Are you looking for a typeface that exudes style and class? Look no further than Rakesly, the zesty compact grotesque headliner that’s sure to add some piquant charm to your message. Rakesly boasts well-balanced, charismatic letterforms that draw inspiration from a variety of late nineteenth-century and early twentieth-century sans-serif metal typefaces. Its upright styles feature tasty, cherry-picked features, while its italics draw upon the unique industrial essence of the Art Deco era. This stunning typeface is available in six weights and italics, including the wispy and delicate Rakesly Ultra-Light. Plus, Rakesly includes OpenType fractions and numeric ordinals, mathematical symbols, and a wide variety of currency symbols. For those who love a bit of texture in their designs, Rakesly also offers four grainy, letterpress texture styles called Rakesly Iron, which are available in Regular, Italic, Bold, and Bold Italic. And if you want to add a little extra spice to your typography, Rakesly even includes OpenType contextual alternates that automatically shuffle three letter/numeral variations for a more convincing effect. And if you’re a typography pro who likes to get hands-on, the Iron styles contain private use (PUA) encoding that lets you manually access alternate characters via a glyph table or character table. So why settle for a boring historical revival when you can add Rakesly’s peppery blend of classical elements to your typographic spice rack? Try Rakesly today and experience the rare flavor that only this typeface can provide. 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.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

This best selling series has now been extended to include a new member, Blue Goblet Drawn. Blue Goblet is hand-drawn by the artist, Cory Godbey, and is organic, charming and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Drawn a excellent choice, it also is also a versatile member of a wide family of different fonts. You can use it side by side with the original Blue Goblet fonts, and there are a wide range of ornaments available in the supplemental ornament sets--over 370 illustrations! These illustrations include doodley frames, lovely florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system for a very unique and consistent look. The Blue Goblet series also continues to expand, making any of these family members a valuable investment for the future. Blue Goblet Drawn comes in three weights and three widths in each weight, with complementary italics for maximum impact for a total of eighteen pro fonts. The compact thin weights are delicate and tall, while the Regular has just enough heft for those situations where subtlety doesn't work. If you don't need the professional features, there are three stripped down fonts that include only the basic character set! Blue Goblet Drawn also includes auto-replacing ligatures that make it appear that the script was drawn by the artistís own hand--just for you! Blue Goblet Drawn also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 190 additional glyphs and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Drawn is a great choice for friendly display type in children's books, packaging, organic packaging or other unique applications. Use Blue Goblet whenever you want to inject a handmade sense of fun and whimsy to your designs. Give the Blue Goblet series a whirl today!

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827. At first glance, the upper case letters of Austin Antique look very much like Figgins Antique. But, upon examination, one will note that the Austin face is much darker. In general, the letters designed and cut by Richard Austin have fatter strokes, larger serifs and smaller counters -- more metal and less daylight. The premise was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and “bills” -- competing for the attention of the passerby. Morris and Updike aside, the early nineteenth century marked the beginning of a commercial as well as industrial revolution. Patterns of commerce were changing. With new methods of marketing came the need for new typefaces to support the new methods. Foundries found the display types were very profitable and competed most energetically and creatively for the trade. There was a lot of trial-and-error. Some ideas faded away. Others, like the Antiques or Egyptians, were refined and developed. From them came the Clarendons that were to prove both popular and long lasting -- because they worked. Their job was to sell goods, not please the aesthetic sensibilities of the critics. They did their job well. Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Surprisingly readable.

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

Many calligraphers agree that Roman Capitals is one of the most beautiful yet difficult hands to master. Its beauty lies in its simplicity of form and structure, yet understanding and applying these skillfully can take years of mindful practice. My goal was to design Roman Capitals that were smoothly designed with a brush, not carved. The main concept was based on the fundamental strokes that are commonly studied when you practice Roman letters. That’s why many Serifs have these unfinished terminal serifs. I created the Turquoise typeface based on my Capitalis Romana practice with a flexible broad edged brush and gouache. During the lowercase process I was still following Foundational calligraphy with a flat brush. My Turquoise Capitals were then adjusted and redesigned at the Tipobrda calligraphy workshop in Slovenia. Turquoise contains small caps, many discretionary ligatures, ornaments, swashes as well as several brushy nature-inspired ornaments, accessible via OpenType. Ideally suited for headlines or body text in advertising, packaging and visual identities, its delicate shapes, curves and endings give projects a harmonious elegance and stylistic feel in unique Turquoise style. My inspiration for this font showcase is one of the richest islands in the Mediterranean, the place where my parents are from, Sicily. This southern Italian region has so many unique spots: Stromboli, part of the Aeolian Islands, and the Pelagie Islands is one of my favorite places in Sicily. The pictures I used were taken there this year. So enjoy the sun, the serifs, the water and its Turquoise colors. The brush is mightier than the sword. Opentype Features: https://www.rsztype.com/article/how-to-use-opentype-features-adobe-microsoft-pages Turquoise works very well with Nautica Check also Turquoise Inline

This is my addition to a long line of traditional gothic typefaces. As you can probably tell, PG Gothique is inspired by classics such as Trade Gothic, News Gothic, Franklin Gothic, Alternate Gothic, and Gothic Gothic. Well, maybe not the last one... But Paulo, we have all those already, why would we want to add PG Gothique to our collection? This typeface has many subtle design nuances that differentiates itself from its historical influences. Also, this is possibly the most comprehensive Latin gothic font family released to date. It has 99 fonts that cover pretty much every style you could ever need, and if you do require more, this family is available as a single variable font that covers all the weights and widths in between. PG Gothique is designed to handle a multitude of applications, from branding projects, to titles, body text, user interfaces, and film poster credits. This type family has a style that will suit the purpose. There are 99 fonts in this family, ranging from Thin to Ultra weights across six widths in both roman and italic*. Activate Stylistic Set 1 and you will get the alternate slab serif-style capital “I” that offers improved legibility when placed adjacent to a lowercase “l”. PG Gothique has an extensive character set that covers every Latin European language. If you would prefer PG Gothique as a single variable font, please choose PG Gothique Variable. Test drive PG Gothique today – both the Regular and Italic fonts are offered as a free download. See full details and hi-res examples at https://paulogoode.com/pg-gothique Key features: 9 Weights 6 Widths 99 Fonts Small Caps Old Style Figures European Language Support (Latin) 600+ Glyphs per font *Compressed weights do not include italics.

Harri Text is more than an extension of Harri. It shares its origin, a certain flavour and a great deal of its idiosyncrasies, but while Harri is an uppercase-only typeface intended for display uses, Harri Text is conceived as a text type family, including a new extra-light weight, italics, small caps and other additions that make it suitable for editorial purposes. As its predecessor Harri Text addresses several concerns regarding the dualism neutrality vs. idiosyncrasy, or in other words, how local features meet global design in the context of a modern society (as is the case in the Basque Country in recent times). The origin of Harri Text —vernacular Basque lettering for the most part— is full of idiosyncrasies and peculiarities that, while giving them its special character, may hinder readability in some cases. The default set in Harri Text tones its essence down a little bit. It is still present, although less obstrusive. Stylistic sets 1, 2 and 3 are a chance to recover gradually this essence modifying some characters —specially the characteristic design of letter A– for those who seek a more local flavour. Stylistic set 4, on the other hand, does the opposite job, this is, removes asymmetrical serifs and other small details in order to create a more neutral atmosphere. Any traces to its origin are this way diluted resulting in a crisp and clean incise variant. Stylistic set 6 is available in the italic styles. It provides a more fluid and cursive flavour to some letters in case a calligraphic mood is desired. Harri Text comes with 1054 glyphs in its character set (1078 in the italics) with support for more than 220 languages.

Paralucent Slab is an addition to the ever-popular Paralucent family. Paralucent is versatile all-purpose modern sans and slab serif design. Available in seven weights, from Thin to Heavy, with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. The addition of the Slab family adds even more options for running text and headline.

Chef Script is an experimental font designed by Carlos Fabian Camargo G. Its fantasy design contains 1463 glyphs to compose words, phrases and short messages on small and large sizes. The idea was born in a sketchbook that was perfected again by hand and achieving "non-neutral drawings" on tracing paper. With bezier digitization the empty and full parts of letters appeared with soft and eloquent curves as calligraphic result produces optimal readability. Chef Script combines warmth and good humor running in countless design applications such as labels and base plates, covers, posters, movie titles, seals and any printed design that needs an unusual typographic tool. In that sense, Chef Script is influenced by Speedball lettering manual (1957), Ross F. George. The illustrative nature of "ChefScript-complete" does not look anything like the traditional type design hierarchies. Therefore offers 7 hierarchical resource groups to design comfortable contexts flavored with illustration and typography: • ChefScript-Basic: Letters with horizontal and vertical thrifty proportions mimic an uninterrupted calligraphy brush made with flat tip. Thus its letters have ascenders and descenders strokes perpendicular to its base line and equal to the height of the lowercase. • ChefScript-Swashes: Letters expressive and unique flourishes to design highlighted words or phrases. • ChefScript-Caps: Uppercase with lowercase height give the impression of interrupted uppercase italics writing within what is written with uninterrupted lowercase letters producing strong contrast within a paragraph fragment. • ChefScript-Containers: Container drawings designed to exchange with infinite possibilities each order so that its inferior serve to store information written or drawn. • ChefScript-Dingbats: Pictograms that communicate: kitchen, chef, restaurant, food, etc. • ChefScript-Numbers: Bulky and useful numbers to highlight prices or figures containing points or dollar signs. • Chef Script-Words: Predesigned words with uninterrupted letters diagonally leveled highlighting various thoughts in writing.

“Loyolliams” is my first designed Latin typeface which has special meanings and unforgettable memories for me. The font's name, Loyolliams, consists of two mixed syllables stand for two different names. The first syllable is derived from the name “Loyola” and the second syllable is derived from the last five letters of the name “Williams.” These two names are related to “Concordia University”—located in Montreal in Canada—where I studied at a short academic term and spent in a very special period of my life in the late 2005. This renowned Canadian academic institution was created following the 1974 merger of “Loyola College” (1896) and “Sir George Williams University” (1926). This conglomeration formed “Concordia University” and the name Concordia itself was taken from the motto of the city of Montreal, Concordia salus (meaning ‘well-being through harmony’). This font comes in two different weights; light and regular. “Loyolliams” is a square, geometric, techno, and modern font. It is suitable for T-shirts, books' covers, websites’ addresses, advertisement light boards, and titles in technical, artistic, and other types of magazines and signboards. “Loyolliams” can be used also in posters, surfaces of electrical and electronic tools, digital devices and chips, geometrical machines, trucks, tractors, calculators, mobile phones, watches, laptops, personal computers, power equipments, digital cameras, technical magazines, and other digital and electronic tools. This fonts can be effectively used in titles especially when its uppercase and lowercase letters are mixed together and when it is used in its italic mode. "Loyolliams" is suitable for writing and printing small textual paragraphs in cards, magazines advertisements, and also posters. The main characteristic of "Loyolliams" Typeface is its non-curve style in most of its alphanumeric letters. The characters are deliberately designed to have only angular and square shapes.

Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear. Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own. And so now, here it is. Cabrito Inverto, which features the reversed stress of the strokes from a font’s “normal” traits. Inverted stress fonts are most often associated with cowboys and the Old West. The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms. Whew, that’s a mouthful! Inverto’s bundle of alternates is accessible in any OpenType-enabled program. It contains a workforce of alternates, swashes, and alternate titling caps to embellish the font. Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates. This font family also includes the glyphs for 72 different languages. Cabrito Inverto does pair well with Cabrito. There is even an extra font weight, Black, for when you want to punch it up a bit. Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party. Buy Cabrito Inverto to give a boost to your designs every day of the week.