Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Discover here the Eastman Roman Family See the Eastman Grotesque Family Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, Cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

☞ Bona Nova is a collective revival project of Bona typeface designed in 1971 by the author of polish banknotes Andrzej Heidrich. Besides giving the project a digital font form the aim was to expand the base character set: preparation of small caps, designing the alternative glyphs and multiple opentype features. Working together with the author we designed two new text versions: regular and bold – to give the family a form of a classic script triad. ☞ It is accompanied by three title versions and three contour styles under the name of Bona Sforza. All styles contains over 1200 glyphs. ☞ Bona Nova is an unprecedented typographic adventure for our team. We hope that our work will allow the cultural heritage of Bona and the work of Andrzeja Heidricha to gain new followers and fans. This project connected three generations of graphic designers who graduated the same school – the Academy of Fine Arts in Warsaw. ☞ Bona Nova isn’t only a typeface. We have also prepared a book about the project (including an interview with Andrzej Heidrich, my text about the digitalisation and a font specimen). The Bona Nova release party was a big exhibition (over 1000 guests). I’ve invited 26 graphic designers to prepare their own initials of Bona Nova – they were presented as posters on exhibition too. LINKS Bona Nova WEB Bona Nova FP Bona-Nova-(FREE-FONT) Bona Nova Book BONA NOVA IN THE MEDIA Typeroom Typography Guru Slanted Designalley Stgu Typografie Info Wikipedia Bona Nova is a non-profit project, all founds that we raise we reinvest to develop the Bona Nova project (new styles, Cyrillic & Greek, extend character set).

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Just a few days ago, it was cold, but today it feels like spring is almost here. With these tender feelings, I want to present you Lady Boss Cyrillic script a delicate, feminine thin modern handwritten font. Lady Boss script font contains the Cyrillic glyphs too. Its hand look style makes it perfect for use in all your design projects be it logos, signatures, labels, packaging design, blog headlines. Also, it will look great in mugs, cards, gorgeous typographic designs, wedding stationery and much more. Lady Boss script contains a full set of uppercase and lowercase letters, - which can be used to create a handwritten look. The Cyrillic part of the font contains the uppercase and lowercase letters and 9 letters with long tails. Also Cyrillic part of the font contains 10 Cyrillic ligatures. Lady Boss _symbols is a font with over 50 unique, hand-drawn illustrations and elements that can help you to make your design unique and matchless. Combine and merge swashes and illustrations to create your own designs and make borders, frames, dividers, logos, and more (just use A-Z and a-z keys in the included Lady Boss symbols font). A different symbol is assigned to each uppercase or lowercase standard character, so you do not need graphics software, just type the letter you need. Multilingual Support for 31 languages: Latin glyphs for Afrikaans, Albanian, Basque, Bosnian, Catalan, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Indonesian, Irish, Italian, Malay, Norwegian Bokmål, Portuguese, Slovenian, Spanish, Swahili, Swedish, Turkish, Welsh, Zulu. And Cyrillic glyphs support for Russian, Belorussian, Bulgarian, and Ukrainian languages.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

These fonts just ooze Christmas and holiday spirit from every curve of every letter! If Kingthings Willowless Pro is a Christmas font, well... then Kingthings Willow Pro is a Christmas tree complete with decorations and lights! This font is sooooo ornamented - but still quite readable. I have cleaned up all the outlines, redesigned the F (which looked more like a J), tweaked some more letters and then expanded the font with the usual multilingual glyphs. I loved this font when I first saw it, but was very nervous that it would be difficult to design the accents - but it was a breeze! It has been one of the most enjoyable fonts to rework so far. Hope you will enjoy it, too. 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.

Beyond broadcast Like Truman Burbank, the star of The Truman Show, FS Truman was born for TV. You’ll know it from Sky One’s on-screen trails and announcements, but it’s just as at home in other media. Its starting point was the skeleton of a highly legible, space-saving, corporate font with some of FS Dillon’s geometric discipline built in. Its distinctive tone of voice and “ownability” are in its boxy but friendly shapes, and characters with hybrid features. FS Truman’s weights and widths were honed to work at TV screen resolutions. A face for TV it may have been, but this is a font that works on every level, on screen, in print, in headlines, in listings, in longer text, in tight corners and open spaces. The space-saver Compact, condensed but crystal clear, FS Truman comes into its own where a lot needs to be said in not a lot of space. Its letter spacing allows the type room to breathe, even at small sizes, while its fulsome x-height and diminutive descenders pave the way for tighter leading. A natural for headlines and titles over three or four lines. “Hybrid” features With every font, Fontsmith look for crafty new ways to imbue letterforms with a consistent character. The idea with FS Truman was to introduce “hybrid” features. In open letters such as “c” and “s”, for example, the top terminals have straight, vertical cuts while their lower terminals have a more angular, cursive finish. Boxy, spacious forms with unusual curves and angles create not just highly legible and efficient letters but strongly distinctive ones, too.

Maged, a traditional-style Arabic text face, enjoyed widespread popularity as a dry-transfer typeface prior to being licensed by Letera Arabica to Linotype-Hell for font production. In consultation with the Linotype Design Studio (U.K.), the artwork was redrawn by Adrian Williams to render the typeface into a complete, unitized Arabic font with a full complement of traditional-style ligatures suitable for digitization. Maged, which has two weights, first appeared as a 202 font in 1987 before its eventual conversion to OpenType in 2005. Thus Linotype’s Maged font can be described as a trend-setting modern Naskh design that retains a sense of the fluidity of Naskh calligraphy: the letters, when composed, appear as freshly-written text characterized by rich, inky horizontals, tapering swash strokes and contrasting delicate ascenders. The Bold exploits these features of the Regular without excess, tempered by the need for clarity at smaller sizes. Maged Regular and Bold are eminently suited to text and titling in broader column work (brochures, magazines, advertising, coffee-table books etc.) and are thus able to extend the range of the Linotype Arabic library in areas of work where the more compact text and titling fonts would create a too concentrated effect. Both of the Maged fonts include Latin glyphs (from Palatino Medium and Palatino Black) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Maged incorporates the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

Dever’s brute, industrial lines are rounded up in this new typeface from Jeremy Dooley. Dever combines plenty of inspirations. It’s the flair of the Wild West melded with a shout out to the sign painters and package lettering artists of the 1800s. Dever’s big, bold, and handy frame moves through all three of the family’s strapping members. First is the sans. No doubts on what this brother’s like. Dever Sans is as straight-forward as you’ll find in this family with its four separate weights and numerous distressed options. The second of the kin’s a bit of half-breed, you might say. Pointed serifs bring a sharpness to this outfit. Rounding out the family is Dever Wedge, a bit of wild rodeo all its own. This poke’s a quick draw with any of its 107 font, and with it’s auto-replacing alternates, no two repeating characters are alike. You’re guaranteed a great show anytime Dever leaves the chute. The route to Dever was long, with many a switchback. The Wedge variant was designed first, shelved, then developed into Plathorn. But I wanted to return to those brutish forms and decided to round out the family with a sans, serif and plenty of other options. Any of the Dever family have an extended character set including Central and Eastern European languages. The strong faces have specially adapted sub-families, too, so they’re bound and determined to have an outstanding impact at whatever size you use ‘em. It’s a hard ride ahead corralling all those words. Be sure and add these able-bodied boys to your posse today!

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

A humanistic sans serif The first version of this font was created in 1994 within the framework of the bid placed by the city of Graz to become the location for the Winter Olympics in 2006. Appropriately, its original name was ”Olympia.“ The font is intended to embody classic ideals as well as to meet modern demands. The proportions of Charpentier Sans are directly derived from Roman capitals and the humanistic book-face. The contrast between strokes and thin strokes is based on medieval uncial script. And thus, a modern serif sans was created emphasizing thick and thin strokes together. Thanks to its traditional form language, Charpentier Sans is very legible, adapts to various forms of content and expresses a kind of calmness and certainty. Details resulting from writing with the quill guarantee that the font doesn’t appear too rough and unemotional. Even the tiny, pointed mini serifs contribute to the unmistakable appearance of the font. They create an exciting contrast to the soft flowing forms of the letters and are, to a great extent, conducive to the legibility. Consequently Charpentier Sans always appears with an extremely sharp and clear outline. Charpentier Sans Italique has an even more distinct ductus derived from writing. Especially the rounded forms from a, e, f, g and y reflect the handwritten humanistic cursive. Charpentier Sans is comprised of many ligatures, including discretional ones, plus proportional medieval and capital figures for the normal type as well as disproportional tabular figures with a consistent width. Above and beyond the ”normal“ Latin typeface system, small caps are available as an especially elegant form of distinction.

Discover the complete Eastman type family: Eastman Grotesque and Eastman Condensed! Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use. The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though, in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from UltraLight to Heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Complete your designs with these perfect pairings: Dante™, Joanna® Nova, Kairos™, Menhart™, Soho® and ITC New Veljovic®. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic. Featured in: Best Fonts for PowerPoints

American Revolution is a unique collection of signatures of 84 key personalities from both sides of the American Revolutionary War, one of the supreme dramas in history. A must-have for autograph collectors, desktop publishers, history buffs, or anyone who has ever dreamed of sending a letter, card, or e-mail “signed” as if by one of these famous Revolionary War figures. This font includes signatures from the following American Revolutionary War personalities, from both sides: Ethan Allen, Charles T. Armand, John Armstrong, Benedict Arnold, Pudhomme de Borre, John Cadwalader, George Rogers Clark, George Clinton, James Clinton, Thomas Conway, William Davidson, Philippe du Coudray, The Chevalier Louis Lebegue dePresle Duportail, Chistopher Gadsden, Horatio Gates, Moses Hazen, John Glover, Mordecai Gist, Nathaniel Greene, William Heath, Edward Hand, John E. Howard, Robert Howe, Isaac Huger, William Irvine, Henry Knox, Baron Johann de Kalb, Tadeusz Kosciuszko, Marquis de Lafayette, Charles Lee, Henry Lee, Andrew Lewis, William Maxwell, Benjamin Lincoln, Francis Marion, James Moore, Daniel Morgan, William Moultrie, Peter Muhlenberg, Alexander McDougall, Lewis Nicola, Lachlan McIntosh, John Nixon, Hugh Mercer, Samuel H. Parsons, Thomas Mifflin, John Paterson, Richard Montgomery, Andrew Pickens, Charles Cotesworth Pinckney, Enoch Poor, Count Casimir Pulaski, Israel Putnam, Joseph Reed, Elisha Sheldon, Arthur St. Clair, William Smallwood, Philip Schuyler, John Stark, Charles Scott, Adam Stephen, John Sullivan, Jethro Sumner, Thomas Sumter, James Varnum, Baron Friedrich Wilhelm August Heinrich Ferdinand von Steuben, Lord Stirling, Artemas Ward, Joseph Warren, George Washington, Anthony Wayne, James Wilkinson, Otho H. Williams, John Paul Jones, William Woodford, David Wooster, John Burgoyne, Sir Guy Carleton, Charles Cornwallis, Sir Henry Clinton, Sir Thomas Gage, Richard, Earl Howe, Sir William Howe, Sir Banastre Tarleton. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map.

Cinema Macabre: Horror Fonts Torn from the Pages of Giallo A Hand-drawn Display Font for Creating the Most Diabolical Horror Titles This loose and inky brush font takes its inspiration from the classic Giallo film posters of the 1960s to 1980s - a cult cinematic subgenre beloved for its stylish visuals, haunting soundtracks and exploitation led marketing. It's a devilishly drawn design that aims to capture the feeling of vintage horror, preserving analogue details of old print while remaining versatile enough to work across a variety of digital designs. The Cinema Macabre font family boasts six fonts, each containing a unique set of uppercase and lowercase characters, as well as numerals, punctuation and language support. Add to this a host of custom ligatures, underlines and graphic elements and you have an essential toolbox for creating truly hand-made looking title designs. Cinema Macabre if a font that rewards experimentation by mixing all the various upper and lowercase alternatives, with interesting combinations waiting to be found and inspire terror across your own movie posters, book covers, albums and editorials. Few other fonts offer the versatility to create such diabolical designs! A Brief Introduction to Giallo: In popular cinema, Giallo is a genre of mystery fiction and thrillers often containing slasher, psychological horror, exploitation, supernatural and erotic elements. The term giallo (meaning yellow) derives from a series of pulp novels published by Mondadori from 1929 taking the name from its trademark yellow covers. The series consisted of Italian translations of mystery novels by well-known authors such as Agatha Christie, Edgar Allan Poe and Raymond Chandler. The popularity of these cheap paperbacks eventually established the word Giallo as a synonym in Italian for a mystery novel. The cinematic Giallo subgenre developed during the 1960-80s and are noted for their vivid cinematography, memorable soundtracks and inventive gore-filled scenarios. Key examples include Dario Argento's Suspiria, Tenebrae and Deep Red - stylish films that at once influenced the American slasher (see Black Christmas and Friday 13th) up to todays horror in Censor and Last Night In Soho.

Tavern is a super font family based on our Algerian Mesa design, with Tavern we've greatly expanded the usability by creating light and bold weights plus all new for 2020 with the introduction of extra bold and black weights Tavern is now a five weight family. The addition of the bold weight made it possible to go further with the design by adding open faced shadowed, outline and fill versions. Please note, the fill fonts are aligned to go with the open faced versions, they may work with the outline versions, however you will have to apply them one letter at a time. The Tavern Fill fonts may also be used a stand alone font, however, the spacing is much wider than the regular solid black weights of Tavern. In the old days of printing, fill fonts rarely lined up perfect with the open or outline font, this created a misprinted look that's much in style today. To create that misprinted look using two different colors, try layering the outline fonts offset over the top of the solid black versions. Next we come to the small caps and X versions, for a font that's mostly seen used in all caps we felt a small caps would come in handy. The X in Tavern X stands for higher X-height, we've taken our standard lowercase and raised it for greater visibility in small text and for signage where you want the look of a lowercase but it needs to be readable from the street. In August of 2016 I started the project of expanding this font into more weights after seeing the font in use where someone tried creating a bold version by adding a stroke fill around the letters. The result didn't look very good, the stroke fill also caused the shadow line to merge with the serifs on some letters. This lead me to experiment to see if a new bold weight was possible for this font and I'm pleased to say that it was. After the bold weight was finished I decided to type the regular and bold weights together in a first word thin second word bold combination, however the weight difference between the two wasn't enough contrast. This lead me to wonder if a lighter weight was possible for this font, as you can see yes it was, so now for the first time in the history of this old 1908 type design you can type a first word thin second word bold combination. So why the name change from Algerian to Tavern? Since the original font was designed in England by the Stephenson Blake type foundry I decided to give this font a name that reminded you of the country it came from, however, there were other more technical reasons. During the creation of the bold weight the engraved shadow line was sticking out too far horizontally on the bottom right of the serifs dramatically throwing the whole font off balance. The original font encountered this problem on the uppercase E, L and Z, their solution was a diagonal cut corner which was now needed across any glyph in the new bold weight with a serif on the bottom right side. In order to make the light and regular weights blend well with the bold weight diagonal cut offs were needed and added as well. This changed the look of the font from the original and why I decided to change the name, additional concerns were, if you're designing a period piece where the font needs to be authentic then this font would be too new. Regular vs. Alt version? The alternate version came about after seeing the regular version used as a logo and secondary text on a major product label. I felt that some of the features of the regular version didn't look good as smaller secondary text, this gave me the idea to create an alternate version that would work well for secondary text in an advertising layout. But don't stop there, the alternate version can be used as a logo too and feel free to exchange letters between both regular and alternate versions. Where are the original alternates from Algerian? Original alternates from Algerian are built into the regular versions of Tavern plus new alternates have been created. We're excited to introduce, for the first time, all new swash capitals for this classic font, you're going to love the way they look in your ad layout, sign or logo. The best way to access alternate letters in Tavern is with the glyph map in Adobe Illustrator and Adobe InDesign products, from Adobe Illustrator you can copy and paste into Photoshop as a smart object and take advantage of all the text layer style features Photoshop has to offer. There may be third party character maps available for accessing alternate glyphs but we can't advise you in that area. I know what you're thinking, will there be a Tavern Condensed? It takes a lot of hours to produce a large font family such as this, a future condensed version will depend on how popular this standard version is. If you love Tavern we're happy to introduce the first weathered edge version of this font called Bay Tavern available in February 2020.

Anna Gagarin is the loving matriarch of the Gagarin Family. Her life was full of love and passion. She had several affairs with Futurist and Contstructivist artist in the beginning of the 20th century. She was in love with the Russian poet Vladimir Majakovski (born on July 19th, 1893 and died in Moscow on the April 14th, 1930). She gave birth to his son Boris. She called him 'a cloud with trousers'. After this love story, Anna Gagarin met the designer and artist Gustav Klucis in Italy. His radical and political ideas were much too childish for her. After a period of love and passion Anna gave birth to his son. At that time they were in Italy, which explains his italic forms. After her return to Moscow in the beginning of the 1920's Anna was introduced by Alexander Rodchenko. They were heavenly in love but Ilja Stepanova was very jealous on her husband. Anna once said that 'Alexander fills mine construction with love...' That phrase can be an explanation for the term Constructuvism as an art movement. Alexander was the great love of Anna. She gave birth to their love-baby Dimitri Gagarin. That night Alexander designed his most famous poster. A decade before that Anna told it was
'a time for a change'. In a local bar in Sint Petersburg she met Gregory Rasputin. At that time Rasputin was a well known person and a respected member of the Sint Petersburg upper class.His diabolic character influenced Anna and after several months she gave birth to their son Kurt. He inherited the main characteristics of his father. The Gagarin Family wants to give love and wants be loved...

8bit darling is digital taste font. I think digital fonts are bitmap fonts generally, but dared to make digital fonts that are not bitmap fonts and made it. The name "8bit darling" borrowed a name from my favorite song. I made it consciously that it is a digital style but not so much inorganic. It contains hiragana, katakana, alphanumeric characters, some symbols. Horizontal writing only, vertical writing is not possible. Although it is slightly unique, I think choose a scene to use too much. I would be pleased if it could help you. ＜「エイトビットダーリン」紹介文＞ カクカクしたデジタル風のフォントです。 デジタル風のフォントといえばビットマップフォントかと一般的には思うのですが、敢えてビットマップフォントではないデジタル風のフォントを作りたいと思って作りました。 「エイトビットダーリン」という名前は私の好きな曲から名前を拝借しました。 デジタル風ではあるけれどもあまり無機質にならないように、と意識して作りました。 収録文字はひらがな、カタカナ、英数字、一部記号です。横書き専用、縦書きはできません。 ちょっと個性的ですがあまり使う場面を選ばないかと思います。 みなさまのお役に立てれば幸いです。 ＜スタイルカテゴリー＞ 角ゴシック

Harmonique is an incised serif typeface designed for both text and display purposes. It’s a type family of two styles that work in harmony together to add distinction and personality to your own typographic compositions. Harmonique’s low contrast forms have the appeal of a humanist sans serif typeface. Its subtly flared terminals evoke the craft and skill of a signwriter’s steady hand, creating an authentic and pleasing aesthetic. Harmonique Display is more calligraphic in its structure – as if drawn by a wide-nibbed pen. This style is accentuated by aggressively barbed serifs and chiselled arcs in its counters and bowls. These strong characteristics help to define a flamboyant, confident style that will provide impact and flair to your headlines, titles and identity designs. Practical features include 48 ligatures that will enhance titling possibilities with their all-capital pairings – these are accesssed by turning on Discretionary Ligatures and then selecting either Sylistic Set 1 or 2. There are also a number of alternate caps that will subtly enhance your titles and headlines – access these via Stylistc Sets 3 and 4. Small Caps are included too (along with their matching diacritics) – adding another layer of versatility to this typeface. Proportional Lining figures are available as an option if you prefer them to the default Old Style figures. There are 32 fonts altogether, with 8 weights in roman and italic from Light to Ultra in both text (low contrast) and display (high contrast) styles. Harmonique has an extensive character set (650+ glyphs) that covers every Latin European language. Key features: 8 weights across two styles in both roman and italic 48 Ligatures 11 Alternates Small Caps Full European character set (Latin only) 650+ glyphs per font.

The hand-brushed Fave™ Set has ten informal scripts and other handwritten fonts made up of two subfamilies: Fave and the even-more informal Fave Casual, each have a primary script with a bold version and three other handwritten faces for a total of ten typefaces spanning the casual spectrum. All are optimized for large type use too so they look as good up close as they do set at smaller sizes. OpenType features The Fave family has a few features that happen largely in the background. All of the fonts use the OpenType Standard Ligature feature to automatically differentiate consecutive lowercase letters and numbers (using separate glyphs) and like our previous release Turbinado, they also automatically differentiate like characters that are separated by another letter. Alternate characters The script fonts have alternate uppercase and lowercase characters including multiple t (and double t) crossbar alternates that can be selected from the OpenType glyph table. Enable Contextual Alternates feature to automatically insert a bigger crossbar as the surrounding letters allow throughout a text box or document. You can also make your own custom lowercase t and crossbar to fit any situation–all of the lowercase t ascenders and crossbars are available separately in the OpenType glyph table, and can be combined and moved around manually. Stylistic sets and other goodies Fave Script and its bold counterpart have two Stylistic Sets. When enabled, one automatically substitutes non-connecting alternate characters at the ends of words, the other substitutes even bigger t crossbars than the Standard Ligature feature does. Smart apostrophes and ligatures Other subtle but hopefully helpful features include smart apostrophes, which insert themselves between two script characters in common situations without breaking their connection, and a few ligatures that also make character connections more seamless.