In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced Kisch) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added these two headline weights, which are available besides a separate font family Kis Antiqua Now TB Pro. Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

Introducing color Retro font family. Modern retro design dictates its own rules and graphic techniques - one of which is fonts with outlines. Retroline font family embodies this. 4 fonts with black stroke and white fill, and 4 fonts with only black stroke are perfect for retro illustrations. Color scheme of colored fonts is convenient and easy to recolor in graphics programs. Retroline fits comic illustrations or designs from the 90s Features: 8 fonts in family: - 4 color fonts with fill & outline - 4 fonts with outline only 2 weights of fonts 2 weight of outline Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Antique Tuscan No.9 was one of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. The new company was named Page and Company and was located at the Mowry facility in the Greenville section of Norwich, Connecticut. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817 and had become so popular for advertising in the intervening years. Because of the extreme compression in the design, we might be tempted to describe it as "Triple-X," but that might be misleading. The analogy would, of course, be to clothing sizes, not movie ratings. Because of the compression, this typeface reads best when set extra-extra-extra large. For printing, we recommend 36 points or larger. For the screen, we suggest at least 72 points. An unusual and distinctive design, it is best used with discretion. If I were doing a term paper for school or submitting an article to a magazine for publication, I might use it for the title page, to grab someone’s attention. I would certainly not use it for the main body of text - not if I expected anyone to read what I wrote. If you wonder why we make this recommendation, take the Ten-Point challenge. Print this paragraph using Antique Tuscan No.9 and set the font size at 10 points. If you are young and blessed with good eyesight, you will probably be able to read it - with effort. So, here is the challenge: hand it to your Grandmother and ask HER to read it.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

The story of Scripps College Old Style is a heart-warming and inspiring chronicle about a young librarian, a handful of students, a wealthy grandmother, a dedicated educator -- and two eminent American type designers. The story begins in 1938, when Dorothy Drake, the newly hired librarian at Scripps College, a small women's college in southern California, became an impromptu dinner companion of the American type designer Fred Goudy. By the 1990s, the original fonts that Goudy had created for Scripps College in the 1940s had become prized -- but they were seldom-used antiques. Scripps needed digital versions of the metal fonts. This goal posed two immediate challenges: finding a designer familiar with letterpress printing who was skilled at creating digital fonts, and locating the money to commission the designer's services. The first challenge was the easiest to conquer. Sumner Stone was my first and only choice," recalls Kitty Maryatt, the current curator of the Scripps College Press. "I knew he had letterpress experience, was an accomplished calligrapher, and that his typeface designs were simply exquisite. The choice was easy."The second challenge was more difficult. It took the dedication, hard work and tenacity of Maryatt to bring the beautiful Goudy designs into the twenty-first century. While Stone was eager to begin work on the project, the college had no more money for new typeface designs in the 1990s than it did in the1930s. Years of lobbying, cajoling and letter writing were necessary to obtain the college's approval for the design project. Once she had the necessary funding, the design brief posed yet a third challenge. Goudy had provided two sizes of type to the Press: 14 point and 16 point. Which would serve as the foundation for Stone's work? In addition, the Goudy fonts were quite worn. Should Stone use printed samples as his design master, or base his work on the original Goudy renderings? The 14-point master drawings were the ultimate choice, with the stipulation that the finished fonts would provide both a seamless transition from the worn metal versions and a faithful representation of the original Goudy designs. Once the budget and design brief were established, the process of converting the original Goudy drawings into digital fonts took just a little over two months. Stone delivered finished products to Scripps in the fall of 1997. The first official use of the fonts was to set an announcement for a lecture by Stone at Scripps in February of 1998. But the story is not quite finished. Maryatt was so pleased with the new digital fonts, she wanted to share them with the graphic design community. At Stone's suggestion, she contacted Monotype Imaging with the hope that the company would add the new designs to its library. An easy decision! Now Monotype Imaging is part of the story. We are proud to announce the release of Scripps College Old Style as a Monotype Classic font. The once exclusive font of metal type is now available in digital form for designers around the world. "

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.

MarshmallowPopHeart is a cute font that imagined a sweet marshmallow. Since hearts are mingled in various places such as voiced points and parts of kanji(chinese characters), it may be fun to look for it. Because the heart is missing, it is recommended for when you want to designing cute. I think whether it's good for contents for young ladies. Because it is a thick font, it may be good to use it for headlines and where you want to make it stand out. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). I think it's better to become a font that makes people who use or watch them fluffy and feel happy like when eating a pastel colorful sweet marshmallow. ＜「ましゅまろポップ　ハート」紹介文＞ ぷにぷにの丸っこい甘いマシュマロをイメージしたかわいいフォントです。 濁点や漢字の一部など、色んな場所にハートが紛れ込んでいるので、探してみるのも楽しいかもしれません。 ハートが紛れ込んでいるので、かわいくデザインしたい場合などにオススメです。 若い女性向けコンテンツにもいいかと思います。 太めのフォントなので、見出しや目立たせたい所に使うのも良いかも知れません。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字を収録、縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字に対応（約6700文字）してますので、使い勝手も良いかと思います。 パステルカラーのカラフルな甘いマシュマロを食べる時みたいに、使ったり見てくださる方がふわふわ幸せな気持ちになれるフォントになればいいなぁ…と思います。 ＜スタイルカテゴリー＞ ファンシー、装飾

Rev up your design game with Dealerplate, the typeface that brings the license plate style to your work. This typeface features 17 embossed designs from states and provinces across the United States and Canada, ensuring your work is always on point with the latest in license plate style. To truly capture the essence of the license plate look, be sure to turn off kerning in your design application. This will create a more authentic appearance, bringing the road to your design work. Not only does Dealerplate capture the essence of license plates, but it also includes OpenType fractions, numeric ordinals, mathematical symbols, and monetary symbols, making it a versatile and powerful addition to any design project. Don’t just settle for any license plate typeface, upgrade your design game with the stylish Dealerplate typeface today. The Dealerplate family includes plates from: California Florida Illinois Maryland Massachusetts Michigan Missouri North Carolina/Utah/Alaska New Jersey New York Ohio Ontario Pennsylvania Quebec Virginia Washington Wisconsin 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.

Introducing Quasix—the typeface that defies logic! With its compact industrial headline design, this font is the perfect choice for anyone looking to add an edge to their design work. But beware, its quirky design might have you scratching your head at first. Just like the inside of a machine, Quasix is full of moving parts, each with its own unique purpose—but don’t worry, you don’t have to be an engineer to appreciate its beauty. This typeface is perfect for those who want to convey the concept of engineering devices without using typical techno typefaces or cliche physical symbols like gears and bolts. Quasix will elevate your design to the next level, and its versatility makes it suitable for a range of themes, from retro to modern and even futuristic. Don’t be afraid to get creative with Quasix—this typeface was made to be bold and unconventional. Let it take center stage and watch as it transforms your design into something truly unique. Quasix defies convention and breaks the mold, making it the perfect choice for those who aren’t afraid to think outside the box. Try it out and see for yourself! 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.

As you consider the words you need to convey, it’s clear that you’re looking for something that feels just as precise and intentional as the message you’re promoting. Structia is a typeface that does not shy away from its influence—it leans into the hard edges and geometries that are typically associated with brutalist architecture. And yet, even as it draws inspiration from an austere and somewhat daunting aesthetic, Structia also possesses a sense of control and discipline that is undeniably alluring. At the core of Structia’s appeal is its mechanical precision. Every line, every curve, is carefully calculated and crafted to create a sense of mathematical accuracy that is difficult to resist. There is no room for error or imperfection in Structia—every stroke is sharp and precise, with chamfered corners that add an extra layer of texture and visual interest. This is not a typeface that allows for ambiguity—it demands clarity and specificity, and it delivers both with remarkable consistency. But Structia is more than just a collection of angular shapes and precise lines. It is a typeface that conveys a sense of scientific accuracy and chilly logic—a kind of elegance and refinement that is unexpected. There is a beauty in the way that Structia balances the hard-edged geometries of brutalism with a sense of control and finesse that is undeniably modern. It is a typeface that feels at once futuristic and timeless—a design that can be used in a wide variety of contexts and still feel fresh and relevant. And then there are the two effect styles—Structia Panel and Structia War—which take the basic geometry of the typeface and push it even further into the realm of science fiction. Structia Panel feels like something you might see on a spacecraft or in the architecture of an alien planet, with thin, laser-like struts that give it a futuristic edge. Structia War, meanwhile, takes the concept of Structia Panel and adds a layer of battle damage, as if the letters have been through a cosmic conflict and emerged victorious. In the end, Structia is a typeface that demands attention and respect. It is not a typeface that will fade into the background or blend in with the crowd—it is a design that is meant to be noticed and admired. And yet, even as it draws your eye with its hard-edged geometries and precise lines, it also possesses a sense of elegance and refinement that is undeniably alluring. Structia is a typeface that balances the old and the new, the hard and the soft, the mechanical and the human—and the result is something truly remarkable. 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, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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.

This font is I thought "I wanna try to make cute Mincyoutai.", and made it. I think it is cute font but may have a little nostalgia. It corresponds to Hiragana · Katakana · Alphabet · Numerals · Symbols · Kanji(chinese characters). You can also write vertically. You can use it easily, because it contains JIS first · second level, and IBM extended Kanji(about 6700chinese characters). Since it is little bold Mincyoutai, I think it is useful for headlines and text. About it's name, it is simple but has some childhood and romantic, I named this font "OtomeMincyou". I'm hope you like it. ＜「乙女みんちょう」紹介文＞ 「かわいい明朝体を作ってみたい！」と思い作ったフォントです。 かわいい中にもどこか懐かしさを持ったフォントになったかと思います。 ひらがな・カタカナ・アルファベット・数字・記号類・漢字に対応。縦書きもできます。 漢字はJIS第一水準・第二水準・IBM拡張漢字（約6700文字）に対応しているので、使いやすいかと思います。 ちょっと太めの明朝体なので、本文にも見出しにも使えると思います。 名称については、シンプルだけども夢見る少女のような幼さ・ロマンチックさを持っているなぁと思ったので「乙女みんちょう」と名付けました。 皆様のお役に立てれば幸いです。 ＜スタイルカテゴリー＞ 明朝体、装飾

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!**

Report School is a geometric sans-serif typeface that was inspired by student handwriting practice worksheets. But don’t worry, it’s not just a copy of those worksheets. Report School is designed to be easily readable, with legible letterforms that make it perfect for use in educational materials. You might be wondering what makes Report School different from other school-oriented geometric sans-serif typefaces. Well, for starters, it’s designed with readability in mind. While other typefaces might prioritize pure geometry, Report School puts legibility first. That means that when you use Report School, your readers will have an easier time reading your text. And speaking of easier reading, Report School has some features that are designed to make things even more legible. For example, instead of using straight quotes for inches, feet, or degrees, you can use primes. And Report School has regular primes, double primes, and triple primes, so you can choose the right one for your needs. Plus, the numerals in Report School are tabular, which means they’re vertically aligned for easier math equation alignment. But that’s not all! If you’re using OpenType savvy applications like InDesign, Illustrator, or Photoshop, you can access even more features. For example, you can use the stylistic alternates feature to access the letters “I” and “J” with no serifs, as well as a straight lowercase “q”. And if you’re looking for something a little different, you can check out Report School’s rounded version, called Report, or a version with casual strokes, called Sweater School. If you’re looking for a typeface that’s easy to read, but still has some personality, look no further than Report School. It’s the perfect choice for any educational materials that need to be both legible and stylish. 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.

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Straight" because of the straight like design. Everything is clear, symmetric and straight. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). We went for the traditional "soukoun" instead of the Quranic "soukoun" & the decorative symbols are at a minimum. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He & Kaf". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Elegant" because we thought this is the most elegant one we have designed. Everything is so clear, nothing overlaps, decorative symbols are not too much nor too little. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). The "Ye" at the end of names doesn't have the two dots, and we used a decorative small letter "Ye". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. --------------------------------------------------------------------------------------------------------------------------- Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Pilot" because it was the very first one we produced. The first "Alef" doesn't have a "hamzit wasel" nor a "fatha", this indicates to skip the pronunciation of that letter. So instead of saying "AR-RAHMAAN" you say "R-RAHMAN". (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation and spelling according to the Holy Quran). Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf & Alef". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% ERROR FREE, and you can USE THEM WITH YOUR EYES CLOSED. All the “Tachkilat” are 100% ERROR FREE, all the "Spelling" is 100% ERROR FREE, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing

My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

Van den Velde Script Pro is the definitive edition of the original Van den Velde Script, by Intellecta Design, a free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). This font has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script, merges modern necessities or better legibility without loosing the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith an evocative and voluptuous style of calligraphic script: Van den Velde Script PRO has - more glyphs than the original Van den Velde Script. We created hundred of new glyphs, deactivated old non-representative glyphs and redesign the remaining library of original glyphs. Van den Velde Pro is more functional, soft and beauty than the original. - to keep the powerful of this unusual kind of script we make a tour-de-force kerning work: 771 glyphs in this font was adjusted in 5400 kerning pairs handly. - hundreds of contextual alternates combinations, some of them with three or more letters, - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; .... and, much better, Van den Velde Scriopt PRO is plus cheap than the original font !!! In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. Van den Velde Script PRO has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Introducing TT Norms® Pro, version 3.200! The updated font now supports more languages and boasts a larger character set. These implementations have made the typeface even more advanced and convenient. TT Norms® Pro is a functional geometric sans serif for aesthetic design choices and TypeType studio's bestseller. It has been a massive success since its release, and rightfully so! This stylish, elegant, and versatile font will become the full-fledged core of your collection. TT Norms® Pro is ideally suited for products in any domain: streaming services, banking, clothing brands, or the automotive industry. It's equally convenient to use in both web and printing. Now, the TT Norms® Pro typeface includes the most extensive font package, both in terms of font styles and character sets. The base version of TT Norms® Pro consists of 22 fully redesigned font styles and 4 additional subfamilies. Besides, this font boasts the most comprehensive language support in the TypeType collection. We've added the characters of extended Cyrillic and Latin writing systems to the updated TT Norms® Pro and configured the new languages support. The character set has become more extensive—we've added currency symbols with their minuscule version and minuscule mathematical symbols. The 3.200 version of TT Norms® Pro includes: 44 roman font styles, 44 italics, and 2 variable fonts; 7 roman and 7 italic font styles in TT Norms® Pro Mono; 2 variable fonts: TT Norms® Pro Variable with three parameters of variation (weight, width, and slant) and TT Norms® Pro Mono Variable with weight and slope axes of variation; 1993 characters in each font style, including an extended set of punctuation marks, symbols, and currencies; 5 widths: TT Norms® Pro with classic proportions, monospaced TT Norms® Pro Mono, narrower-proportioned TT Norms® Pro Compact and TT Norms® Pro Condensed, and wider TT Norms® Pro Expanded; 38 OpenType features, including a large number of ligatures, fractions, numerators, and denominators; 17 stylistic sets; - 280+ languages support, counting in new symbols for French, Norwegian, Bulgarian, Uzbek, Abkhaz, and more; Flawless kerning and manual TrueType hinting. TT Norms® Pro has already become the signature font of Intercom, Inc., Sartorius AG, CSN, CBSN, Shieldex, and many other global brands. Customization is available for TT Norms® Pro upon request—we adjust the font to suit your project. Learn more about customization options in the corresponding website section. In addition to the TT Norms® Pro, we've designed the TT Norms® Pro Serif typeface. These fonts complement each other perfectly, making an ideal typeface pair.