The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

Thalweg serif typeface is a project focused on the digitalization and development of the Thalweg font. The font was originally designed in 1993 by the Bulgarian artist Ivan Kyosev. In 2018 Ani Dimitrova began the revival of the Thalweg font and converted the drawings into a digital form. The existing set of characters required some necessary expansions such as the development of capital letters, alternative symbols and many other functions. Furthermore, some additional weights were developed which aimed to make the font more complete. Thalweg was completed in 2020 with 16 weights ranging from Thin to Black with extra drawn italics and small caps versions, each style containing more than 1100 glyphs. The font comes with an extended coverage of the Latin, Cyrillic and Greek Scripts. All of the weights are specifically equipped for complex, professional typography with Open Type Features. These features include: Small Caps, Ligatures, Discretionary Ligatures, Superscript, Subscript, Tabular Figures, Old-Style Figures, Circled Figures, Arrows, Matching currency symbols and fraction. The Thalweg serif typeface is a perfect choice for body text, branding design, web design, editorial design and more. Ivan Kyosev (1933-1994) was one of Bulgaria’s most famous artists whose work influenced several generations of bulgarian designers. He was born on February 5, 1933, in the city of Burgas. In 1957 he graduated in illustration at the National Academy of Art in Sofia led by Prof. Iliya Beshkov. Mr. Kyosev was a member in the management of the “Graphics and Illustration” section in the Union of Bulgarian Artists, member of the UBA board, artist in the publishing houses “September” and “World”. Together with Boris Angelushev, he worked on the layout design of the “Literary Front” newspaper. Furthermore, in 1963 - 1964 he was the main artist in the publishing house “Prosveta”. Ivan Kyosev excelled in the field of illustration, book design and library layouts in various genres (classics, children's literature, poetry, journalism, memoirs, etc.). He is also the author of many fonts.

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Buffalo Bill is a revival of an old favorite font that’s been around since 1888, the James Conner’s Sons foundry book of that same year is the oldest source I've seen for this old classic. If you're looking for the font used as the logo for Buffalo Bill’s Irma Hotel in Cody Wyoming please refer to the FontMesa Rough Riders font. New to the Buffalo Bill font is the lowercase and many other characters that go into making a complete type font by today’s standards. The Type 1 version is limited to the basic Latin and western European character sets while the Truetype and OpenType versions also include central and eastern European charcters. William F. (Buffalo Bill) Cody called America’s Greatest Showman was one of the United State’s first big celebrity entertainers known around the world, millions of people learned about the Old West through Buffalo Bill’s Wild West shows which traveled throughout the United States and Europe. William Cody, at age eleven, started work on a cattle drive and wagon train crossing the Great Plains many times, he further went on to fur trapping and gold mining then joined the Pony Express in 1860. After the Civil War Cody went on to work for the Army as a scout and hunter where he gained his nickname Buffalo Bill. In 1872 William Cody started his entertainment career on stage in Chicago along with Texas Jack who also worked as a scout, the Scouts of the Prarie was a great success and the following year it expanded to include Wild Bill Hickok and was eventually named The Buffalo Bill Combination. By 1882 Texas Jack and Wild Bill Hickok had left the show and Buffalo Bill conceived the idea for the traveling Wild West Show using real cowboys, cowgirls, sharpshooters and Indians plus live buffalo and elk. The Wild West shows began in 1883 and visited many cities throughout the United States. In 1887 writer Mark Twain convinced Cody to take the show overseas to Europe showing England, Germany and France a wonderful and adventuruos chapter of American history. The shows continued in the United States and in 1908 William Cody combined his show with Pawnees Bill’s, in 1913 the show ran into financial trouble and was seized by the Denver sheriff until a $20,000 debt (borrowed from investor Harry Tammen) could be paid, Bill couldn't pay the debt and the loan could not be extended so the assets were auctioned off. William Cody continued to work off his debt with Harry Tammen by giving performances at the Sell’s-Floto Circus through 1915 then performed for another two years with other Wild West shows. William F. Cody passed away in 1917 while visiting his sister in Denver and is buried on Lookout Mountain joined by his wife four years later. Close friend Johnny Baker, the unofficial foster son of William Cody, began the Buffalo Bill Memorial Museum in 1921, over the years millions of people have visited William Cody’s grave and museum making it one of the top visitor attractions in the Denver area. William F. Cody romantisized the West creating the Wild West love affair that many still have for it today through books and cinema.

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

Presenting Ever Looser! A Wild Brush Font with a distinct texture. You can type by Mix & Match to get a unique combination. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. As you can see in the presentation pictures above, Ever Looser looks 'wild' on design projects. So, Ever Looser can't wait to give its touch to all your design projects such as environmental campaigns, quotes, poster design, book cover design, promotional materials, t-shirt, hoodie, product packaging, simply as a text overlay to any background image, etc. Besides that, Ever Looser also has some ligature that gives a surprise when you type certain characters combinations. The ligatures are TT, LL, ll, oo, and rr. What's Included? 1. Ever Looser • Comes with uppercase, lowercase (small caps), ligatures, numeral, punctuation, symbols, and multilingual support (Afrikaans, Albanian, Catalan, Danish, Dutch, Estonian, English, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and Many More). 2. Ever Looser Untextured • It's a clean version and comes with uppercase, lowercase (small caps), ligatures, numeral, punctuation, symbols, and multilingual support (Afrikaans, Albanian, Catalan, Danish, Dutch, Estonian, English, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and Many More). 3. Extra Swashes • 7 'wild' swashes (every version) that make your design looks natural. Just type S_1 S_2 S_3 S_4 S_5 S_6 S_7 to feature it. We really hope you enjoy it!

Well suited for headlines, packaging and display applications, AE Prosperity will be a robust and versatile addition to your script library. It’s purposefully designed to infer the visual connections of letters for a hand-lettered feel. Some characters will connect, and others will guide your eye to the next letter from, making it highly legible. In 1779, the schooner Prosperity sailed the high seas. Commissioned by a young continental congress, with 6 guns & at twenty tons, she sailed under a Letter of Marque for patriotism and profit. Look lively, because with contextual and alternate glyph sets (contextual glyphs, alternate lower case glyphs and an extended set of alternate capitals), this robust typeface is as inspiring as her namesake and adapts to whatever winds may blow. Prosperity is designed as a free-flowing script, for a spontaneous and historic aesthetic. Contextual glyphs include variations on tt (short and longbar), t longbar, ll, cc and other characters. Contextual features change ascender heights and descender styles. Alternate glyphs (set 1) include variations on b,d,f,g,h,l,o,p,r,s,t,y. Alternate capitals (set 2) include a complete set of alternate upper case letters. Most useful with Adobe® InDesign®, multiple variations of letter combinations can be achieved by selecting Contextual glyphs, and/or set 1 and set 2 from the Character Palette: OpenType: Stylistic Sets menu. Alternate glyphs and contextual characters will be available based on the OpenType support of your application. AE Prosperity™ is available exclusively in OpenType format.

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

“The Emperor Has Clothes” Like in music — the Allegro Sonata form consists of three main sections—the Exposition (section), the Development, and the Recapitulation — so in regard to this Allegro Sonata font family — there is an Exposition (font), a Development, and a Recapitulation—in which each theme is restated alongside its development material. While the Recapitulation font is perfect for titling and branding, the Exposition is perfect for branding {as demonstrated in the Inspiration Gallery pertaining this font} as well as being a comfortable read in long runs of text. The Exposition rounded, mono-line, with great x height, contemporary—A Synthesis Between Geometric & Hand-drawn—font, is at times geometric and at times hand drawn; in the end it all came down to finding the balance in a typeface between the robustness needed to function as a text face and enough refinement to look good as a display font. Following the Exposition, comes the Development (section), decorative, botanic-like, exuberant and playful font, signifying ABUNDANCE [of possibilities] & BENEVOLENCE—in regard to each theme/character, and to demonstrate—that 'structures' in music, are solid structures—like architecture {contrary to the words of J. W. von Goethe, who said: “Music is liquid architecture; Architecture is frozen music”}, just in some spiritual domain that is far beyond one's physical senses to grasp. Like in my art and music works in which I consider its 'Texture' element of vital importance, so is the case when it comes to type, as apparent in my previous Phone Pro/Polyphony font, as well as in this current Sonata Allegro/Development font. Each glyph has its own uniqueness, and when meeting with others, will provide dynamic and pleasing proximity. And due to the [individualistic] nature of this Development font, just a minimal amount of kerning/pairing were necessary... The development font is an extravagant design that looks best when used at large sizes—perfect for titling, logo, product packaging, branding project, wedding, or just used to express words against some [light or dark] background. Finally, “The (Exposition Font) Emperor Has (the Development Font) Clothes!” As said, there are three fonts/styles altogether in this Sonata Allegro type family, designed with the intention of harmonizing between Latin and Hebrew, which makes it an ideal font for the side-by-side use of Latin and Hebrew characters. However, they are being sold separately (kindly search for “Sonata Allegro Hebrew” on this MyFonts site), so they are economical for those interested just in either one of them. My aim is to shake up the type-design world with a range of distinctive fonts which break away from the generic letterforms, to make your design projects stand out—as a graphic designer, add this font to your most creative ideas for projects. This typeface has [lots of ligatures /] OpenType features, to enhance your designs even more — happy designing! Sonata Allegro Features: · 3 Weights/Styles · Multilingual Support · Proportional Figures & Ligatures While using this product, if you encounter any problem or spot something we may have missed, please don't hesitate to write to us; we would love to hear your feedback—in order to further fine-tune our products. Copyright Tamar Fonts/Hillel Glueck 2022 ALL RIGHTS RESERVED Any unauthorized distribution of my work is strictly prohibited, and will be prosecuted; do the right thing, and do not participate in the piracy of my typefaces; if you appreciate my work, then please pay for it and help me prosper — thank you!

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Morris Sans is a newly revised and extended version of a small geometric family of typefaces originally produced by Morris Fuller Benton in 1930 for ATF. His initial design consisted of an alphabet of squared capital letters with a unique twist that characterized its appearance: corners with rounded exteriors and right-angle interiors. The types were intended for use in the fine print found on business cards, banking or financial forms, and contracts. But over the ensuing decades, this design became a popular element in all sorts of design environments, and several foundries revived the typeface in digital form. Since digital fonts are bicameral, with slots for both upper and lowercase letters, new cuts of the type opted filled the lowercase slots with small caps. In 2006, Linotype commissioned its own version of the typeface-an extension for 21st century use. Under the advisement of Linotype's type director Akira Kobayashi, Dan Reynolds redrew the uppercase and added an original lowercase for the first time. Additionally, a number of extras were brought into the fonts, including six figure styles (tabular and proportional lining figures, tabular and proportional oldstyle figures, and special tabular and proportional small cap" figures). Small caps, which have become an iconic element over time, are accessible in each font as an OpenType feature. To differentiate this version from the original, Linotype's new family is named Morris Sans, in honor of Morris Fuller Benton. All fonts in the Morris Sans family are OpenType Com fonts; they include a character set capable of setting 48 European languages that employ the Roman alphabet, including all Central and Eastern Europe languages, those from the Baltics, and Turkish. This glyph coverage extends to the small caps as well. Morris Sans is a wide typeface, especially in its regular widths; the condensed faces set a more conventional line of text. The new lowercase letters are less geometric than the uppercase, except for those that share the same basic forms (e.g., c, o, and s). Instead of following this geometric trend, the new lowercase tends to strengthen the humanist elements that were present in several characters from the original type, including the uppercase D and the figures 5, 6, and 9. Morris Sans also sports a number of glyphic flares, like the stroke found on the original uppercase Q. Morris Sans is a clean, modern design best suited for headlines, advertising, posters, expressive signage (especially on storefronts), and corporate identity work."

In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the Italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of multiplicity was kept central, developing Calvino in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family, Calvino Grande, to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure, Calvino Grande sports condensed proportions, sharper details and tighter metrics. Both Calvino and Calvino Grande are complemented with a set of italic letterforms, with differences in design and slant to better work at different point size. All the 34 weights of the Calvino family come with a extended Latin and Cyrillic charset, covering over two hundred languages, and all equipped with a wide range of open type features including positional numerals, alternate forms, and stylistic sets. Four variable typefaces are also included in the full package, for any need of fine-tuning the typeface grade of weight. Special thanks go to Laurène Girbal for the help in developing the regular weight. • Suggested uses: Calvino aims to provide users with a full typography palette to cover all editorial needs. Perfect for contemporary branding and logo design, dynamic packaging and countless other projects. • 38 styles: 9 weights + 9 italics, 2 different styles + 4 variable fonts. • 779 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero • 203 Languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Lombard, Lithuanian, Tsonga, Jamaican, Dholuo, Galician, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Norse, Slovio (Latin), Volapük.

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following 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, Hotcąk (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, Māori, 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

Amazing Slab is a typeface family designed by Francesco Canovaro and Andrea Tartarelli as a development of the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Mixing an egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black). Each of these weights, has been paired with an inline version, designed by Mario De Libero, to extend the range of uses for the typefaces, from bold signage to logo design, to editorial titling. The lighter range of the family features two weights (regular and light) that are designed for text use, complemented by the thin and extralight weights that are better suited to big point size, for editorial and signage use. All the weights of Amazing Slab, as well the matching true italics forms, feature an extended charset of over 900 glyphs, covering 211 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features including positional numbers, annotation and case-sensitive forms, standard ligatures and a wide array of stylistic sets to customize glyph shapes for logo and display usage. With its friendly, energetic mood and its versatile range of application use, Amazing Slab is born to make every design project look simply... amazing! Suggested uses: old signage, logo design, editorial titling, display 21 styles: 8 weights, 8 italics, 4 inline styles, 1 variable font 965 glyphs in each weight Useful OpenType features: Small Capitals; Standard Ligatures; Discretionary Ligatures; Stylistic Alternates; Stylistic sets 01, 02, 03, 04, 05, 06; Ordinals; Fractions; Tabular Figures; Old-style Figures; Slashed Zero; Circled Numbers; Case Sensitive Forms; Numerators; Denominators; Subscript; Superscript; Scientific Inferiors; 211 languages supported: extended Latin, Cyrillic, Greek English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Tuvaluan, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). • Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects; • 21 styles: 7 weights x 3 different styles + 1 variable font; • 839 glyphs in each weight; • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero • 217 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Whitenights is a contemporary text family, which was developed by the prolific Swedish typographer Lars Bergquist in 2002. Containing five weights (11 different fonts total), this family contains every tool you need to set splendid text. The base font of the family is Whitenights Regular, a reliable face designed in the old style manner. It ships in OpenType format, with old style figures. Whitenights Ligatures Regular is a supplementary font, which contains many extra ligatures (e.g., ffb, ffk, tt, and fj) whose use will improve the color" of a page of text set in Whitenights Regular. Whitenights Regular may be accented by combination with Whitenights Small Caps, Whitenights Italic, Whitenights Bold, and/or Whitenights Bold Italic. The Whitenights Italic, Bold and Bold Italic styles all have supplementary Ligature fonts available for purchase, similar to the Whitenights Ligatures Regular face described above. For larger, headline text, the specially designed Whitenights Titling is quite useful. This titling font has been optically redrawn and respaced for use in large sizes. Naturally, it has its own supplementary Ligature font as well. In books, magazines, and newsletters this font is a great display companion to the rest of the Whitenights family. Its use in conjunction with the text faces will make your typographical compositions more sophisticated. Last but not least in the Whitenights family is Whitenights Math, which contains many additional mathematical and logical glyphs not found in a standard font's character set. Used together, the above 12 styles can set almost any text or math-based document. The entire family is included in the Take Type 5 collection from Linotype GmbH."

Presenting Bones Stone! A Bold Script Font with more than 9 Alternates and Extra. This font made with the perfect combination of each character. You can type by Mix & Match with an alternate version and extra swashes to get a unique combining. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. You can see in the presentation picture above, Bones Stone looks Authentic on design projects. So, Bones Stone Font can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, logotype, product packaging, etc. Besides that, Bones Stone also has some ligature that gives a surprise when you type certain characters combining. The ligatures are ff, tt, and ll. WHAT'S INCLUDED? 1. Bones Stone Basic • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Bones Stone Stylistic Alternate • The Second version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Bones Stone Stylistic Set • It comes with 12 stylistic glyphs. Just access using Opentype Tools. 5. Bones Stone Swash • It comes with 47 underline swashes. Just type c_1 until c_47 to feature all. Enjoy the Font and Happy Creating! Thank You Azetype Studio

Presenting Alingtone Font Duo! A Display Font with 2 Versions, Alternates, and Extra. This font made with the perfect combination of each character. You can type by Mix & Match with an alternate version and extra swashes to get a unique combining. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. You can see in the presentation picture above, Alingtone looks Versatile on design projects. So, Alingtone Font can't wait to give its touch to all your design projects such as quotes, poster design, retro design, vintage design, business, advertisment, personal branding, promotional materials, logotype, product packaging, etc. Besides that, Alingtone Script also has some ligature that gives a surprise when you type certain characters combining. The ligatures are ee, ll, oo, ii, nn, yy, ff, rr, tt, and ss. WHAT'S INCLUDED? 1. Alingtone Script • The First Version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. Alingtone San • The Second Version comes with ALLCAPS, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 3. Alingtone Script Alternate • It comes with uppercase, lowercase, numeral, punctuation, and symbols. 4. Alingtone Swash • It comes with 21 underline swashes. Just type c_1 until c_21 to feature all. Enjoy the Font and Happy Creating! Thank You Azetype Studio

Ablati is the commercial release of the font designed during the production of our new font design book, “Practical Font Design”. It is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Ablati is a very different direction for me. Designed to produce gaphics to use in the font design book, I was forced to really reconsider many of my working methods to make them work for outside readership. Like all designers, my internal design processes can get really sloppy. The book helped me clean up my act. Taking my inspiration from one of my favorite fonts of all time {though I've never really been able to use it much}, Romic, by Colin at Letraset, I decided to design a unilateral serif font. In most ways, this is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the new set developed for the book. There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Several alternative forms, a dozen ornaments, and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy! The Oldstyle and Small Cap fonts are an attempt to have most of the OpenType characters available to people still using Type 1 and TrueType fonts.

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Bold, rounded and super cool. Those are the attributes of my latest font “Vinyle”, french for vinyl. In this epoque where all fields of Design are giving a lot of importance and attention to Typography and Lettering, I felt it was my duty to contribute with something that could really stand alone and ‘say something else’ that just words to be read. I've found that lately in the world, regarding a finished piece of design, the role of Typography (and of letters in general) went from being secondary, (like a minor player or a supporting actor) to the most important one. People are starting to understand the beauty of a well-done letter: they want their storefronts with unique scripts, they want to drink coffee surrounded by lettered blackboards, they want to buy books with astonishing covers with swashes ‘por doquier’. I'm more than happy to be alive in a present where even the most unimaginable friends of mine, (who couldn't spot differences between comic sans and helvetica before) are now conscious of the importance of a letter, or let’s say: Of the ‘voice’ of Typography. With Vinyle I tried to make a font with power. Following the nowadays trend of, let me say, “the vintage sans renaissance”. This time I put my brushes and nibs aside and experimented with something new. It wasn't easy, if you will pardon, for me to see swashes all over the place withouth the classic calligraphic ‘thick and thins’, but with after some weeks of work I started to love them. Like I already showed you in other creations (1) let me finish with the phrase: GEOMETRY IS SEXY! TIPS Vinyle has a lot of attitude, it shouts “here I am!” it really can ‘design an entire piece’ for you with just a word or two: It was designed with a 10 degree slant on purpose so the user may rotate it (like on the posters) that amount of degrees in order to see better results. Use Vinyle with the ‘fi’ standard ligatures activates for better kerning and ligatures! NOTES (1) See my font Selfie , the ‘little sister’ of Vinyle.

Introducing Galderglynn 1884, a font family that transports you back to the nineteenth century. With its refined expansion from the intentionally rustic Galderglynn Esquire, this typeface oozes old-world charm and sophistication. The condensed fonts are expertly squared off, paying homage to the typical condensed newspaper headline type of the era. Their weight and spacing are deliberately unrefined, just like the pre-twentieth century grotesques that inspired Galderglynn Esquire. Meanwhile, the extra-condensed “squeeze” fonts are completely flat-sided, reminiscent of the old wooden poster types and tight metal newspaper headline fonts. If you’re looking for a practical workhorse font family, Galderglynn 1884 is the perfect choice. It combines the pastoral design of Galderglynn Esquire with a polished finish that makes it easy to read and use. And if you’re after something extra special, you’ll love the three special effect fonts: all-capitals shadow, and engraved regular and condensed styles. Access tabular and lowercase (old-style) numerals with ease, thanks to the OpenType features available in this font family. Galderglynn 1884 is the perfect way to add a touch of old-fashioned charm to your designs. Try it today and transport your audience to a bygone era! Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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, Ukrainian, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Schrödinger's is a remarkable signature font which was made hand-drawn manually using Hitech-C pen, This typeface is very natural-like and make your design stand out! Schrödinger's is perfect for gorgeous logos, cards, quotes, posters, wedding invitations, blog posts, social media, and more! To keep it more natural-like, we provide you hundreds of ligature! Schrödinger's font contains following ligatures: aa ab ac ad ae af ah ak al am an ar as and ant at att all av aw ax ay az bb bl bt cc cd ce ch ck cl cm cn cr cs ct db dd dl dt ea eb ec ed ee ef eh ek el em en er es end ent est et ett ell ev ex ey ez ff fi fl fo gh ght gt he ht ib ic idd ie if ih ik il im in ir is ind int ist it itt ill iv ix iy iz kk la le ll lt mm mt ns nt oa oe of oh oi ok ol om oo or os ond ont ost ot ott oll ov ow ox oy oz pp rr sh sl ss st th the tl tt ub uc ud ue uf uh uk ul um un ur us und unt ut utt ull uv uw ux uy uz wh yy zz nn Not only that, we also include swashes and love swashes for those who interested in valentine stuff! Schrödinger's features: A full set of upper & lowercase characters Numbers & punctuation Multilingual language support PUA Encoded Characters +418 Glyph Up to 163 Ligatures Swashes OpenType Features In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. For more information about accessing alternative, you can see this link: http://adobe.ly/1m1fn4Y

Aramus is a new serif font in my continuing objective of designing book fonts that I can really use. In many ways, Aramus is a very different direction for me. It comes from a scan of an old display face that has been radically modified to a much smaller x-height than I have been using lately, plus taller ascenders. Many of the characters needed a lot of correction to bring them into my taste. In general, I have decided that many of my fonts create a type color that is too dense. Aramus is an attempt to get away from that look. Although Amitale has been a very successful book family and excellent to work with, I find I still need something more open with a lighter color. Aramus is the first look at the new direction. The original hand-cut serifs vary a lot, different for almost every character. This gives a little looseness and helps the lightness I am looking for. It will be interesting to see where this all goes. This is a normal serif for me in that it has caps, lowercase, small caps with the appropriate figures for each case. This font has all the OpenType features in the set for 2009. I didn't bother with the CE accents (though I can add them upon request. They will be in the final new book family). There are several ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity. Enjoy!

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

“Corinthiago” feels equally charming and elegant. This stunning handwritten font is a stylish homage to classic calligraphy. It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Alternates to help enrich your designs: 1. Titling (titl) alternates, are accents for initial letters. is the first stroke that is long and and slightly curved according to the letters, both lowercase and uppercase. 2. Swash (swsh) alternates, is an accent at the end of a letter, is an additional stroke to end writing. 3. Stylistic alternate (Salt), is an alternative glyph to add style emphasis. 4. Stylistic set (SS), some additional glyphs for design alternatives. If you use a combination of two lowercase with a combination of tilt and swsh it will produce a harmonic letter that you can use for a logo, no problem also for a logo consisting of more than two letters, all you have to make sure is starts with a titl and ends with swsh. All glyph alternates (titl, swsh, Salt and SS) are also supported by multiple languages. Another OpenType that is also very important is Ligature (league), this font consists of 51 Ligatures including: Abe, Ade, Ale, Ab, Ad, Af, Aj, Ak, Al, Am, An, Ao, Ap, As, Ax, Ay, Az, aa, ar, be, cc, da, de, di, do, du, dy, ee, er, ii, ir, is, le, ll, lt, om, on, oo, op, or, ov, ow, ox, oy, oz, ss, st, th, tl, tt, ur and uu. We continue to see the possibility to update ligatures in the future. This font is the right choice for a modern design, can be applied to invitations, writing messages in the form of quotes, book and magazine covers, and of course for your brand logo text.

It took me a long time, but I think I now understand why people of my generation and older feel the need to frame current events in an historical context or precedents, while most of the young couldn't care less about what happened ten years ago, let alone centuries back. After living for a few decades, you get to a point when time seems to be moving quite fast, and it’s humbling to see that your entire existence so far can be summed up in a paragraph or two which may or may not be useful to whoever ends up reading the stuff anyhow. I suppose one way to cope with the serenity of aging is trying to convince yourself that your life and work are really an extension of millenia of a species striving to accept, adapt to, and improve the human condition through advancing the many facets of civilization -- basically making things more understandable and comfortable for ourselves and each other while we go about doing whatever it is we are trying to do. And when you do finally convince yourself of that, history becomes a source of much solace and even a little premonition, so you end up spending more time there. Going far back into the history of what I do, one can easily see that for the most part it was ruled by the quill. Western civilization’s writing was done with quill pens for more than thirteen centuries and with newer instruments for about two. By the mid-18th century, the height of the quill experience, various calligraphy techniques could be discerned and writing styles were arranged in distinct categories. There are many old books that showcase the history of it all. I recommend looking at some whenever the urge comes calling and you have to get away from backlit worlds. Multiple sources usually help me get a better perspective on the range of a specific script genre, so many books served as reference to this quill font of mine. Late 17th century French and Spanish professional calligraphy guides were great aides in understanding the ornamental scope of what the scribes were doing back then. The French books, with their showings of the Ronde, Bâtarde and Coulée alphabets, were the ones I referenced the most. So I decided to name the font Auberge, a French word for hotel or inn, because I really felt like a guest in different French locales (and times) when I going through all that stuff. Because it is multi-sourced, Auberge does not strictly fit in a distinct quill pen category. Instead, it shows strong hints of both Bâtarde and Coulée alphabets. And like most of my fonts, it is an exercise in going overboard with alternates, swashes, and ornamental devices. Having worked with it for a while, I find it most suitable for display calligraphic setting in general, but it works especially well for things like wine labels and event invitations. It also shines in the original quill pen application purpose, which of course was stationery. Also, as it just occurred to me, if you find yourself in a situation where you have to describe your entire life in 50 words or less, you may as well make it look good and swashy, so Auberge would probably be a good fit there as well. This is one quill script that no large bird had to die for. A few technical notes The Auberge Script Pro version includes 1800 glyphs, everything is included there. Also latin language support. We recommend you to use the latest design application to have full access to alternates, swashes, small caps, ornaments, etc. The images from the gallery uses this version. For better results use the fonts with “liga” feature on. Awards During 2014 the early develop of Auberge Script was chosen to be part of Tipos Latinos, the most important type exhibition in South America.

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

Sassoon fonts package for handwriting starters The three upright "infant" fonts developed to meet the demand for letters to produce pupil material for handwriting as well as for reading. Letters have extended ascenders and descenders ideal on screen and print. They facilitate word recognition. The exit strokes link words together visually, also crucially, they space the letters for improved legibility. The "joined" font puts the skills gained into practice producing joined-up handwriting. Together these typefaces provide a valuable resource for Teachers to create consistent material across the curriculum. Sassoon Infant Tracker B font: This font with its direction arrows helps pupils to start in the correct place. Motor movements can be refined by keeping inside the line. When starting and direction is no problem, the arrow font can be dropped and the Dotted font used. Sassoon Infant Dotted B font: Writing over the dots of this font refines motor skills. The aim here is to give confidence by reinforcing starting points, exits and to now encourage fluidity. Sassoon Infant font: With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and exit strokes to write freely along the baseline - still unjoined. Once learned, this leads to spontaneous joins along the baseline leading logically to a joined-up hand. Sassoon Joined font: Having learned to write letters with correct starts and exits, this is when the joined font for teaching handwriting can be used. With some words in this font and a baseline beneath to copy onto, pupils can use their learned starting points and simply extend their exit strokes to make joined-up writing. The default joins the font provides are recommended, however there are alternative letterforms that are so important for some Teachers which can be accessed. Create ‘pen lifts’ anytime too! NOTE: Fonts display unjoined by default on this website and are delivered that way - joining is controlled by your text editing application such as Word or TextEdit, read more for instructions… Free to download PDF resources: Stylistic Sets and how to access the alternative letters feature in these OpenType fonts. Using the separate letter fonts Using the joined font Teachers copybooks using these fonts: How to teach pre-cursive Copybook How to teach cursive handwriting Copybook

QUALITYPE + VARIABLE FONT FAMILY "QualiTYPE" font extends its use by providing weights from "Thin" to "Black". Natural curves, ridges, and curved bodies grow in character as the font gains weight. "Qualitype" is an exciting serif font with contemporary twists. It has a distinctive sound that preserves the simplicity and elegance of classic "serif" fonts with a fresh, stylish rework. Her personality is bold and fills the space without shouting, she looks elegant and confident. The low X-height provides a great amount of visibility at all weights and is optically corrected for better readability. In the process of working on "Qualitype" we wanted to expand the functionality of the typeface a bit more, so after a few tries two different fonts were born: "Old", "Neo" and "italics" versions. "Qualitype" is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. "Qualitype" is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. “Quality” typeface consists of 56 styles: 2 style, 2 Shining, 7 weights and italics. Each typeface style consists of 860+ glyphs (except for the decoratives). “Qualitype” supports over 80+ languages. A variant version of the basic styles has been prepared for the most demanding users. Using the variability slider, you can adjust and select the individual thickness regardless of the current weight distribution. An important clarification - not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. OPENTYPE FEATURES aalt, dnom, onum, pnum, tnum, lnum, numr, frac, zero, sing, sups, subs, case, c2sc, smack, salt, hist, titl, holing, dig, liga, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, kern FEATURE SUMMARY: - 4 Axes: 2 Style: Old and Neo. 7 weights: Thin, Light, Book, Regular, Medium, Bold and Black. 2 Shining: Dark and Lamp. Matching italics (12º) for all weights and style . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (a, d, g, m, n, p, q, r, u, y). - Unlimeted fractions. - 24 Dingbats. - Extended language support. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aesthetic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark. The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and XLarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and XSmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use. Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide. • Suggested uses: perfect for modern branding and logo design, editorial design, web design, packaging and countless other projects; • 62 styles: 6 weights + 6 italics x 5 different x-heights + 2 variable fonts; • 2011 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Subscript, Superscript, Tabular Figures, Slashed Zero • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. The design of Arsenica takes its inspiration from Italian poster design at the beginning of the century, a time where typography, lettering and illustration where closely interwoven. Dawning nationalist movements, rather than using the modernist language, pushed on traditional Old Style letterforms often imbued with Art Nouveau and Deco sensibility. Artists like Giorgio Muggiani not only illustrated posters for Cinzano, Pirelli and Rinascente, but also provided logo design for newspapers, like "Il Popolo d'Italia". Starting from this mix of eclectic influences, Canovaro first developed the Arsenica Antiqua family, designed as display typeface that keeps the original Old Style low-contrast, wide proportions and quirky stylistic inventions. These where then distilled in a high contrast, Arsenica Display family, expanding the weight range to include both poster, ultra-bold weights and lighter weights that give the design a distinct calligraphic flavour. Bringing the letterforms into contemporary taste meant also developing alternate letterforms that were included in the Arsenica Alternate family, that drops the art nouveau details in favour of a more controlled modern serif aesthetic. Finally, Arsenica Text was developed by expanding the design space in the optical size axis, creating a low contrast, strongly readable old style typeface family, with a reduced weight set, oriented for long body copy typesetting. The final result is a superfamily of 41 weights, covering the design space with an expanded charset of over 900 glyphs, with full coverage of over 200 languages using latin and Cyrillic alphabets. All the weights of Arsenica come with a full set of open type features allowing to explore its vintage-inspired visual inventions thanks to stylistic sets, discretionary ligatures, contextual alternates and positional numbers. Two variable typefaces are included in the full family, allowing you to explore the design space and precisely control not only the weight but also the optical size design variations. • Suggested uses: perfect for elegant modern branding and logo design, fascinating editorial design, expressive packaging and countless other projects. • 43 styles: 7 weights + 7 italics, 4 different styles + 2 variable fonts. • 942 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Oldstyle Figures, Ordinals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Slashed Zero. • 216 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. The typeface name was chosen as an homage to the mythical homeland of the Norse Gods, evoking a land of fierce warriors, power and strength - but also of divine, delicate beauty. Thanks to the help of Andrea Tartarelli and Mario de Libero the original design was extended along with the design space, expanding the number of weights and widths with a "workhorse typeface" approach, and adding also a slanted axis to experiment with italics. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family. This gives the designer a full range of options for typesetting, with the Roman and Fit widths providing basic display and text-sized alternatives, and the Wide width adding more display and titling options. The inclusion of backslant italic styles gives Asgard an extra chance to add its voice to the typographic palette. To complement this, all Asgard fonts have been given a full set of Open Type Features including standard and discretionary ligatures, stylistic sets, positional numerals and case sensitive forms. Dynamic and expressive, Asgard is a super-family that manages to look brutal and refined at the same time, quoting the vernacular typographic practices of letterpress print while expressing the contemporary zeitgeist. • Suggested uses: perfect for contemporary branding and logo design, bold editorial design, dynamic packaging and countless other projects. • 73 styles: 8 weights + 8 italics + 8 backslant italics, 3 different widths + 1 variable font. • 968 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Slashed Zero • 219 languages supported (extended Latin, Greek and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

Introducing Meritocracy, a full-featured handwritten font with tons of alternate characters and OpenType features. My goal with this font was to make you a typeface that will look as much like hand lettering as possible. Using the built-in OpenType pseudo-random contextual alternates and over 300 individually drawn ligatures, you can infuse your typography with personality and variety.** OpenType Features Meritocracy comes with more than 900 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, a second stylistic set for variety, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), standard numbers, and seven ampersand styles. It also includes 325+ standard and discretionary ligatures, all of them individually hand-drawn to be different from all other glyphs in the font. These ligatures allow you to give a super-realistic hand-lettered look to your typography. You can write the same word in so many different ways if you combine the default set, stylistic set 01, and standard and discretionary ligatures in different ways. SPECIAL OPENTYPE FEATURE: If you are using OpenType-capable software like Adobe Illustrator, Photoshop, InDesign, or CorelDraw and you have contextual alternates turned on, you can see the letters randomize themselves as you type, mixing from the default character set and stylistic set 01. (You can always turn on contextual alternates after you have already typed your passage and it will randomize all at once, or you can choose to turn off contextual alternates and substitute specific glyphs yourself - I find that if I'm typing a word or two, I prefer to control the individual glyphs myself; if I'm typing a paragraph, I like to use the built-in randomness of the contextual alternates feature). Note that this pseudo-randomization (aka contextual alternate feature) is ON by default in Apple's Pages app and OFF by default in Microsoft Word, but it can be turned on. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access most of these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you have questions about this, ask me!) Files included: Meritocracy-Regular.otf Please note: there is only one file for this font. That's the magic of OpenType - all of the alternates, ligatures, etc. are built right into the .otf file! Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- **PLEASE ENJOY! I can't wait to see what you make with Meritocracy! Feel free to use the #upupcreative and #meritocracyfont tags to show me what you've been up to!**