William Morris (1834-1896) was probably the most influential figure in the decorative arts and private press movements of the late 19th and early 20th century. In reaction to the increasing lack of quality that the industrial revolution brought on, Morris sought a return to the ideals of the medieval craftsman. Dissatisfied with the commercially available typefaces of the day, he undertook the design of the fonts for his books himself. The P22 Morris font set features new versions of Morris's famous type designs for his Kelmscott Press. The two main fonts include full international character sets for Western European languages. P22 created MORRIS GOLDEN with a rough edge to simulate the look of printing on handmade paper. There is a more "refined" recent version of Golden, but its sterile digitization does not approach the effect that Morris achieved in his Kelmscott books. You'll notice the handmade effect less in the smaller sizes but will find it quite decorative in the larger sizes. (Morris cut his Golden type in only one size for the Kelmscott Press, approximately equal to 14 points.) P22's version of MORRIS TROY is more smooth than Morris Golden and is true to the original Morris design. It is based on the Kelmscott Troy type (an 18 point font) and its smaller counterpart, the Chaucer type (a 12 point font). American Type Founders made an unauthorized version of Troy, "Satanick," 189?, contrary to Morris's wish that it not be made available commercially.(Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell) Several digital versions of Troy (and Satanick) have appeared over the years. The P22 version offers a much more accurate rendering than any previous version. Morris designed the original Troy font to be spaced very tightly; our version reflects and honors his intention. The MORRIS ORNAMENTS are based on those Morris designed and used in his Kelmscott Press books. Characters in the positions of the letters A to Z are decorative drop cap initials. Characters in the number key positions reproduce other Morris embellishments. (See the accompanying key chart.) As with all headline fonts and complex dingbats characters, this font is best used at larger point sizes (e.g., 48, 72, 120). Use in body text or at small point sizes on-screen may not achieve desired results. P22 is grateful to William S. Peterson, Steven O. Saxe and the Lightsey-Offutt Library who gave invaluable research assistance to this project.

Introducing Mollas Typeface Thank you for clicking this page and finding Mollas Typeface, one of the best font collections I've made. Mollas typeface is formal, elegant and can be applied to any design concept. For branding design, header text, online shop, logo design, social media and so on. Mollas typeface has 14 total families from Thin to Heavy, besides that there are many amazing and unique alternative glyphs for your design creation. Its use is very easy and simple. It can be run in design or non-design programs because the Mollas typeface has PUA unicode support. Besides that, the Mollas typeface also has multilingual support. Thank you and enjoy

Introducing Giomonte Handwritten Script. Signature script font that feels beautiful classy, elegant, and modern. This type of font is perfectly made to be applied especially in logos, and other various formal forms such as invitations, labels, logos, magazines, books, greeting/wedding cards, packaging, fashion, makeup, stationery, novels, labels, or any type of advertising purpose. Multilingual support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, French, Finnish, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanish, Swedish, Zulu, and many more. What’s Included : Standard & Multilingual glyphs Ligature Works on PC & Mac Simple installations Accessible in Adobe Illustrator, Adobe Photoshop, Adobe InDesign, and even work on Microsoft Word. Hope you enjoy our font!

Introducing Addlethorpe, the sleek and sophisticated three-layer metal typeface that will elevate your designs to the next level. With its unique combination of foreground, fill, and background layers, Addlethorpe offers endless possibilities for customization and creativity. Whether you’re designing for print or digital, Addlethorpe has you covered. The foreground layer, Addlethorpe 1, is perfect for use on light backgrounds, offering intricate detail that will catch the eye and draw the viewer in. But why stop there? Addlethorpe 2 is the perfect fill layer, allowing you to add color and depth to your elevated letters. And don’t forget about Addlethorpe 3, the rectangular background layer that fills in the blanks and ties your design together. With its clean lines and bold presence, Addlethorpe 3 is the perfect finishing touch. But Addlethorpe is more than just a pretty face. OpenType-aware programs allow for the use of lining or old-style numerals, while letter pair ligatures break up the monotony of repeated letters. And with Addlethorpe Web, you can enjoy all of this beauty and versatility with faster load times and simpler forms. So what are you waiting for? Give your designs the edge they deserve with Addlethorpe. Just be patient with your application – with all this detail and customization, it’s worth taking the time to get it right. Some Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aymara, Basque, Bemba, Bikol, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Galician, Genoese, German, Guadeloupean Creole, Haitian Creole, Hiligaynon, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Kikongo, Kinyarwanda, Kirundi, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Papiamento, Piedmontese, Portuguese, Quechua, Rarotongan, Romansh, Sango, Saramaccan, Sardinian, Scottish Gaelic, Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tetum, Tshiluba, Tsonga, Tswana, Tumbuka, Uzbek (Latin), Venetian, Võro, Walloon, Waray-Waray, Wayuu, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of horror! Meet Croteau, the scariest typeface you’ll ever lay your eyes on. This font is inspired by the 1960s horror movies, so you know it’s going to be good. Use it to enhance the horribleness of your message and terrify your audience. With 250 spooky bespoke ligatures, Croteau can produce an intriguing interlocking letter effect that will give your design an eerie look. The letter pair ligatures help break up the monotony of plainly repeating characters, adding an extra layer of horror to your design. Use this OpenType-savvy app to create an unforgettable experience for your audience. But beware, turning off the “standard ligatures” functionality in your app may eliminate this effect. So keep it on and let the horror unfold. Step into the world of horror with Croteau, and give your designs a spine-chilling twist. Get ready to be scared out of your mind! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Pentecoste is created with stylist and handwritten characters. This handwritten font was PUA encoded. Pentecoste is a natural handwritten style that comes with Extended Latin Characters. Pentecoste works perfectly for logos, display, product branding, wedding invitation card, stationary, packaging, clothing, flyer, apparel, magazines, brochures, lable, posters, badges, etc. Pentecoste comes with 317 glyphs and 87 alternate characters contain with opentype features (supported with contextual alternates mode). Pentecoste also comes with 15 extended ligatures that allowing you to make stuff looks more exclusive and pro standard. You can access all those alternate characters by using OpenType savvy programs such as Adobe Illustrator, Adobe InDesign and CorelDraw X6-X7, Microsoft Word 2010 or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac) or a software program such as PopChar (for Windows and Mac). For other programs that doesn't support OpenType features or Glyphs Panel such as Photoshop, you can use Character Map in Windows to access the alternate characters. Files included: Pentecoste (otf) How to access all alternative characters, using Windows Character Map with Photoshop: http://youtu.be/cxonI5QvULk How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=y5XTaWYwWA4 If you need help or advice, please contact me by e-mail "tegakiscript@gmail.com"

Crox™ Rounded is a sans-serif professional typeface created using Crox™ family curves that comes in 14 harmonic weights plus 2 poster styles with upright and italic variants, as well as a maximum x-height for great optical reading. All styles have over 25 professional OpenType features and a wide range of Western languages coverage. with a variety of styles and substitute characters: sets 1, 2, 4, 10, 11. Furthermore, operational styles 6 and 7 for the fit-derived SI units format and pricing styles: sets 5, 8, and 9 for business and marketing, ADS and web design, branding, or products design, as well as other OpenType features such as ligatures, old-style numerals, ordinals, swashes,... Specimen Crox™ is a trade mark of Yassine Abdi.

Ciutadella was originally commissioned by Mario Eskenazi’s studio. It is a versatile geometric sans serif, a simple, clean and direct family. Its power resides in an overhaul simplicity that reflects an “open” personality, easily suitable to be used across a wide range of applications, from identity systems to publications. Although it has been conceived to be used as a display typeface, it performs well in intermediate length texts mostly because of some specific characteristics such as the alternate two-story ‘a’. It is available in Open Type format and includes Alternate Characters, Ligatures, Tabular Figures, Fractions, Numerators, Denominators, Superiors and Inferiors. It supports Central and Eastern European languages. The type family consists of 10 styles, 5 weights (Light, Regular, Medium, SemiBold and Bold) plus italics. See also Ciutadella Rounded and Ciutadella Slab. Ciutadella PDF.

Introducing Burnley, a bold and groovy retro display font that exudes a clean and unique vibe. With its retro feel, Burnley comes equipped with beautiful ligatures, tons of alternative glyphs, and multilingual support, making it a highly versatile font that looks great both in large and small sizes. It's perfect for creating layout designs for 60s or 70s projects. The font is packed with open type features and a wide range of alternates to help you create amazing lettering. Burnley is best used for headings, headlines, covers, posters, logos, quotes, product packaging, merchandise, social media and greeting cards, and more. The zip package includes Burnley in otf, ttf, and woff formats, and comes with a range of features, including uppercase and lowercase letters, opentype alternates and ligatures, numbers, punctuation and symbols, and multilingual support.

Introducing Steelfish, a typeface that will take your designs to a whole new level. This condensed typeface is inspired by newspaper headlines from the turn of the twentieth century, and it is designed to be compact and efficient. Unlike other typefaces that try to emulate specific metal types, Steelfish is a unique blend of various headline fonts that gives it a one-of-a-kind character. Steelfish doesn’t rely on modern-day embellishments or antique ornamentation, which means it can be used seamlessly in both historical and contemporary themes. With its seven weights, including oblique styles, Steelfish is a versatile typeface that can be used for a wide range of design projects. Whether you’re working on a website, a brochure, or a poster, Steelfish is the perfect choice to add a touch of sophistication to your work. In addition to the classic Steelfish, there are other variations to choose from as well. The Steelfish Rounded is perfect for designs that require a softer touch, while the Steelfish Hammer is ideal for bold and impactful designs. Steelfish Steeled adds an industrial edge to your designs, and the Steelfish Unleaded is a stripped-down version for when you need a more minimalist look. Overall, Steelfish is the typeface you need to make a statement in your designs. Its compact letterforms and unique blend of headline fonts give it a character that is both historical and contemporary, making it a versatile and timeless choice for all your design needs. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Breviary - Display Typeface "UNIQUE serif modern font" likely refers to a typeface that combines elements of traditional serif design with contemporary and distinctive features. Serif fonts have small lines or strokes attached to the ends of characters, which can contribute to a more formal or traditional appearance. The term "modern" in this context typically implies a contemporary or updated style. Here's an explanation of the characteristics and significance of a UNIQUE serif modern font: -Serif Elements: Serifs are the small lines or strokes at the ends of characters, and they are a hallmark of traditional typography. In a UNIQUE serif modern font, these serif elements are likely to be present but may have a distinctive shape or style that sets them apart from more conventional serif fonts. -Contemporary Design: The "modern" aspect of the font suggests a contemporary or updated design. This may involve a departure from the more classical serif styles seen in traditional typefaces, incorporating modern design principles, cleaner lines, and a more minimalist aesthetic. -Distinctive Characters: A UNIQUE serif modern font is likely to feature characters with unique and individual design elements. This could include unconventional serifs, letter shapes, or other stylistic details that make the font stand out and contribute to its uniqueness. -Versatility: While serif fonts are often associated with formality and readability, a UNIQUE serif modern font may offer versatility suitable for a range of design applications. It could be used in both traditional and modern contexts, providing flexibility for various design projects. -Applicability to Branding: Fonts play a crucial role in branding, and a UNIQUE serif modern font could be an excellent choice for businesses or projects that want to convey a sense of tradition and reliability while maintaining a contemporary and innovative image. -Digital and Print Design: Modern serif fonts are often designed with both digital and print applications in mind. The clarity of the typeface, even at smaller sizes, and its aesthetic appeal make it suitable for a variety of design projects, from websites and apps to print materials like brochures and posters. -Attention to Detail: The uniqueness of the font may be reflected in the careful attention to detail in each character. This could include refined curves, balanced proportions, and other design elements that contribute to the overall visual appeal and readability of the font. -Available Features: Unique serif modern fonts may come with additional features, such as alternative characters, ligatures, or stylistic sets, allowing designers to customize the appearance of the text for specific design needs.

Maison Luxe is a revival of a very old font designed in France in or around the year 1820. You may have seen this font in the past under the names of Circus, Roma, Madame and Gillé Classic. As of November 2016 we have changed the name of this font from Gillé Classic to Maison Luxe which means Luxury House in French. For many years Joseph Gillé was credited as the original designer of this font however we've recently been contacted by a type historian in France reporting that he could not find any evidence supporting Joseph Gillé as the designer and to the best of his knowledge an artist by the name of Sylvestre may be the true designer. If you love this classic font then you're sure to enjoy the alternate version also with a matching lowercase available from FontMesa under the name of Home Style. This version of the classic with its squared off shadow is true to the original design where Home Style has diagonal lines creating a cast shadow. New in 2016 for Maison Luxe is a new matching lowercase, an uppercase German Double S (versal eszett), Greek character set, opentype features including case sensitive forms and old style numerals. We know you'll enjoy the new additions to this timeless classic design.

Hibernica is a new genuine Irish sans in the classical modern style. With Hibernica it is possible to express Irishness in an up-to-date fashion rather than the traditionalist way. The design of Hibernica is based on my Lapidaria family. With Lapidaria it shares the classic appearance and coolness, stroke pattern, proportions and dimensions. Therefore Hibernica and Lapidaria are a perfect couple for bilingual text editing, e.g. Irish–English (not to forget the Greek parts of Lapidaria!). All fonts contain the full set of dotted ḃ ċ ḋ ḟ ġ ṁ ṗ ṡ ṫ in upper- and lowercase and an additional set of a dozen celtic ornaments. Hibernica also ows its “Minor-Medior” concept to Lapidaria, that is a special uncial-style variant set for lowercase letters. Choose from the six Hibernica fonts which suits your needs best! The Minor fonts are performing elegantly even in longer text bodies, whereas the Medior sorts offer a brillant and entirely new typographic look for headings and captions. Use Hibernica for outstanding designs – for a contemporary Irish understatement in typography. Wether you’re designing menus or shop signs, banners or ads, wether you do textwork upon historic topics or create T-shirts for St Patrick’s day – Hibernica is your new friend! For more new wonderful Irish fonts look at Ardagh and Andron Gaeilge!

The original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up. The ultimate objective was to refine Kari Display to a point where each glyph was expressed as simple as possible... and in that simplicity a sexiness would appear. Kari is a beautiful script, but it is very 'controlled' and orderly and I wanted Kari Display to break that mold with much more movement, curviness, greater modulation and a more elegant feel on the page. I did not want to take it too far, limiting the use of the typeface, but rather opted for a delicate balance of thick and thin against the added movement of the glyphs. The wealth of sketches and proposed variants during the concepting phase was encouraging and I really pushed to add as many alternate characters, ligatures, swashes (and more) as I possibly could. Just about every character has at least one or more alternates AND the complete offering of alternates completely covers a wide range of Latin-based language groups including Central European diacritics. If you are using any type of OpenType enabled application, then the Kari Display Pro typefaces are the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional swash and ligature sets.

Burford is a font family that I sketched while traveling through Europe. I was mesmerized by all the unique typography that was showcased throughout the five countries I visited. Inspired by all that I had seen, I found myself spending 4-5 hours per day in Amsterdam’s Vondel Park drawing characters. Once back in the states I digitalized Burford, deciding it would make for a beautiful layer-based font. Burford Pro package comes with all 18 layering fonts including 5 base layers, 3 top layers, 5 bottom layers and 2 sets of graphic elements. They are strategically made to build on top of each other, creating a cohesive and easy to use layer-based family. Each font also comes with a set of Stylistic Alternatives for letters A C E F G H P Q R. Burford Basic package is created for users who don’t have access to premiere design programs (such as Illustrator, InDesign, Photoshop, etc) and are unable to use the layering effect. Burford can still be a powerful tool as each font can also be used on its own. It includes every font file not needed for the layering effect. (Include 13 fonts - Burford Basic, Dots, DropShadow, Extras Set A, Extras Set B, Extrude B, Extrude C, Inline, Line, Marquee, Outline, Stripes A and Stripes B). The Burford Extras set uses all basic keyboard characters - around 100 total elements per set. They are designed to go specifically with Burford and complement its varying styles perfectly. The set includes: banners, borders, corners, arrows, line breaks, catchwords, anchors and many more!

Introducing The Clover, a stunning duo font that combines the timeless elegance of a serif typeface with the fluid grace of calligraphy. This versatile font set includes two complementary styles that work together seamlessly to add sophistication and charm to your design projects. The serif font is a classic and refined typeface that exudes elegance and professionalism. Its clean lines and sharp angles create a sense of precision and authority, making it perfect for formal documents, headlines, and branding materials. In contrast, the calligraphy font is a more decorative and ornate style that evokes a sense of fluidity and movement. Its graceful curves and flowing lines create a sense of beauty and grace, making it ideal for invitations, wedding materials, and other special occasions. When used together, the serif and calligraphy fonts complement each other perfectly to create a stunning visual contrast that captures attention and creates a lasting impression. Whether you're designing a logo, brochure, or wedding invitation, The Clover is the perfect choice for adding a touch of sophistication and style. I really hope you enjoy it – please do let me know what you think, comments & likes are always hugely welcomed and appreciated. More importantly, please don’t hesitate to drop me a message if you have any issues or queries. Thank you

Jenkine casual and natural written handwritten brush strokes. Letters are made with brush on paper then scanned carefully drawn into vector format. This typeface is ideal for use in any professional project, such as blog titles, posters, wedding elements, t-shirts, clothing, book covers, business cards, greeting cards, branding, merchandise etc. Enjoy Jenkine fonts with passion and love for your awesome projects to make your projects quality!

Roicamonta font looks very feminine and delicate. Perfect fit for invitations, greeting cards and other printing where soft and elegant writitng is required. The design stems from Copperplate calligraphy and comes in two styles - upright and italic. This family consists of six font files overall, each file contains over 1200 glyphs. Complete with variety of swashes and fancy ligatures. All engineered and included in handy otf format.

As Titans Clash in The Final Battle of Good versus Evil, Man versus Machine, God versus Mortal and Coke versus Pepsi, ace lettering artist, Ferran Delgado from Spain teams up with our very own John ‘JG’ Roshell for one last attack on the assembled Cover Lettering Styles of Yore. Fill your lungs and prepare for... BATTTTTTLECRRRRRYYYYYYYYYYY! See the families related to Battle Cry: Battle Scarred & Battle Damaged .

Alskar sans is an elegant contemporary wide sans-serif typeface with strong stylistic geometric, authentic contrasts, drawing on the aesthetics and representing the shifting contemporary aesthetics. The distinctive stance gives the right visual consistency for branding and communications. Alskar sans is perfectly suited for headlines, large-format prints, brand identities, social media, advertising, editorial design, posters, magazines, logos, headings, body copy, digital and more.

Introducing Laguna Font Collection. Inspired from American motor inn signs and vintage restaurant signs in 50s-70s. Laguna comes with open type features such stylistic alternates, stylistic sets, contextual alternates & ligatures. Also available in variable font format. Laguna Font Collection is best uses for headings, Logo type, quotes, apparel design, invitations, flyer, poster, greeting cards, product packaging, book cover, printed quotes, cover album, movie, etc

Sada is a text font designed with hand held devices and ebooks in mind. Glyphs are designed to be larger than usual and very clear with soft visual characteristics and many traditional Arabic calligraphic transitional features incorporated to improve legibility. The word “sada” means “echo” in Arabic. Even though Sada is a cursive style font it offers clearly distinguished and visually unified letter shapes in every position of a word. Sada supports all Arabetic scripts covered by Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks, including support for Quranic texts. It comes with three weights, regular, bold, and ultra-light. Each weight has normal and left-slanted “italic” styles. The script design of this font family follows the Arabetics Mutamathil Taqlidi style and utilizes varying x-heights. The Mutamathil Taqlidi type style uses one glyph per every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter in an Arabic text. Sada includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Sada’s soft-vowel diacritic marks (harakat) are only selectively positioned with most of them appearing on similar lower or upper positions to emphasize they are not part of letters. Kashida is zero width glyph.

Welcome to the world of Evensong—the perfect art deco geometric typeface for those who want to make a statement. With its dramatic and unusual contrast, this font is sure to catch the eye of anyone who sees it. One of the things that sets Evensong apart from other typefaces is its extreme thick/thin letters. But it’s not just that—it’s the way Evensong makes dramatic choices with its contrast that really makes it stand out. With Evensong, you can deliver your message with a stylistic flair that’s sure to get noticed. Whether you choose to use the Solid and Hollow styles independently or stack layers of Solid and Fill, you have the flexibility to experiment with different color combinations and layers to create the perfect retro-fashion look. Embrace the boldness of Evensong and make a statement that’s impossible to ignore. This font is perfect for those who want to stand out from the crowd and make a lasting impression. Try it out today and see how this one-of-a-kind typeface can take your design to the next level! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Rev up your design game with Expressway Soft, the sans-serif font family that brings a touch of automotive style to your projects. Inspired by the U.S. Department of Transportation’s FHWA Series of Standard Alphabets, this font has been the go-to choice for road signs across the world, from the sweeping highways of Australia to the bustling streets of India. With its soft, rounded corners, Expressway Soft captures the feeling of cruising down an open road, while its twelve styles—including six weights and italics—offer versatility and flexibility for any design project. Old-style and monospaced numerals make it easy to create eye-catching price lists and other tabular data, while the font’s focus on design over regulation allows you to truly unleash your creativity. Whether you’re designing a bold, attention-grabbing billboard or a sleek, modern website, Expressway Soft has the style and functionality you need. So why settle for a font that’s strictly by the book when you can hit the road in style with Expressway Soft? And if you’re looking for a more angular variant, be sure to check out Typodermic Fonts’ Expressway with squared-off corners. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Gravtrac is a slab serif headliner designed to deliver solid punches while taking up as little horizontal space as possible. Inspiration comes from mid twentieth century classics: Univers 59 Ultra-Condensed, Helvetica Inserat and Compacta. It’s all about flat sides, a steady rhythm and tight, precision curves. The widest style of Gravtac is Condensed—compact, yet a comfortable read, available in 7 weights from Ultra-Light to Heavy. Gravtrac Compressed is probably the width where most typefaces would quit. It's narrow enough for most...but not for you. That’s why we have Gravtrac Crammed. It’s audaciously narrow—perfect for times where you want the reader to slow down and truly pay attention to the message. Gravtrac Crushed is devilishly slender. Try it with wide tracking for a stark, opulent look. All styles are also available in obliques varying from 7 to 10 degrees—58 styles in total. Gravtrac includes Opentype fractions, numeric ordinals, a breadth of currency symbols and old-style (lowercase) numerals. Every skilled designer already has slab serif typefaces in their stockpile but some of us have the need to squeeze. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Basenji is a flowing headline typeface influenced by the modular geometric design trend of the 1970s. Herbert Bayer published his highly influential Universal Alphabet in 1924, which was based on circles and straight lines and had a modern, industrial appearance. Jan Tschischold’s typography popularized this simple, unconventional style but by the late 1950s, it had fallen by the wayside. Type designers Joe Taylor and Herb Lubalin inaugurated the 1970s with fresh takes on an old concept. These new typefaces were more practical than the original, and their blend of futuristic curves and funky curls fit the zeitgeist. The popularity of these types spawned a flood of similar designs like Pink Mouse, Bauhaus, Pump, and Harry. These typefaces were popular throughout the decade then fell out of favor by the mid-1980s, making a comeback in the year 2000. Many contemporary font designs have drawn inspiration from the beginnings of the Universal Alphabet, but Basenji is unique. This typeface amplifies of the 1970s elements of Rondo, Pump, Bauhaus and Blippo, and packs them into a practical, versatile design toolset. Basenji comes in nine weights and italics. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

An exquisite Didot font in 18 series Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These unique glyphs are found in Gras Vibert, cut by Michel Vibert. Vibert was the appointed punchcutter of the Didot family during this period. It is the Heavy, whom sources were surest that Jean François Porchez has been used as the basis for the design of the typeface family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s. Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appears softer and less straight, particularly in larger sizes. The illustrious Didot family of type founders and printers Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra-condensed is called Ambroise François. Ambroise Pro brought back to life: fifteen years in the making! Club des directeurs artistiques, 48e palmarès Bukva:raz 2001