If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

Looking for a typeface that embodies both grit and grandeur? Look no further than Lerku. This crispy font takes its inspiration from the timeless classic Bold Antique by Morris Fuller Benton, but it adds a grungy edge that’s perfect for today’s contemporary designs. With letter pair ligatures that help break up the monotony of repeating characters, Lerku is perfect for OpenType-savvy applications that demand a bit of variation. Whether you’re designing a website, a logo, or a marketing campaign, Lerku will give your message a bold, authoritative voice that’s sure to make an impact. So if you want to add a touch of vintage charm to your design, while still keeping it fresh and modern, Lerku is the perfect choice. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Qualion Text™ is a modern geometric sans serif typeface with humanist and calligraphic inspirations. It is a text family designed for excellent legibility. Qualion Text™ is a sibling of Qualion™ & Qualion Round™, geometric family with lots of swashes and ornaments. Letter shapes and proportions has been adjusted to fit paragraph text and small sizes: - typeface is narrower now in order to fit more text in the design space - larger stroke contrast - pronounced ink traps and tapering - elegant true italics made even more calligraphic - adjusted spacing and kerning - adjusted font weights The main purpose of the family is clean and legible paragraph text, however it is very attractive choice for branding, headlines and display use, too. The italic styles as well as thin, bold and black upright styles have very strong character and look great in display sizes. Italics are very fluent, calligraphic, subtle and elegant, from the other side bold and black uprigths are very modern, powerful and unique thanks to the pronounced ink traps. Qualion Text™ family consists of 20 styles - 10 weights with corresponding true italics. Both have extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Volta is a robust typeface from the 1950s. A revisit to styles that were en vogue at the turn of the century, Bauer type foundry designers Walter Baum and Konrad Bauer designed this type family in1955. The form of Volta's letters are similar to those in New Transitional Serif typefaces, like Cheltenham and Century. Developed after the Didone (i.e., Bodoni) style types, New Transitional Serifs speak more to the zeitgeist of the late 19th Cntury, and were typographic adaptations to it's newer technologies. Already in the period of mass production, typographers and printers at the dawn of the 20th Century had to cope with larger print runs on cheaper materials. The robust letterforms of New Transitional Serifs were designed to compensate for this, but they were also ingenious little inventions in their own right. Form the beginning, the new, peculiar forms of New Transitional Serif letters were adopted for use by advertisers. Their robustness also allowed them to be used in virtually all sizes. Volta was designed especially with advertising display usage in mind. The x-height of Volta's letters is higher than average for serif faces. It is recommended that Volta be used exclusively for shorter tracks of text, above 12 point. Headlines look dashing set in Volta. Four different font styles are available for the Volta typeface: Regular, Medium, Medium Italic, and Bold."

The "Tichy" typeface is intended for use in titles, headlines and in short text blocks, like citates. However, the typeface is legible even in larger text blocks. It's strong appeal allows the typeface's usage mixed with other graphic elements of the layout without compromising it's readability and it's presence. The typeface's simple initial module (double braked at 135 degrees straight line), the strict rules of forming the letters lead to an unique typeface - masculine, strong and still legible. The Cyrillic glyphs are influenced by the work of the great Bulgarian typographers Boris Angelushev, Vassil Yonchev and Alexander Poplilov, who developed Cyrillic further in 60-s and 70-s of the XX century. Western, East European, Cyrillic, Baltic and Turkish codepages are supported. The font file contains all the basic ligatures, alternate glyphs and kern pairs. It can be used both on Windows and MacOS based computers. The history of "Tichy" typeface began many years ago with a project for logotype design for a small company. It was a kind of designer's game to try making some letters just using one single module. Development of the other glyphs of the latin alphabet was for many years a mandatory exercise for the young colleagues in our studio. Suddenly we realized that this project matured and creation of a new typeface started.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. It shows the designer's personal preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. Unlike Trajan, Cyan has lowercase characters in the regular version. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Regular Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. There are many subtle details in Cyan that become more interesting in larger sizes, for instance the subtle curves in the serifs and the overall smoothness as a result of the mostly rounded angles. Cyan is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". The color cyan can have many different variations. One definition is a color made by mixing equal amounts of green and blue light (it also is a pure spectral color). As such, cyan is the complement of red: cyan pigments absorb red light. Cyan is sometimes called blue-green or turquoise and often goes undistinguished from light blue. Obviously the Cyan family is a perfect companion to the Cyan Sans family.

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."

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Introducing the Doovy Groovy Party font! This stylized, psychedelic, and round Groove Display Font takes you back to the 90's and 00's era. With its multilingual support, it's perfect for creating a pop, funky, and bold vibe. What sets the Doovy Groovy Party font apart is its unique ability to capture the essence of the vibrant and energetic 90's and 00's era. Its stylized, psychedelic design evokes a sense of nostalgia while still offering a fresh and contemporary look. This font is a true standout, allowing your designs to stand out as well. For designers looking to create harmonious compositions, the Doovy Groovy Party font has a few relatives and typefaces that complement it beautifully. Consider pairing it with "Retro Sans Serif" for a bold and cohesive look, or experiment with "Funky Display" to amplify the funky vibes. These combinations will add an extra layer of creativity and versatility to your design projects. The Doovy Groovy Party font comes in three variations - Regular, Outline, and Shadow - making it a versatile tool for various design needs. The Regular version provides a solid foundation, ideal for headlines and titles that demand attention. The Outline variation adds an element of sophistication and can be used for modern designs, while the Shadow option creates depth and dimension for a more dynamic appearance. Additionally, this font boasts extensive multilingual support, ensuring that it can be used effectively across different languages and cultures. The Doovy Groovy Party font draws inspiration from the bold and expressive typography prevalent in the 90's and 00's. It captures the vibrant and carefree spirit of that era, where music, art, and pop culture collided to create an explosion of creativity. The psychedelic elements incorporated into the font pay homage to the colorful and trippy visuals that defined the time. This font encapsulates the nostalgia and excitement of those years, allowing designers to infuse their projects with a sense of fun and playfulness. We created the Doovy Groovy Party font with a passion for celebrating the bold and expressive designs of the past. We wanted to provide designers with a versatile tool that brings the nostalgic charm of the 90's and 00's to their modern projects. By using this font, you can effortlessly transport your audience to a time when colors were brighter, music was groovier, and creativity knew no bounds. Let your imagination run wild with the Doovy Groovy Party font and infuse your designs with a vibrant touch that will captivate and inspire! Unlock the power of nostalgia and creativity with the Doovy Groovy Party font. Its unique design, versatile variations, and multilingual support make it the perfect choice for posters, marketing materials, T-shirt designs, headlines, and much more. Get ready to groove and let this font elevate your creative projects to a whole new level!

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Hollywood Stars (Volume 1) is a unique collection of signatures of 92 famous Hollywood stars in a high-quality font. A must-have for autograph collectors, desktop publishers, lovers of the arts, history, movie buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous Hollywood celebrities. This font includes signatures from the following Hollywood personalities: Michael Jackson, Farrah Fawcett, Elvis Presley, Marilyn Monroe, Ben Stiller, Kate Beckinsale, Steve Buscemi, Mel Gibson, Helen Hunt, Paul Reiser, Angelina Jolie, George Kennedy, Larry King, Edward Norton, Mira Sorvino, Steven Spielberg, Kate Winslet, Daniel Day Lewis, Laura San Giacomo, Holly Hunter, Jane Fonda, Alan Alda, Robbin, Williams, Alan Rickman, Al Pacino, Drew Barrymore, Bob Newhart, Brooke Shields, Burt Reynolds, Keira Knightley, Cheryl Ladd, Basil Rathbone, Minnie Driver, Debra Messing, David Schwimmer, Clint Eastwood, David Hyde Pierce, Burgess Meredith, Donald Trump, Linda Evans, Tony Danza, Gene Wilder, Cameron Diaz, Judi Dench, George Clooney, Nicolas Cage, Timothy Hutton, Jennifer Garner, Jay Leno, Tony Curtis, Suzanne Somers, Connie Selleca, Donald Sutherland, Jack Klugman, Tony Randall, Matthew Perry, Jenna Elfman, Morgan Fairchild, Jack Nicholson, Chazz Palminteri, Dustin Hoffman, Anthony Hopkins, Walter Matthau, Larry Hagman, Lisa Kudrow, Bill Cosby, John Mahoney, Ray Liotta, Jon Voight, Christian Slater, Chris Cooper, Dwayne "The Rock" Johnson, Drew Carey, Eli Wallach, Douglas Fairbanks Jr., Amanda Seyfried, Danny DeVito, Gary Sinise, Mary Tyler Moore, Edward Asner, Will Rogers, Cuba Gooding Jr., Bela Lugosi, Charles Grodin, Victoria Principal, Winona Ryder, Tea Leoni, Matt Damon, Loni Anderson, Emma Thompson, Ed O'Neill, Karl Malden. 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.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. 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. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

A ”modern“ Gothic – designed according to principles of modern form in three variations Faber Gotik is a reminiscence of Gutenberg’s first script from around 1450. The heavily broken forms allow further development in the direction of a modern, strongly geometric and less formal type. It should be possible to push the principle of design so far to the limit that a type is created which, from the very start, extinguishes reminders of a dark past. The characters are composed of squares which are lined up straight or in a more or less slanted manner. The resulting corners similar to serifs were removed so that a sans serif type in the true sense without up and down strokes was created. The principle of ”breaking“ was applied according to the historical model. Even the form of the characters is based on the model from the Middle Ages. Only the characters which cannot be created with the principle described were modeled on today's forms. Faber Gotik includes three variations: - Faber Gotik Text — most similar to the historical model - Faber Gotik Gothic — pushes the applied principle of form the furthest - Faber Gotik Capitals —; a Gothic upper case font, contrary to tradition. 555 years after Gutenberg, interest in black-letter typefaces is nearly extinct. They are especially looked down upon in German-speaking countries because they are still associated with ”Nazi“ scripts. But yet, the very forms of blackletter, Gothic, Schwabacher and especially cursive have enormous potential with regard to the development of new advanced font forms.

Now available as Opentype font with extended character set, Coranto 2. It is originally based on Unger’s typeface Paradox, and arose from a desire to transfer the elegance and refinement of that type to newsprint. Coranto 2 has a larger x-height and in many places has been made more robust. Over the past 25 years newspaper production has seen spectacular improvements in paper and print quality, the introduction of colour printing, and vastly better register. Newspaper production still demands a lot of letter forms, but advanced printing brings out details better and makes typography more appealing to readers. For text type the newspaper is no longer an environment in which survival is the chief assignment. Today, newspapers are not merely a matter of cheap grey paper, thin ink and super-fast rotary printing, and type design no longer has to focus on surviving the mechanical technology and providing elementary legibility. Now there is also room to create an ambience, to give a paper a clearer identity of its own; there is scope for precision and refinement. One consequence of this is that newspaper designers can now look beyond the traditional group of newsfaces. Conversely, a newsface can be used outside the newspaper — not an uncommon occurrence. The update to this beautiful font family, Coranto 2, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

As I contemplate the beauty of Subroc, my mind drifts to a melancholic state, reminiscing the memories of a bygone era. This debonair joined-marker script typeface embodies a nostalgic charm that is difficult to resist. If your application supports ligatures, Subroc’s custom letter pairs automatically substitute for a more natural look. The resulting effect is akin to a handwritten note from a long-lost lover, carefully crafted with every stroke. But what truly sets Subroc apart is its inconspicuous, granular texture. The grittiness of its design transports you to a different time, evoking feelings of nostalgia and carefree abandon. Subroc’s beauty is not for the faint of heart, as it carries the weight of a thousand emotions with it. But for those brave enough to embrace it, the result is a breathtaking amalgamation of history, art, and emotion. So let Subroc be your muse, and let your words flow freely, imbued with the essence of a bygone era. Let your message carry the weight of history, and leave a lasting impression on all who see it. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Step back in time and discover the unique personality of Goldburg—a typeface that draws its inspiration from the typography on Idaho’s historical markers. Developed in the late 1950s by George Bowditch, this lettering has a distinct style that sets it apart from other typefaces. Based on unknown historical sources, it brings a touch of mystery and intrigue to your design projects. With its diverse elements and unusual personality, Goldburg offers your message a truly distinct voice. Whether you’re designing a logo, creating a poster, or crafting a unique branding package, Goldburg is sure to capture the attention of your audience. The vintage typographical theme of Goldburg adds a touch of nostalgia to any design project. Its strong, bold lines and unique curves are reminiscent of a bygone era, making it a perfect choice for anything from retro logos to vintage-style packaging. Incorporate the Goldburg typeface into your next design project and let its unique personality shine through. With its timeless appeal and vintage charm, Goldburg is sure to become a beloved classic in your design arsenal. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Hey there, looking for a typeface that screams “I’m spontaneous and creative, but also a little bit messy”? Look no further than Markerfield. This typeface is like the lovechild of a whiteboard and a permanent marker—it’s got that super-satisfying squeaky texture that you can almost feel in your fingers. But wait, there’s more! If your program supports OpenType ligatures (which, let’s be real, it totally should), Markerfield will automatically swap in custom pairings to make it look even more like you just scribbled this message on a whiteboard during a brainstorming session. And let’s not forget about the most important part—the message itself. With Markerfield, your words will have an instant aura of authenticity and urgency. It’s like, “Hey, I may not have spent hours crafting this message, but that’s because I’m a busy person with important things to do!” So if you want to inject some playfulness and spontaneity into your designs (or just make your coworkers think you spent all day brainstorming on the whiteboard), give Markerfield a try. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Helvetica is one of the most famous and popular typefaces in the world. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. In 1983, D. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. Helvetica World supports a number of languages and writing systems from all over the globe. Today, the original Helvetica family consists of 34 different font weights. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. But Linotype also offers a number of CJK fonts that can be matched with Helvetica. Chinese fonts that pair well with Helvetica: DF Hei (Simplified Chinese) DF Hei (Traditional Chinese) DF Li Hei (Traditional Chinese) DFP Hei (Simplified Chinese) Japanese fonts that pair well with Helvetica: DF Gothic DF Gothic P DFHS Gothic Korean fonts that pair well with Helvetica: DFK Gothic"

Helvetica Now Variable Helvetica Now 2.0 builds on the groundbreaking work of 2019’s Helvetica Now release—all of the clarity, simplicity, and neutrality of classic Helvetica with everything 21st-century designers need. In this 2021 release, we introduce Helvetica Now Variable and add condensed weights to the Helvetica Now static fonts. Helvetica Now 2.0 includes 96 fonts in three distinct optical sizes (Micro, Text, and Display), now with 48 new condensed weights. The Helvetica Now Variable fonts include even more: 144 instances—48 normal, 48 condensed, and 48 compressed. Helvetica Now Variable gives you over a million new Helvetica styles in one state-of-the-art font file (over two-and-a-half million with italics!). Use it as an extension of the Helvetica Now family or make custom-blends from its weights (Hairline to ExtraBlack), optical sizes (four point to infinity), and new Compressed and Condensed widths. Create infinite shades of expression, incredible typographic animations, and ultra-refined typography. Its single font file makes it easier to use and wickedly fast. Load one file and access a million fonts—in a fraction of the size of a traditional font family. More freedom. More expression. More power. More. Helvetica. Now. Each one of the Helvetica Now static fonts has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. The new Condensed weights put more type into smaller spaces—for intense emphasis, sophisticated contrast, or just everyday space-fitting. Helvetica Now 2.0 is, quite simply, more: more versatility; more power; and more creative possibilities. “For more than six decades, Helvetica has been the essential typeface,” says Monotype Type Director Charles Nix. “The release of Helvetica Now insures that it will be a typographic force for decades to come.”

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middle ground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462. Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine develops a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality. Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “/fonts/sweet/square/” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

“Hand Stamp Gothic Rough” is based on real vintage rubber stamp letters from Germany. A classic american gothic face mixed with a modern condensed sans serif type. Rough & dirty with a authen­tic hand stamped look for a warm analogue vintage charm. It star­ted ana­lo­gous with only a few rubber stamps and finally it was digi­tal 776 gly­phs. With 4 × A–Z, 4 × 0–9, 4 × a–z and many other alternative glyphs like @. Plus modern OpenType Features like contextual alternates (automatic generated loop for letter variation). The different variations from the dynamic pressure by hand inten­ded to show the hand-made nature and crea­tes a live­li­ness in the display font. The font has 80 decorative extras in the form of symbols & dingbats like arrows, hearts, smileys, stars, further numbers, lines & shapes. A range of figure set options like oldstyle figures, lining figures, superiors & inferiors. Additionally stan­dard liga­tures, deco­ra­tive liga­tures (type the word “show” for ☛ and “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S) and many emojis & symbols. Example of use It’s your turn … for example everywhere where it makes sense. The hand stamped font would look good at head­lines. Advertising (big headlines), Corporate Design (type for logos & branding), Edi­to­rial Design (maga­zine or fan­zine headlines), Product Design (typographical packaging) or Web­de­sign (head­line web­font for your web­site), flyer, pos­ter, music covers or web banner … How To Use – awesome magic OpenType-Features in your layout application: ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the Glyph panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Tech­ni­cal Spe­ci­fi­ca­ti­ons ■ Font Name Hand Stamp Gothic Rough ■ Font Weights Regu­lar & Dirty (Bold) ■ Font Cate­gory Dis­play for head­line size ■ Font For­mat.otf (Open­Type Font for Mac + Win) ■ Glyph Set 776 glyphs ■ Lan­guage Sup­port Basic Latin/English let­ters, Cen­tral Europe, West European diacritics, Turkish, Bal­tic, Roma­nian, OpenType Features, Dingbats & Symbols ■ Spe­cials Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (4× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 80 extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & shapes. ■ Design Date 2016 ■ Type Desi­gner Manuel Vier­gutz ■ License Desktop license, Web license, App license, eBook license, Ser­ver license

SHILIA – AN ARABIC FONT THAT LIVES HAND IN HAND WITH LATIN TEXT CHARACTERS A special design principle underlies the Arabic font Shilia created by Mamoun Sakkal: the form of the characters means that they harmonise happily with sans serif Latin fonts, such as Univers. Because of this, Shilia is the ideal choice for any bilingual project and for use in international corporate branding. Shilia™ had its beginnings in the 1970s. Taking one of the oldest variants of Arabic script, the minimalist Kufic, as his inspiration, Mamoun Sakkal fashioned simple stroke shapes that are combined according to a geometric grid. Shilia is at home in both worlds, that of the East and that of the West. And although Shilia has been primarily designed to be used as a display font, it is also ideal for setting shorter texts. Before being published by Linotype, Shilia underwent major adaptation and updating, and is now available in the modern OpenType format. Mamoun Sakkal increased the characters available per individual typeface variant to over 1,800, and his daughter, Aida Sakkal, worked on programming the extensive OpenType features for the font. There are numerous ligatures that can be used to provide suitable variation and avoid repetition within a given context, and many special features such as the dots under the initial and final segments of words being automatically centralised. Shilia not only supports Arabic, but also Persian and Urdu. Special character combinations for setting texts in these languages, particularly Urdu, are provided through OpenType. And there are a total of 19 stylistic sets with additional character variants available to the user. An example of Urdu text Shilia is available in eight weights, from UltraLight to Black. The corresponding condensed versions are in the course of preparation. Along with the Arabic characters, all of the typeface versions include matching Latin alphabet letters of Adrian Frutiger’s Linotype Univers® family, making Shilia intrinsically suitable for setting bilingual texts. A set of ornaments carefully designed to allow for numerous compositions of bands and decorative patterns rounds off the range of characters on offer. With its 21 weights, Shilia is one of the most extensive of Arabic typeface families that is currently on the market. Its clear and well-balanced forms emphasise the linear nature of the font without allowing it to appear sterile or artificial. Shilia not only cuts a good figure as a display font for signage or in artistic projects, thanks to its substantial range of features, the font family can also be used to set texts, such as corporate and administrative documents. In addition, but the full compatibility between the Arabic and Latin characters makes Shilia the perfect choice for international and multilingual design projects.

Beauty Style is a luxurious font collection that includes both a signature script and a sans serif typeface. Beauty Style scripts come in four weights including 12 alternates and 56 ligatures. Programming has been added to the scripts for flow and elegance. Use Beauty Style for sophisticated designing. Fonts designed by Cindy Kinash. See font details below. SANS FEATURES: All caps letters Condensed Sans OpenType Common ff fi fl ffi ffl ligatures Available in Extended Latin Pro (Standard) or American (US) version. SCRIPT FEATURES: Signature style OpenType Common ff fi fl ffi ffl ligatures Available in Extended Latin Pro (Standard) or American (US) version. 12 alternates and 56 ligatures Programmed ligature feature for optimization. Every time you type specific pairs, ligatures are programmed to pop up to avoid letter pair collisions. Programming ligatures gives the script a more elegant and pretty flow. Make sure to turn on the feature in your preferred program that supports ligatures. FREE WORDS FEATURES: 52 free words useful for beauty and sales promoting. Keyword examples include you, sale, and beautiful. Intended use for beauty, fashion, newsletters, websites, magazines, sales, commercials and packaging. VERSIONS: American and Extended Latin Pro AMERICAN (US) Shorter version 12 alternates and 56 ligatures (scripts only) Common ff fi fl ffi ffl ligatures OpenType Includes the common alphabet, numbers, American symbols and punctuation. EXTENDED LATIN PRO (Standard) Extended version of the American. 12 alternates and 56 ligatures (scripts only) Common ff fi fl ffi ffl ligatures OpenType Includes characters for Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Feroese, Finnish Scots, French, Gaelic, Galician, German, Greek Transliterated, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latvian, Lithuanian, Maltese, Nynorsk Bokmal Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh. TIPS: Try the OpenType ligatures by turning on the feature in your preferred program that supports ligatures. FONT LAYERING — Layer the script over the sans to give a cool retro effect. There are so many fun and creative possibilities. FONT CONNECTING — Interconnect the sans and script letters together creating TYPE ART. All you need to do is convert the font into an object and have fun! (Watch the upcoming tutorials on the cultivatedmindtype Instagram) SANS — When sans text is small, widen the text tracking for legibility and style variety. Sans is diverse and can work as tight or loose tracking. Use Beauty and Style for type art, beauty marketing, fashion, apparel, product design, music, websites, promotions and film. Last tip…Always have fun when creating. This isn’t a race. Creating should always be enjoyed. TUTORIALS: For more Beauty Style font tips including font layering, vlogs and tutorials, check out @cultivatedmindtype on Instagram.

The gorgeous back-glass artwork for the iconic pinball game Xenon influenced Cyclopentane. The peculiar letter interactions are challenging to employ but pay off handsomely when they communicate your message in such an unusual manner. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Coil feels comfortable like a well-worn pair of shoes. It could easily pass for an assertive industrial European sans serif of the early 1960s with its slight reverse contrast, monotonous proportions, and squared-off curves, if not for its less predictable side. What appears initially as ellipses upon closer inspection turns out to be irregular shapes, closer to an inverted egg than an oval. The s looks topsy-turvy with its higher curve that is larger than the lower. Some terminal strokes overhang the bowl (as in the a), others open flat (as in the Q, the f, the j, and the t). The resulting effect shakes up this seemingly “retro” face just to make it new. Our midcentury recollections are slightly distorted and reinterpreted by this ironic typeface making it fresh while deceptively cozy and familiar. Coil’s high x-height and even texture make it readable even in small sizes despite its tight apertures. Available in four weights with their italics, with two sets of figures, fractions, and alternates for Extended Latin and Cyrillic scripts. Designed by Vyacheslav Kirilenko and Gayaneh Bagdasaryan, 2020-21.