Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

DUAL is a full width sans-serif typeface with an experimental side. Its straight lines and 90 degree angles give it a very geometric feel without hindering its legibility. It’s now available in 6 weights, ranging from 100 to 600. The idea behind DUAL has been brewing for quite some time, and though there has been many “experimental” released in the past, it does have its unique features. For starters, it is a fully usable and legible font in its original state. Also, its 251 alternate glyphs and 10 stylistic sets are, of course, its main attraction making DUAL a very versatile typeface for any user, from the casual designer to the hardcore artist. Finally, it has extensive additional language support for the Americas and parts of Europe. With its 563 glyphs, It’s actually two fonts in one, and thus the name DUAL. Enjoy!

This family is very special to me. I started working on it right after my first son was born. I decided to name the typeface "Servus" which means "Hello" in my country. The whole idea of the family symbolizes a child’s growth. It starts with Thin and Narrow weights - just like a newborn baby - then it slowly grows to Black and Wide. As You can guess, my son is quite chubby now! And I can assure You that I put all my love into details. Servus consists of 9 weights which gives us 18 fonts with matching italics. Lights and Bolds, due to their strong personality, are perfect for display uses. At the same time, Regulars create a harmonious structure that provides good legibility in long texts. Servus covers all latin languages. It contains a wide set of numerals, small capitals, fractions, ligatures and other OpenType goodies.

George Ryan's ITC Migrate is a highly condensed sans serif display face that effectively complements ITC Adderville. Migrate represents what Ryan calls a “more highly evolved version” of a typeface he designed for Bitstream in 1991 called Oz Handicraft. “Both faces,“ says Ryan, “are based on designs of the popular early 20th-century type designer Oswald Cooper.” His inspiration came from drawing samples found in the Book of Oz Cooper, published in 1949 by the Society of Typographic Arts in Chicago. “Oz worked extensively with the sans serif form long before it became popular in the States, eschewing a popular belief of the time that sans serifs were only skeletons of letters.” Where Oz Handicraft was informal and quirky, ITC Migrate has a more restrained feel. “The uppercase characters and figures, in particular, have been reworked,” says Ryan, ”resulting in a more formal and traditional, compressed sans serif typeface.”

Neuzeit Grotesk was originally designed by Wilhelm Pischner (1904-1989) and was released by the font foundry D. Stempel in 1928-1939. In 1970, the German Standards Committee advised the standard use of Neuzeit-Grotesk for official signage and traffic directional systems, and the abbreviation DIN was added to the name of the font. DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). Neuzeit Grotesk was also once the standard in the German printing industry. It has been seen as a straightforward and utilitarian typeface, with no unusual or distracting features. Like other typefaces from the 1920s, it reflects the philosophy of those times, "Form is Function." Today, however, because of its familiarity and practicality, Neuzeit™ Grotesk has acquired an almost cheerful and reassuring aura. Try it out for signage, magazine headlines, or flyers. See also Neuzeit S for text weights of Neuzeit Grotesk.

Introductory offer 50% Off for a limited time. A collaboration between Coldiac (a four-piece pop band from Indonesia) & Majestype (typefoundry from Makassar Indonesia) with the help of Erwin Indrawan (lettering artist from Bandung) as the font designer. Kilau font is the official font that we’ve been using for Coldiac the newest single artwork (kilau) & branding material. Kilau comes with 250+ Glyphs and has a kerning feature to make it legible and OpenType (Alternative Character), which is very useful for today's design software as it provides a lot of options. One of the most frequently used is to change certain characters according to your taste. Now you can get the font including the commercial usage for your works. We'd be happy if you guys can use it & feel the experience while listen to Coldiac’s song. *it would be much appreciated if you could credit us.

Dharma Gothic Rounded is an antiqued sans serif designed inspired by 1800s-style wood type. All glyphs had been designed carefully to be retro-looking of the old time and to fill all with nostalgia. There is Dharma Gothic Family that is not rounded. This condensed font family with 42 styles will be the best solution for posters, titles and anywhere you need impact. To complete your work perfectly, Gothic Extras Family is ready for free. They include borders, ornaments and frames designed using vintage catalog of Hamilton in 1800s as a model. g, r and y have alternative glyphs that are available with the OpenType salt feature and tabular figures are available with tnum feature. Be sure to check out the slab serif style of this Dharma series named Dharma Slab and Distress version Dharma Gothic P. When you need more modern gothic, please try our Kaneda Gothic and Fairweather.

Velino is one of our most complete type families. The serif version comes in two packages with three widths: Velino, Velino Condensed, and Velino Compressed. The display package contains high-contrast typefaces, with a modern flair—very feminine but with plenty of character, specially designed for fine print in big text sizes. The text package was designed for any running text. Its proportions and colors make it ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a slab serif typeface with only one weight and its respective italic, but with plenty of muscle, for every time some extra strength is needed, such as setting very big text, magazine covers or newspapers’ special sections. Finally, we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Rialto Script is inspired by old polish neon signs and their very imaginative and expressive lettering. Neon signs were designed by great Polish artists and architects during communistic times in Poland. A large number of alternates and swashes make every word unique, just like the neon signs were in this period. The typeface is designed to evolve as your type. It contains contextual alternates, basic and discretionary ligatures, initials and swashes. There are swashes for capitals, beginning and ending swashes in lowercase, plus dash swashes in lowercase. Lower and upper case contain a set of block letters which you can find by turning on Small Caps. Rialto Script is a monolinear display swashed script and came from dynamic and rhythmical handwriting. All of the glyphs sit slightly above the baseline with a slanted axis. Rialto is perfect for titles, logos, signs and of course, neon signs.

Velino is the most recent of our Premium Typefaces. The serif version comes in two packages with three widths: Velino, Velino Condensed and Velino Compressed. The Display package contains high contrast typefaces, with a modern flair, very feminine but with plenty of character, specially designed for fine print in big text sizes. The Text package was designed for any running text. It’s proportions and colors make it the ideal for text, even in very difficult conditions such as newspaper printing. We also designed the perfect companion to this enormous type system: Velino Poster, a Slab Serif typeface with only one weight and it’s respective italic, but with plenty of muscle, for every time some extra strength is needed, like setting very big text, magazine covers or newspaper’s special sections. Finally we designed Velino Sans and Velino Sans Condensed to perfectly match the weight and proportions of Velino, all with matching italics.

Introducing "Kind Breakout" with a bold and modern vintage style and a touch of stamp effect so you can feel a very distinctive vintage feel. If your latest project needs a touch of class, it's time to take Kind Breakout to your font library. This beautiful and elegant typeface features a vintage style, OpenType features like ligatures, stylistic alternatives, stylistice Set, Swash, Discretionary Ligatures and even comes as a web font. Perfect for posters, logos, and stationery, this is a one of a kind elegant font waiting to impress. Kind Breakout has 725 glyphs and all PUA Encoded Characters, Can be accessed in Adobe Illustrator, Adobe Photoshop, Microsoft Word, CorelDraw and other applications that support the opentype feature, Fully accessible without additional design software. This font will be a great asset to your font library, as it has the potential to enhance your next project creation.

Childa Script with the kind of modern calligraphy font, I hope you are interested in this font, if you want to use for your work this font can be used easily and simply because there are a lot of features in it to contain a complete set of letters lower and uppercase letters, assorted punctuation, numbers, and multilingual support. font also contains several ligatures and alternate style Stylistic Sets for those of you who have software that is able to work OpenType (Photoshop / Illustrator / InDesign). Childa Script is suitable use for market design developed at this time, this font has a model Trendy, natural and gentle, with this font you can take advantage of the opportunity in every moment of one wonderful way to highlight the celebration of the feast of your best, because this font will be advocates for purposes such as wedding invitations, party, graduation, birthday, gathering, etc.

Introducing the Inflate PTx font family, a delightful and playful typeface collection that embodies the buoyant spirit of celebration and festivity. This font can be use in old and new apps that use/read fonts, because it's format (old school format :)), not OpenType SVG format. To install fast on the PC: right click in the OpenType file, then "Install". But if you want to open the file, please be pacient. It takes time to open and read the OpenType file depending of the capacity of your PC. The Inflate PTx font family is tailor-made for creative projects, from birthday party invitations and children's book illustrations to social media graphics for Instagram or themed event posters. Its rounded edges and bubbly forms infuse any design with an infectious sense of joy and lightheartedness, making it an ideal choice for those seeking a playful and festive typographic solution.

Fondue: an eclectic-flavoured contemporary typeface. Designed by Jorge Alberto Martínez and Latinotype Team. Fondue is a type family of eclectic shapes, inspired by Art Deco designs, in particular, the lettering used by the Mexican cartoonist Ernesto “El Chango” Cabral on almost the entire publication Revista de Revistas ("Magazine of Magazines"). Far from being a copy, Fondue expects to be an adaptation of the thinking of that time to be used in contemporary context. Fondue has a cursive ductus, wide horizontal proportion and large x-height. Its friendly consistent rhythm makes it ideal for medium-sized text, headlines, branding, and so on. The family comes in 6 weights, from Thin, which reminds of the cartoonist’s loose strokes, to Ultra Bold, the version with powerful and unique voice. Fondue has a set of 496 characters that support 207 different languages.. OpenType features include standard and discretionary ligatures as well as stylistic alternates.

Kongfusher is the layered font that comes up with 2 styles engraved layer. You can save your time to mix and match the styles you need. Kongfusher font has 4 fonts including: regular, full engraved, half engraved, and extruded. This font is perfect for logotype, flyers, posters, branding and identity, or application in mobile. OpenType features can be utilized to let you choose and mix of alternates. For many applications this will be automatic. But otherwise, if your application does not support OpenType you must install an application to access the character map for access to these features. For the step to use character map you must choose "private use area" at "Unicode" options. How to use character map for access OpenType features https://youtu.be/ARD2cqZ2rdM If you have any questions or technical support don't hesitate to comment, message or contact java.indonesian@yahoo.com. Have a nice day.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

Back to the basics. In the last ten years, type design has been confronting chaotic scene. The font market is flooded with a mixture of wheat and chaff and typography becomes increasingly complex. But one golden straight path exists. The path began from the industrial revolution, passing through swiss style, now we walk along the path as a matter of course. It is sans-serif. The decades from the Swiss style, namely "less is more age" to the contemporary basic style "Less, but better age", we call it golden decades. In those decades, type design met modernism. Go back to a theory in the golden decades, we redesigned new geometric, minimal sans-serif. Less is more and better. We added cool and calm spices to the modernism in the golden decades. As a result, letterform has a contemporary, sharp, and neutral atmosphere, and geometric rounded bowls and counters create a nice rhythm. Golden Decades consists of 8 weights and their matching Italics for a wide range of usages. Farther, Golden Decades is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also, Golden Decades covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternate for advanced typography.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Limazah is an Arabic style font that is perfect for any Muslim project or product. This font has a beautiful, elegant design that is inspired by traditional Arabic calligraphy. It is perfect for use in Ramadan themed designs, as well as any other design that requires a touch of Arabic flair. This digital product font is easy to use in any design software. It is perfect for creating stunning, professional designs that will stand out and make a statement. Whether you are designing for a business or personal project, Limazah is a must-have font for any designer. Features : - Limazah Font - Ligatures - Multilingual, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Thank you for purchasing premium fonts from Attype Studio. Follow and explore our work on Pinterest & Instagram. If you have any question, don’t hesitate to contact us. Hope you enjoy with our font! Attype Studio

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

FF Attribute™ Text is a proportional design with a faux monospace appearance. It has an industrial strength, minimalist vibe, making it perfect for attention getting, theme-based headlines, posters, banners and navigational links. And, because it is such a robust family, FF Attribute can also be used for branding of blogs, games, web sites and tech products. FF Attribute comes in two families; Mono and Text. The Mono is a fixed width (monospace) design, while the Text is a proportional design. FF Attribute was, in fact, initially designed for the use in code editor software. Its seven roman and italic monospaced weights and extended character set supporting a many languages, also make it a powerful communications tool. But this is only the tip of the iceberg. In addition to the monospaced version, where all characters share a fixed width, there is also a proportional, “faux monospaced” version: FF Attribute Text. The Text family keeps the visual character of a monospaced typeface, but wide letters are given more space while narrow characters have been drawn with correct proportions and spacing. FF Attribute Text looks monospaced – but it’s not. Drawn by Viktor Nübel, FF Attribute Text’s 14 designs, huge character set, including box-drawing characters and user interface-icons, make it the Swiss Army Knife® of monospaced fonts.

Satimah is a stunning Arabic style typeface that brings an elegant and professional look to any design. With its simple yet refined design, this font is perfect for a wide range of projects, from branding to editorial and beyond. The font also comes with stylistic set 1 and 2, as well as stylistic alternates for some characters, giving you even more creative options. Satimah is particularly well-suited for Islamic design and Islamic theme events, thanks to its beautiful calligraphic flourishes and timeless elegance. With both regular and italic versions, this font is versatile enough to be used in a wide range of design applications. And with multilingual support, you can be sure that your message will be communicated clearly and effectively no matter where your audience is located. Features : - Satimah Family Font - Stylistic Alternates - Stylistic Set - Multilingual, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Hope you enjoy with our font! Attype Studio

Introducing "Kukulkan," a font designed by Raúl Plancarte, adorned with accolades, that unravels the structural possibilities nestled within the realms of ancient Roman letters and fantastical styles, infusing them with a contemporary essence. This typeface exudes a conspicuous plasticity and expressiveness, seamlessly harmonizing within its original intended context as a font for continuous text, bolstered by its robust and assured strokes. It stands as the triumphant culmination of a thorough exploration, meticulously considering legibility. Infused with nuanced elements that evoke a pre-Hispanic idealization of Mayan culture, this essence takes center stage in its darker iterations. However, it is adept at adapting to a myriad of ethnic and cultural nuances prevalent in our global village. Noteworthy is the fact that the "Kukulkan" font family is available as a variable font, offering a dynamic range of styles across its 18 fonts, endowing it with a lively, human, and refined demeanor. Additionally, it features a variant known as "Kukulkan Ornaments," a collection of 150 dingbats comprised of icons, symbols, and frames intricately inspired by the iconography of Mayan hieroglyphs. In its natural application, "Kukulkan" thrives in contexts of art, lifestyle, culture, seamlessly bridging tradition and avant-garde. This font excels in the realm of editorial design, evident in its adeptness at crafting robust headlines, and in select cases, it lends itself to creating striking brand identities.

FF DIN: the famous, faithful and first revival of DIN 1451. FF DIN originates in the lettering models from the German standard DIN 1451, and is considered the perfect standard typeface due to methodical and engineered design. FF DIN Variable offers you more FF DIN than ever before. Pushing font technology to its limits, Variable fonts provide creatives a tool to dial in hyper specific variations which thrive in any design space. FF DIN Variable take bold steps in engineering, which the typefaces behaviour which brings in FF DIN’s technical look-and-feel into the smooth and almost organic world of Variable Fonts. Available in both upright and italic styles, there is a lot more FF DIN to discover with new era of type technology. FF DIN Italic is a sloped roman style, however it is optically corrected – slightly thinner, slightly narrower. As a result, FF DIN Italic stands out subtly. FF DIN Variable stays faithful to its parent’s DNA, the utmost care was taken to ensure that the new instances of FF DIN Variable remained consistent with all the well-known weights. Precision is the mantra of FF DIN, the FF DIN Variable is no exception to this design philosophy. Produce exquisitely fine-tuned typography and expressive animated headlines for any design. Infinite styles, intelligent, and powerful.

Although inspired by the engraved lettering on eighteenth-century English trade-cards, ITC Vineyard has unusual characteristics of its own. The type retains some quality of copperplate scripts, but the differentiation between thicks and hairlines is not very sharp. There are a few cursive forms, but most of the letters are romanized: they are almost upright and not joining. Occasional flourishes are casually interpreted from various sources such as the lettering on trade-cards and writing masters' copybooks. “I think it is a new kind of 'copperplate script' which is not too formal and easier to read,” claims designer Akira Kobayshi. Irregularities are apparent in the angle of caps and numerals, but the face's quirkiness gives a type page some friendliness rather than cold brilliancy. ITC Vineyard is designed in two weights: regular and bold. Each variation includes several extra characters such as an alternative lowercase 'd' with a long arm, a T-h ligature, swelled rules, and a pair of flourishes. Swash caps are available for both weights. The swash caps variation also includes oldstyle figures. Kobayashi notes: “There are a few swash-cap lowercase combinations that collide or look awkward. In that case, I recommend using the plain caps. Setting all swash cap copy should also be discouraged.” Featured in: Best Fonts for Tattoos

Presenting the Young Morin typeface from alitdesign. Young Morin font is designed by combining elegant script font with a classic serif font style. The Young Morin font is inspired by a classic roman design that we apply modern elements according to current trends. This bold classic concept will create a design that is frightening but still looks modern and elegant. The Young Morin font is perfect for the design of young people who dare to be different and unique from the current trending design concept. Young Morin font is highly recommended to be a collection of fonts for current or future design creation. Young Morin is perfect for magazine cover designs, brochures, flyers. Instagram ads, Canva Design and so on with unique and modern and brave concepts. besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The "Young Morin"contains 660 glyphs with many unique and interesting alternative options. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Woodford Bourne PRO is the evolution of my original Woodford Bourne typeface that was inspired by the iconic stone cast letters on the façades of the 19th century Woodford, Bourne & Co. buildings in Cork City, Ireland. Woodford Bourne PRO has matured with numerous improvements to make it an even more versatile font family. The fonts have been completely redrawn and spaced, there are now an additional 500 glyphs for you to use across 9 stylistic sets. The additions include underlined caps, small caps, petite caps, catchwords, discretionary ligatures and more. Please view the specification sheet before you purchase to see all the glyphs and features. Key features: • Woodford Bourne PRO is a vintage geometric sans, optically adjusted for improved aesthetics and legibility 2 FONTS IN 1 – Use the default contemporary character set, or switch to vintage style with stylistic sets 9 Weights in Roman and Italic Thin | ExtraLight | Light | Regular | Medium | SemiBold | Bold | Black | Ultra Underlined Caps, Small Caps, Petite Caps, Catchwords, Discretionary Ligatures Full European character set 1000+ glyphs per font UPDATED JULY 2021 (v.3) Woodford Bourne PRO v.3 update includes numerous improvements including rebalanced /S/s/ glyphs to make them less ‘top heavy’. Italics have been redrawn to smoothe out irregularities. Improvements have been made to diacritics and glyph coverage now supports all Latin European languages.

Customs Paperwork Pro brings the unique style of the NuMode Type No. 61 vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Customs Paperwork Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Kuschelfraktur is a unique, eye-catching take on the theme of blackletter that replaces the broad nib with a brush pen and achieves stroke modulation through stencil-like gaps. It combines the texture and dignity of blackletter with the human warmth of informal handwriting. Kuschelfraktur offers five separate sets of capital letters and several additional customization option via stylistic alternates. The degree of ornamentation in the blackletter capitals can be increased (SS02) or decreased (SS07), while SS04 and SS05 offer two simpler approaches to capital letters that bridge from blackletter to Roman letters (Antiqua). The default single-storey �a� can be replaced with a two-storey version in SS01, and SS08 offers a single-storey capital �A� for the simple capitals. Finally, SS03 restores some of the more unique letter shapes of the Fraktur style of blackletter. The old-style figures can be replaced with lining and/or tabular figures. All these stylistic sets are accessible via OpenType from the main font, Kuschelfraktur, whereas the spin-off fonts (Traditional, Verziert, Text, Schlicht, Antiqua) offer convenient access to those sets even in environments without OpenType support. I am grateful to the helpful souls on the TypeDrawers and Typographie.info forums for encouragement and constructive feedback, and to the Glyphs team for their fantastic type editor. Kuschelfraktur is dedicated to my son Marius.

Fnord is a contemporary humanist serif typeface, it is ideally suited for display purposes, titling, headline copy and branding. The family has been designed to be highly versatile, containing a total of 23 fonts. Each font features discretionary ligatures, swash alternates and true small caps. The overall design is clean and simple with a little bit of rebelliousness thrown in for good measure – Fnord does not conform to the traditional serif blueprint. Fnord’s design has been strongly influenced by the complex, thought-provoking and mischievous works of authors Robert Anton Wilson and Robert Shea from the 1970s. I was re-reading their work while sketching the initial letterforms and realised that some of the proportions and angles were coinciding with some themes that run through the books – particularly the numbers 5, 17, 23, 40 and 93, which are key to this font family’s spacing and geometry. I found it both very interesting and enjoyable to play with a specific theme and purpose for creating this typeface. I am sure you will enjoy working with it in your own design projects. Key features: • 5 Weights in 4 Styles – Roman, Italic, Condensed and Extended • 3 Additional Display Styles in 1 Weight – Engraved, Inline and Woodcut • Small Caps, Alternates, Swashes and Discretionary Ligatures • Full European character set • 680 glyphs per font.

Restraining Order Pro brings the unique style of a vintage typewriter keyset to the digital age. Antique typewriters have an incredible warmth and appeal to them, primarily because of their unpredictable "grunge" results that were a mix from the force of keystrokes to the wear of the ribbon and paper texture. This typeface is further fleshed out with SmallCaps and extensive figure sets to add a more serious note to the nature of the typeface, when needed. WHAT'S INCLUDED: Extensive language support. Restraining Order Pro has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. Antique typewriters are incredible, but they aren't something easily accessible to everyone, nor do most people want to fiddle with white out edits and the like. That's why typewriter fonts that capture the flavor of vintage typewriters are a no brainer (convenient and easily editable). I hope you enjoy playing with it just as much as I had fun making it.

Anna Clara can be dressed up or down, as fancy as you wanna be. On its own, it’s an organic script, with the fine hairlines, thick swells, and slightly undulating baseline found in modern casual calligraphy. Add swashes, and Anna Clara becomes a bit more playful and festive. Each capital letter has a flourished alternate—great for displays or headings, or to add emphasis to a particular section of text. For OpenType-aware software users, Anna Clara also features ten pairs of swashes that can be added to the beginning or end of any lowercase letter, for a custom flourished look. Illustrator and InDesign users can access extra swashes and banners by using the glyph panel. Photoshop users: These characters can be accessed via the “Ornaments” feature in your OpenType panel - try non-numeric punctuation marks and accents for swashes. For banners, type catchwords followed by an asterisk. “Asterisk asterisk” will produce a blank banner that you can use to create your own. Included catchwords are “and”, “at”, “by”, “for”, “from”, “of”, “the”, “to”, “with”, "l'", “le”, “la”, “el”, “et”, and “y”. Roman numerals can be used in the “Ornaments” feature by typing their respective keyboard characters “I”, “II”, “III”, etc. - followed by an asterisk. An ampersand (&) followed by one or two asterisks produces two special “and” characters.

The Pagnol typeface has been designed with a principle developed by A. M. Cassandre in 1937, when the great French designer created the Peignot typeface following paleographic studies on the evolution of letterforms. Researches in the history of writing have proved that the lowercase "a" is at its origin nothing but the "A" shape transformed through centuries by scribes until the invention of printing. A large number of lowercases meanwhile kept their original shapes. If the scribes’ hand didn’t find the necessity to simplify them, it is only because these letters could be easily written. Integrating the classical shapes of capitals to the lowercases has already been used, keeping the lowercases which are only a deformation of capitals. Nevertheless, the respect of readability imposes to keep ascendants and descendants from traditional lowercases which serve as optical focus points in a text and make reading easier. The particularity of Pagnol is to use rounded shapes on top and bottom of pointed capital letters to make them fit with corresponding lowercases (Aa, Mm, Nn, Vv, Ww, Zz). Lowercases proportions are wide, to be in tune with classic lowercase shapes in order to optimize readability. Five weights in roman and italic have been designed to offer a wide palette of typographic possibilities in all sizes and all paper and screen supports.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

This font is based on an alphabet published by Luca Pacioli in his 1509 mathematical treatise De divina proportione. In this book, Pacioli describes how to build the Roman alphabet geometrically using lines, squares and circles. Pacioli was not the first or the last man in his era to describe the building of letters mathematically. Felice Feliciano did this before Pacioli, and Albrecht Dürer further developed these forms years after. According to Pacioli, the thick strokes should be 1/9th of the height, and the thin strokes should have 1/2 the weight of the thick strokes. I felt that this beautiful alphabet needed to be restored to its full geometric glory and set out to construct an accurate replica using Pacioli's instructions. Included in the font you'll find the letters that have the grid overlay and also the letters without the grid. The letters J, W, U, and Z were not included in the book, so I have created my own versions of these characters that fit into Pacioli's grid. Pacioli shows two different Os in the book, so I have included the second O as well as a second J, Q, and Z as OpenType stylistic alternates. Also included in the font are border patterns and a fleuron taken from the cover of the book.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Lc Trinidad is the result of a series of wonderings regarding geometric Sans Serif typography design, in particular; Futura of Paul Renner. A “conversation” arose between me and the designer – actually there was no conversation, it is an euphemism for “I saw his designs, I draw them and discussed with myself some of his decisions – that ended up being the origin of this font firsts glyphs: A, H, N, O, R and S. I started with uppercase letters, and here is when Rudolf Koch with Kabel and his “Das schreibbuchlein” joined the conversation. This is how I could develop some alternative lowercase letters so as to illustrate this imaginary discussion. The result is a sans serif, geometric, modern typeface with classical Roman proportion in the uppercase letters; two stylistic sets for lowercase letters (setKoch and setRenner), rational, open and sharp ends. It is ideal to form titles, medium length texts, branding, exhibitions and animations. The family consists of 9 weight variants and their corresponding oblique versions and small caps. With more than 900 glyphs, it covers more than 190 Latin languages and together with its Opentype functions it creates a modern and versatile family. Besides, it has powerful OpenType features for each style, including stylistic sets, extended language support, ligatures, contextual alternates, lining figures, oldstyle figures, small caps numbers, arrows, fractions, superscripts, subscripts and many more.