sans version, the type family consists of 10 styles, 5 weights (Light, Regular, Medium, SemiBold and Bold) plus italics. For more details see the PDF.

Diverda Serif is a contemporary typeface that is free from ornament. Created by Swiss designer Daniel Lanz, Diverda Serif is optimized for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Serif remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda Serif's characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda Serif's strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Serif include magazine design, as well as advertising for fashion, design, or architectural products. Diverda Serif is also a good fit for Corporate Identity solutions.

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

Cyclic is a stylish and modern slab serif in three practical, highly legible weights. The name ‘cyclic’ suits this typeface in several ways. Firstly because I wanted to create an ‘all-round’ typeface (pun intended) that could adapt to most applications, but also, as the dictionary definition explains - “occurring in circles, regularly repeated”. The basis for a lot of the characters did begin with a circle or sections of one; the equally distributed, rounded forms of this font are complemented however by the vertical strokes, and further counter-balanced by angular slab serifs on the remaining glyphs. Curved alternates with a celtic vibe are also included in the fonts and feature on the default slots in the separate Cyclic Uncial set. In summary, the whole Cyclic type family comprises a combined palette of circles and straight lines; something the cubist movement would have been proud of!

The Absentia collection welcomes this modern serif option to broaden its typographic horizons and offer designers greater versatility. The new member shares the traits and proportions that sets this family apart, such as the truncated capital ‘A’ apex, the calligraphic ‘l’ and the distinctive ‘g’. Yet Absentia Serif adds its own personality to the mix, integrating forward-looking attributes into traditional letterforms. Laid out as bilateral or one-sided configurations, the transitional serifs help maintain a tight, orderly baseline. The balanced stroke contrast increases in the bolder weights and exudes an elegant appearance. This finely crafted typeface promotes legibility at the smallest sizes and makes it the ideal solution for body text. Available in ten weights with matching italics and two variable fonts, Absentia Serif is loaded with OpenType features such as stylistic alternates, fractions, superscript, subscript, as well as standard and discretionary ligatures.

An attempt to go back towards the beauty of fine book printing, inspired in Britain's literary classics. Athelas takes full advantage of the typographic silence, that white space in the margins, between the columns, the lines, the words, the lettershapes and finally, within the characters themselves. It is also intended to take advantage of the great advances and technical developments made in offset printing. Athelas shows its best side in finely crafted book editions and good printing conditions. Athelas has a large character set that covers most of the languages that use the Latin script. Although inspired in British literature, this typeface respects the cultural values behind different languages, where diacritic marks have an utterly important role. Athelas features four weights and about 800 characters per weight, including small caps, discretionary ligatures, fractions, a complete range of numerals for every use and a set of ornaments and arrows.

This family was created/inspired from the well-known Baskerville Roman and Italic typefaces created by John Baskerville, the English font designer. We were inspired by the original family sent by Baskerville’s wife after his death. The full Baskerville collection was bought by the French editor and author Pierre-Augustin Caron de Beaumarchais who used it to print - in Switzerland - for the first time the complete works of Voltaire (known as the “Kehl edition” from the "Imprimerie de la société littéraire typographique"). We have used this edition, with copies from 1785, to reconstruct these two genuine historical styles. The font faces, kerning, and spacing are scrupulously identical to the original. This Pro font includes characters for Western, Eastern and Central European languages (including Celtic) and Turkish, with a complete set of small caps, standard and “long s” ligatures in each of the two styles.

The 1928 logotype for Sertal Toiletries consisted of a stylized woman's head, a very snaky S, and five fine, fat deco caps spelling out the rest of the brand name. From these five clues, designer Nick Curtis divined the rules" of the typeface and drew a complete alphabet, including a lower case. The result: ITC Scram Gravy. The finished product could be described as Bodoni on steroids. Tight curls in characters like the 'm,' 'r' and 'y' soften the lower case and give the design a light-hearted flavor. ITC Scram Gravy takes its name from one of many running gags in the screwball comic strip "Smokey Stover," which had folks alternately splitting their sides and scratching their heads from 1935 to 1973. Those familiar with Bill Holman's strip will recall Smokey's car, the Foomobile, and one of his famous nonsense declarations: "No foo-ling, that scram gravy ain't wavy.""

Give your documents a sense of history. The study of the ancient Egyptian Hieroglyphics has been an ongoing fascination by scholars and Egyptology buffs for literally centuries. The discovery of the Rosetta stone in 1799 provided an incredible breakthrough in deciphering the hieroglyphs, however there continues to be conflicting opinions on the literal translation of both the phonetic and ideographic symbols. As such, the interpretation provided in this manual represents an assembly of the most popular transcriptions. This series contains 62 assorted gods and deities as well as a few well known kings or pharaoh's from the New Dynasty. It is important to note that most of the gods and deities were represented in many different forms throughout the centuries and regions of Ancient Egypt, and these are but some of these representations. NOTE: this font comes with an interpretation guide in pdf format.

ABTS Crestwing is a unique initial font with extraordinary flexibility and beauty. There are 5 wing styles to choose from. The wings are accessed through typing numbers. The 5 pairs are: [1, 2] [3, 4] [5, 6] [7, 8] & [9, 0]. The odd numbers in the pairs will give you a left wing, and the even numbers will give you a right wing. The letters are separated into upper and lowercase. Uppercase has a crest point, the lowercase does not, giving you the ability to string letters together to form words and phrases, and place the tip of the crest above the letter of your choosing. Optional endcaps are available using the brackets on your keyboard "[, ]." This allows you to cap off a word if you wish not to use a wing to do so. Crestwing is both beautiful and unique, and works best at large sizes.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

Between twilight and daybreak it is said that the dark side of the human psyche eclipses the sun that shines from the depths of our souls. Certainty turns to doubt, clarity becomes confusion, man turns into wolf, the dead wake, vampires seduce the young are restless and milk boils over on the stove. Those that seek only to bathe in the light of a romantic new moon often end their tragic lives soaked in nothing other than their own blood, and the milk spilt on the stovetop has no one left to cry over it. There are fifty shades of grey during those hours after sunset and I think just as many in my porridge this morning. Yes, okay, I admit it, I spoiled the milk! This porridge tastes like it was left in a graveyard overnight. Death warmed over. Gothic and lumpy. Just like the Buried weights of this font.

Double Nines JNL is a dingbat font containing fifty-five glyphs for the tiles found in the second level of domino games. Sets of dominoes can be of either double six, double nine or double twelve. In this font, the double blank tile is located on the zero keystroke, while the one/blank and 1/1 tiles are on the 1 and 2 keystrokes. The rest of the tiles (in numerical order through 9/9) are located on the A-Z and a-z keystrokes respectively. To use any or all of the images contained in Double Nines JNL in any manufactured products or services, please refer to the software license agreement provided when purchasing this font. A separate royalty license must be secured from Jeffrey N. Levine for such purposes. The images are NOT licensed for use in proprietary logos or service marks.

Braga Huis typeface is a font family that is inspired by the famous street in Bandung that was made to embodies the atmosphere and the environment of Netherland-Indie city at its golden time, whereby all the elements were designed to give the impression of structural, artistic, and advance. Braga Huis typeface has a strong Art Deco character, where the impression is depicted from the strong lines, curvy passion so it is very appropriate to describing the future atmosphere from the perspective of the 19th century. Braga Huis typeface has 3 font styles consisting of uppercase, lowercase and various alternative options that can be customize to your taste, poster is one of the media form of presentation that we believe is very appropriate for this type of font. But whatever the medium is, honestly we say; using Braga Huis typeface will make your artwork will never be cracked by time.

Chapman is the result of spending too many hours staring at the often all-capital engraver typefaces from long-gone foundries. The wide serifs, high contrast, and various widths seem to have so much character but also remain so neutral. From these references, Chapman began to emerge. It seemed natural that the lowercase would be based on a Scotch Roman model, much like the original all-capital faces. Chapman does not pull directly from any one source but from the genres themselves. It was, from the beginning, the goal to create a typeface that would be relatively neutral but not boring; an adaptable solution that works anywhere and, depending on the chosen width, can be squeezed or stretched to fit anywhere. The idiosyncrasies of the original designs are tamed in some places and turned up in others. The result is something familiar but unique and contemporary.

Hi. Introducing a new version of my one of the most popular fonts. Now Humblest Pro includes much more characters and has west european multilingual support. This font has a smooth and clean shape without any grain unlike the original one. Almost all of the capital leters has two version, for the begining and for the ending of the word. The final alternative letter will be automatically replaced if you type a big last letter in the word (check out if the "contextual alternates" opentype feature is activated). Decorative swashes are now a part of the font. To use this decorative lines just type an underscore character and the corresponding number from _00 to _39 (make sure that “standard ligatures” opentype feature is activated). Also a lot of ligatures for small letters are available, please check out the previews with all available glyphs. Thank you and have fun!

Ernie is a new animated typeface by Jim Ford, intended as a complimentary serif design to Freeman Craw’s fun retro hit, Ad Lib. The serif drawings mimic the behaviors of Ad Lib, on a Clarendon-esque structure. The application of Ad Lib’s behaviors to a serif design highlights it's quirky characteristics; notably in the added contrast, the bending of serifs and the translation to Ernie’s ball terminals. The lowercase g is probably the most extreme example of this "translation." Ernie has a savvy system of text animation built in; with dualing lowercase alphabets, 34 ligatures, and an extensive glossary of custom words, all programmed to automatically make intelligent pseudorandom wordshapes. It's called RMS, aka the Randomagic System. The glossary of “buzz” words is based on the most common and powerful words in marketing and advertising, as well as words that are specific to Ernie’s intended uses.. Additionally, Ernie Alt provides the opposite randomization effects in lowercase text, thus reversing the rhythm of the bounce. Ernie Sorts is a bonus font which includes fun printers fists, expandable banners and other graphic elements. The Ernie character and cartoons were created by Johnny Sampson, as a visualization of the typeface, it's character and it's unique features.

By the 1990s, the availability of font creation software opened the door to an explosion of creativity, experimentation and exploration into the world of digital typography by amateur and professional alike. The undisputed king of the freeware fonts was Ray Larabie through his Larabie Fonts website. It seemed at the time that Ray’s output was endless, and he amassed dozens upon dozens of fonts that ranged from the ridiculous to the sublime. In fact, Ray was the driving force of encouragement and a behind-the-scenes “mentor” who helped Jeff Levine Fonts get underway in January of 2006. As Larabie’s focus changed to higher-quality commercial type design with the launch of Typodermic, Inc., many of his “less than perfect” font experiments were withdrawn and shelved. Ray eventually turned those lost (and sometimes questionable) typefaces into a bundled zip archive released into the public domain through Creative Commons. One particular design “Boron” (circa 1996) featured computer-oriented lettering as if etched onto a circuit board. Running with this idea, and with Ray's approval, the electronic elements were stripped away, the characters cleaned up and modified, and the font reworked in Retro Checkbook JNL, which is available in both regular and oblique versions.

Freundschafts-Antiqua AR is based on a 20th-century German type design. Freundschafts-Antiqua (which was also called Chinesische Antiqua) was designed by the Chinese calligrapher Yü Bing-nan when he was a student at the Hochschule für Grafik und Buchkunst at Leipzig in 1960. It was cast in 1964 by VEB Typoart, Dresden, in 9-pt and 28-pt (Didot). The design combines the best German traditions with the Chinese bamboo pen. It is a unique, wholly modern, yet quiet and dignified typeface which is well suited for text-setting in many sizes. The original design was carefully crafted with all non-kerning letters (none of the letters overhangs its side-bearings); the lower-case f was designed so that no ligatures were needed. The AR fonts include the type's ch and ck logotypes, monetary signs and all the standard accents. The letterfit of the original design is retained and, as can be seen in the attached printable .pdf, text composed at normal sizes is very agreeable indeed. Freundschafts-Kursiv AR A features old-style (non-lining) figures and 'kerning' letters; Freundschafts-Kursiv AR B contains lining (cap-height) figures and all non-kerning letters following the original design of the face.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. Cyan Sans evolved out of the hugely successful Cyan Serif family. Cyan Sans retains the same geometric Roman proportions with open centers in B,P,R b, d, p . This helps create a thick and thin stroke illusion since the actual strokes don't vary much. There are many subtle details in Cyan Sans that become more interesting in larger sizes. The beauty of Cyan Sans is that it has no features that "jar" the eye. The result is a very pleasing and distinctive sans that scales well. Cyan Sans is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". Blue as a primary color that has many hues and uses. Cyan the font, we hope will be seen in a similar light. Obviously Cyan Sans is a perfect companion to the Cyan Serif family.

Hiragino Sans Rounded (Maru Gothic) is derived from the basic design of the Hiragino Sans (Kaku Gothic) with its wide counters and comfortable appearance. It features gentle typeface that provides graceful roundedness to the tips of all the strokes of a character. On the flip side of this gentle impression is the fact that every single element in the Hiragino Sans upon which this typeface is based has been carefully polished down in every respect in pursuit of an elegant roundness that makes it possible to handle carefully executed typesetting. That approach is clearly different from the general rounded typeface that makes full use of the body, and makes it possible to respond the requirement of professional typesetting. It is never-uninteresting design whose letterform is rooted in the traditions of traditional printing type. It is a font that of course can be used on its own and easily formatted just like Hiragino Sans while adding splendid coloring to the page. Furthermore, when used with other Hiragino fonts such as Hiragino Sans or Hiragino Serif (Mincho), the fact that all their designs are oriented on the same vector creates a multiplier effect. The user may be surprised at the sense of unity that cannot be experienced when combining it with other typefaces.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. Caslon Black was designed by Dave Farey in the ITC library.

Business Penmanship is an ode to the business handwriting from the era penmanship was a highly-valued part of business education and practice.
  In the early 1800s, Platt Rogers Spencer (1800-1864) created what would become the most widely accepted and prized cursive writing method used in business. Before the American Civil War, Spencer was the undisputed king of handwriting. He was also an outspoken supporter of American business education. By the late 1800s business education included some focus on penmanship, and there were many colleges that specialized in it. One of the most influential penmanship schools was founded by Charles Paxton Zaner and his partner E. W. Bloser. Later on, in the early 1900s Austin Palmer introduced the Palmer Method of business penmanship, and it soon became the most popular handwriting system in the United States.
  Business Penmanship is a single feature-rich font that includes over 1100 characters, covering ligatures, alternates, a large set of beginning and ending extensions, as well as a wide range of Latin-based languages, including Turkish and the languages of Central and Eastern Europe and the Baltic region. To take advantage of all the OpenType features included in the font, please use within programs that support such advanced typography.

TT Phobos useful links: Specimen | Graphic presentation | Customization options TT Phobos is a pliable display serif with a soft and gentle character. The features of the typeface are the moderate contrast between bold and thin strokes, pliable visual compensators, and the counter-clockwise bend of internal ovals. In addition to 6 weights and 6 italic, TT Phobos also includes two original decorative fonts, inline and stencil. Despite its pliability and display character, TT Phobos is dynamic enough and is well suited for text arrays even in large text blocks. The serifs of letters are completely asymmetrical and bring in dynamics when reading the text from left to right. Thanks to the harmonious contrast of black and white forms and internal negative spaces of the letters, as well as its broad letter spacing, the typeface is well read in small sizes. In this case, the character of the letters is completely preserved, partially thanks to the exaggerated elegant visual compensators. The ornamental pattern used in TT Phobos Inline varies for capital and lowercase letters. Capital letters implement a more complex double inline with a rhombic element in the middle, and in the lower case features a simplified form of the inline, made in a single movement. Thanks to the original cutting, TT Phobos Stencil stands out for its expression, and the rounded cuts add even more visual style to the font. TT Phobos consists of 14 faces: 6 weights (Light, Regular, DemiBold, Bold, ExtraBold, Black), 6 Italics, inline and stencil. There are 17 ligatures in TT Phobos, including several Cyrillic ones. The typeface has stylistic alternates, which adds an italic effect to the upright fonts, and a little solemnity of the upright version to the italics. In addition, we have not forgotten about the old-style figures and other useful OpenType features, such as ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac, case.

DIN Stencil on Behance. DIN Stencil: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there has never been a professional digital stencil version of a DIN-based typeface. After the successful introduction of DIN Monospace a few months earlier, PF DIN Stencil now completes Parachute’s extensive library of DIN superfamilies. It was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics and make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil family consists of 8 diverse weights from the elegant Hairline to the muscular Black. Currently, it supports Latin, Eastern European, Turkish and Baltic.