In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, redesigned, revised and expand the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next® font field guide including best practices, font pairings and alternatives.

Hs Alwajd is an Arabic display typeface, under “titles” category. It is useful for book titles, creative designs and modern logos. Also, it is used when a contemporary and simple look is desired that can fit with the characteristics of Kufi fatmic where horizontal parts are equal than vertical ones. It is a new style based on HS Almajd but without swirling round forms terminating in ball. The font is based on Kufi Fatmic calligraphy along with some derived ideas of decorative fonts, maintaining the beauty of the Arabic font and its fixed rates. Undoubtedly, the insertion of curved ornament in some parts adds more beauty and fascinating diversity in the flow line between sharp, soft and curved parts. This font supports Arabic, Persian, Pashtu, Kurdish Sorani, Kurdish Kirmanji and Urdu, consisting only one weight which can add to the library of Arabic Kufic fonts contemporary models that meet with the purposes of various designs for all purposes and all tastes.

Corporative Sans Rounded Condensed is the narrowed version of Corporative Sans Rounded that offers high performance when using for text, what makes it the perfect match for Andes Rounded. The font works well at both display and small sizes. Corporative Sans Rounded Condensed is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded Condensed comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded Condensed provides users with a wide range of characters and weights for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded Condensed was created by Latinotype Team and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

One of the earliest fonts published by Canada Type was Coffee Script, Phil Rutter's digitization of Robert Hunter Middleton's 1962 brush script, Wave. In 2010, when the font was revisited for an update, it was shown that it was too light for applications under 24 pt, and too irregular for applications over 64 pt. So the face was redigitized from scratch. This new digitization maintains a soft contour and a steadier stroke, as well as much better outlines for use at both extremes of scaling. Language support was also greatly expanded, and many alternates were added to the redigitized character set. The name was also changed to Middleton Brush, to better reflect the origins of the design, which was Middleton's response to Robert Smith's popular Brush Script Middleton Brush comes in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Alta California became designer steve mehallo's "vector-based artist's response" to the early Apple Macintosh bitmapped font San Francisco. Alta California was developed using "sampled" wood type and letters from numerous historical sources. The name comes from the Alta California newspaper, the first daily published in California, one of a dubious Barbary Coast nature, a sheet that shaped the bias of San Franciscans and attracted its own grade of reporters, including a printing specialist who went under the nom de plume Mark Twain. Alta California's edges were meticulously redrafted by hand, with letterpress-inspired fallout and 19th century pointing hands. The final collection of rough hewn letters jump, dive, fall, zag and zig. Alta California looks great on greeting cards, food packaging, as retail signage for boutiques, vintage stores or at D.I.Y. sales, on band posters or club cards, in and around historical quarters, or for use on any ransom note that needs to evoke a wild west look and feel.

A page from the 1931 Vitrolite catalog showing illustrations of store fronts and building exteriors utilizing the material provided a classically Art Deco type example. The business name “Sylvin” did not offer many characters to work with, so completion of the digital type design was simply left to imagination. The end result is Structural Glass JNL, which is available in both regular and oblique versions According to Wikipedia: “Pigmented structural glass, also known generically as structural glass and as vitreous marble, and marketed under the names Carrara glass, Sani Onyx, and Vitrolite, among others, is a high-strength, colored glass. Developed in the United States in 1900, it was widely used around the world in the first half of the 20th century in Art Deco and Streamline Moderne buildings. It also found use as a material for signs, tables, and areas requiring a hygienic surface. Over time, the trademarked name “vitrolite” became a generic term for the glass.”

HS Safa, an elegant Arabic display typeface carefully crafted for book titles, creative graphic projects, and modern logos. Categorized under "titles," it draws inspiration from the rules of Fatmic Kufi calligraphy, infusing a beautiful idea and special dimensions that preserve the allure of the Arabic font and its fixed rates. HS Safa is built upon the foundation of HS Sama font, but with a fresh and stunning molding (ornament) for the vertical strokes, adding a new dimension to its charm. This intricate detail enhances the overall visual appeal, making HS Safa a captivating choice for any design project. With comprehensive support for Arabic, Persian, and English languages, this typeface is versatile and accommodating. Available in two weights, Regular and Bold, it effortlessly integrates into the collection of contemporary Arabic Kufic fonts, catering to diverse design preferences. Whether seeking a modern Arabic font with a touch of uniqueness, HS Safa is a perfect addition to elevate any creative endeavor.

Tinteretto is a very beautiful, decorative Art-d�co font which is ideal for ad design about fine arts events and the world of arts and crafts as well as in restaurants, bars and for food packaging. Tintoretto harmonizes well with serif and sans serif fonts created at the beginning of the last century. It contains character sets for West and Central European as well as for Romania and Turkey. When Unger started his work on Tintoretto, he had the splendid idea of adding a Fill version to the original 3D characters. Combining both fonts make it even stronger and more beautiful. How to combine both fonts in order to achieve a color fill effect: Type your word or phrase and do not make any changes to the spacing or kerning. Duplicate or copy the original and change it to the Fill version (font change). Apply a color to the copy and position it exactly behind the original. See and love the result.

ITC Berkeley Old Style is based on a typeface designed by Frederic W. Goudy in 1938 called University of California Old Style. It was a private press type for the publishing house of that school. In 1958, about ten years after Goudy's death, Monotype re-issued the type under the name Californian, and it became a very successful face for book typography. Goudy himself said he designed this face to have the greatest legibility possible, and it is indeed free from the exuberances in some of his other faces. Tony Stan redrew the family for ITC for 1983, and it was named ITC Berkeley Old Style, Berkeley being the city where the University of California Press is located. Stan did a careful drawing of eight styles including italics. ITC Berkeley Old Style is a crisply beautiful tribute to a distinguished typeface, and it works well for books, magazines, and advertising display. Featured in: Best Fonts for Tattoos

Welcome aboard the Hyperspace Race Capsule! Let the weight of gravity slip away as our interplanetary transport system takes you around the solar system in unparallelled style and comfort. Our reclaimed UFO has been remodeled with soft, luxurious curves on the interior and the latest cutting edge flight technology under the hood, to meet all your typographic travel desires. Each weight and package includes these luxurious five-star amenities: Kick your Capsule into TURBO mode to access eleven sleek, fast-moving alternate letter shapes. Hit WARP SPEED to cross time and space with hundreds of auto-connecting letter pairs. Chat with passengers from all over Earth, as Hyperspace Race Capsule effortlessly presents speech in 224 languages. Use the versatile Variable font to access 20 preset weights plus over 100,000 options between. Hyperspace Race Capsule is a versatile, full-featured font that's perfect for galaxy-wide branding projects, now and into the future.

Elephant Party playfully dances along its baseline in bold and rounded style. This warm and friendly whimsical design has lots of trunk space and is reminiscent of groovy ‘60s and ‘70s typography where letter spacing was admittedly tight, but cozy. Like snuggling up to a warm fire while toasting marshmallows. Like snuggling under a warm blanket. Like, well, you get the point. Elephant Party is an equitable font that includes a diversity of multilingual support, and will communicate your message with a funky, retro vibe and festive mood. It’ll break out into a happy dance across a wide variety of your design projects ranging from children’s books, t-shirts, posters, logotypes, product packaging, merchandise, branding and beyond. And it’ll groove across a variety of environments from print to digital media. So come on in, join the “Party”, it’s ELEPHANTASTIC! Digitized by John Bomparte.. ***Breauhare’s My Left Hand font makes a cameo appearance on the poster of Chocolola bars.

Grotters is a supercharged, urban styled font, with extra attention to quick strokes and sharp details, Grotters contains uppercase, lowercase and ligature. Grotters is ideal for logos, apparel, t-shirts, hoodies, quotes, product packaging, or anything that needs a typographic turbo-boost and you’ll get a unique swash to accompany the font. What's Included: Grotters Regular - The standard version of the font. Perfect for titles and logos. Grotters Swash - cool underline under your text or a splash of paint? This font set has you covered. Type any letter a-z using this font, and you'll get a unique swash to accompany the font and extra brush Language Support - We've added in a great deal of extra characters to support many different languages. Commercial/Extended License - This is in your design arsenal for life! Use on end products for sale is permitted with the standard license. If there is a problem, question, or anything about my fonts, don't hesitate to ask! Big Thanks Ergibi Studio

Horizontes Script is the result of Panco’s personal experimental calligraphy project. Designed with the goal of finding a balance between spontaneity, elegance and beauty, his first typography was born and inspired on the horizon´s blue line from the city he was born. Relaxed, energic and very natural. With different alternatives of proportion, a wide range of ligatures, initial letters, terminals, floritures, Horizontes Script comes in two weight for large and small formats. “Horizontes Script” results in an ideal font for titles and short texts that find something else to show more than just words. A casual and harmonious font with strong personality. Great for projects that need to connote class and style without being too formal. Ideal for design that need to transmit warmth and humanity feel to be applied on invitations, labels, poetry, songs or thoughts. Created by Panco Sassano, under the supervision of the experienced typographer Ale Paul – in a duo work - “Horizontes Script” is the latest typeface by Sudtipos.

We have grown a new flower in our Garden, but this time, in a more emotional way, capturing its vibrations and using them to create a fresh handmade typeface: ‘Bach’, a display type system inspired by the new lifestyle trends that look to go back to basics and increase the value of old natural healing methods. Bach comes in two styles: a 6-weight Serif font in regular and italic versions, and a 2-weight Script in regular and bold versions. Ornaments are also included! Bach Script is based on the calligraphic catchwords set (handcrafted with brush pen) and the Serif version of the Garden typeface. This font is the perfect choice for labelling, packaging, illustrated books and posters. Go back to nature and feel the vibration again, this time with Bach! Bach is a Mendoza Vergara Studio design with the collaboration of Cecilia Mendoza in digital editing, under the supervision of Luciano Vergara and Coto Mendoza.

Falling Richees is a handwritten script with authentic dry brush imperfections. Falling Richees has a final letter combination to get the look you want :), besides Falling Richees also has a swash combination, to be placed under the writing you made, this is very easy to use, because this feature I intentionally made as an alternate type of letter lowercase. (see the example in the preview image) No special software is required to access any of the standard or alternative fonts - additional letters are provided in two forms 1. ending swash, 2. line swash :) WHAT IS INCLUDED: Falling Richees.ttf Multi language Ending swash Line swash For people with opentype-capable software: The alternatives can be accessed by turning on the 'Alternative Style' and 'Ligatures' buttons in Photoshop's Character panel, or through any software with a glyph panel, e.g. Adobe Illustrator, Photoshop CC, Inkscape. I hope you have fun using Falling Richees ! Happy creative!

Aldine 401 is a Bitstream version of Bembo type family. It was designed on the base of artwork of Francesco Griffo for Aldus Manutius. Originally the font appeared in “De Aetna” in 1495 — the book by Pietro Bembo about his journey to Mount Etna. Griffo’s design was one of the first old style typefaces followed by Garamond. It was the forerunner for the standard text types in Europe for the next two centuries. A modern version of Bembo was designed at Monotype under the supervision of Stanley Morison in 1929. Aldine 401 is still very popular in book design due to its well-proportioned classic letterforms and lack of peculiarities. Italic was based on the handwriting of Giovanni Tagliente. Books and other texts set in Aldine 401 can encompass a large variety of subjects and formats because of its classical beauty and high readability. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.

Do we have a volunteer from the audience! Yes, you young lady, step into the ring, there's no need to be afraid! What's your name? Hypnotique? How appropriate! Now, don't turn away, look into my eyes, look into my eyes, the eyes, the eyes, not around the eyes, don't look around my eyes, look into my eyes, aaaannnndd you're under. And on the menu of mesmerism tonight is a waking dream of letterforms that will keep you on the threshold of consciousness and yet illuminate your every hypnagogic hallucination! Now that we have your focused attention and reduced your peripheral awareness you have an enhanced capacity for response to the suggestion that you should not only purchase this font, but our entire library of fonts. On the count of three you will wake up and you will think of nothing else but acquiring all the tools all good graphic designers should have in their font library. And all we had to do was snap our fingers.

Basic Commercial is a family of fonts based on historical designs from the hot metal type era. First appearing around 1900, these designs were created by type designers whose names have not been recorded, but whose skills cannot be overlooked. These typefaces were popular among groups and movements as diverse as the Bauhaus, Dadaism, and the masters of Swiss/International-Style typography. They influenced a variety of later grotesque fonts, such as Helvetica and Univers. Basic Commercial was distributed for many years in the United States under the name Standard Series. The typeface worked its way into many aspects of daily life and culture; for instance, it became the face chosen for use in the New York City subway system’s signage. The Basic Commercial family members have a clear and objective design. Their forms exhibit almost nothing unusual, but remain both lively and legible nonetheless. Perhaps for this reason, Basic Commercial’s design has been popular with graphic designers for decades.

An unconventional classicistic Roman typeface This Roman typeface has a livelier effect than is typical of the epoch of classicistic style. In the lower case letters, an echo of the smoother forms of historically early scripts is identifiable. Typical of a classicistic Roman typeface are the emphasized and clear contrast in the weight of the strokes, the fine serifs and the accentuation of the vertical bold stem. Charpentier Classicistique is pleasantly legible. Its effect is much less harsh than other classicistic fonts. The pointed forms of M and N are uncommon. At 30°, the italic version of Charpentier Classicistique is unusually strongly slanted. The italic lower case letters refer, in part, to English handwriting, which also falls under classicism. Especially the curves show forms influenced by writing. Charpentier Classicistique supports all European languages including Turkish, Greek and Russian. It includes lots of ligatures, also discretional ones, as well as tabular figures and cap-height figures.

Schumann Pro is the very first issue of a long lost early 1960s typeface project done by Heinz Schumann while he was at the University of Graphics and Book Design in Leipzig, where he studied under German type design giants Albert Kapr and Herbert Thannhaeuser. This alphabet was never published as a typeface, but Schumann went on to design Stentor for Typoart a couple of years after graduating. Albert Kapr’s influence is unmistakable in this playful upright script, especially in the wide and breezy capital forms. Unique exit strokes and serif placement work together to define the bouncy rhythm of this face. This is an expressive original alphabet that successfully bridges the gap between expert calligraphy and everyday sign lettering. P22 Schumann Pro comes with over 500 glyphs, which include plenty of alternates, quite a few ligatures, and extended Latin language support. It is a very effective font when used sparingly in packaging, signage, posters and things designed to catch the eye.

In 1948, Mergenthaler Linotype released the first weights of Trade Gothic, designed by Jackson Burke. Over the next 12 years, Burke, who was the company’s Director of Typographic Development from 1948 through 1963, continued to expand the family. Trade Gothic Next is the 2008 revision of Jackson Burke’s design. Developed over a prolonged period of time, the original Trade Gothic showed many inconsistencies. Under the direction of Linotype’s Type Director Akira Kobayashi, American type designer Tom Grace, a graduate of the MA Typeface Design in Reading, has redesigned, revised and expanded the Trade Gothic family. Many details were improved, such as the terminals and stroke endings, symbols, and the spacing and kerning. Moreover, there are newly added compressed widths and heavy weights perfect for setting even more powerful headlines. Trade Gothic Next brings more features and better quality for today’s demanding typographers. Trade Gothic Next Soft Rounded introduces a new friendliness and warmth to the family.

Meets Genty, A new carefully crafted Delightful Bold on a script typefaces. A Creation of combining on our last 2 fonts which is Budge and Glaw. It generates a lot more fun, more trendy and more vibrant. It’s Versatile, Fun, Cute and Beauty feel that you get in Genty Typefaces. Genty Created with a tons of opentype features!. beautiful swashes, contextual alternates, stylistic sets up to 15 alternates, ligatures, ascender & descender swashes, Uppercase swashes, swoosh under the letters and swoosh at final of the letters. Every glyphs for alternates are curated for the best and possible without eliminate characteristic of this fonts. Genty also comes with a Font Pair Sans Serif that complete the needs for your design. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, Magazine, Packaging, Food Menus, and etc. It shows that Genty clearly can accommodate various design style.

Amoresa script was handwritten under inspiration of traditional calligraphy and the wonderful mystic soundtrack of Wojciech Kilar. This font comes with a clean and aged version, beautiful uppercase and lowercase alternates, ligatures and end-swashes. You can easy get alternate characters just by adding number 2, 3, or 4 after any uppercase. Each of them has from one to four stylistic alternates. Lowercase has alternates too. Aurora has eight lengths of end-swashes. Just add underscore and a number from 1 to 8 after any letter at the end of the word ( _1 _2 _3 ... _8). Amoresa has multi-lingual support (Western European characters) for the following languages: English, Danish, Dutch, Estonian, Faroese, Filipino, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. In my examples I show how this script can be used. It's very well suited for logotypes, wedding invitations, alcohol labels, romantic cards and others. Recommended to use in Adobe Illustrator or Photoshop. The special features don't work in Microsoft Word.

HS Albadr is an Arabic display typeface. It is useful for book titles and graphic projects where a contemporary, geometrical and streamlined look is desired. The font is based on the simple lines of modern and simplified Kufi calligraphy that support Arabic, Persian and Urdu. It has one weight only which is similar to the bold weight. This typeface is created for being used in technical and engineering companies under strict geometric conditions . The company desires to follow the geometrical shape with uniform and equal dimensions in both vertical and horizontal storks; where some parts of the letters are to be cut at a slanting angle of 45 degree to give the impression of a coherent geometrical nature for this font. The typeface HS Albadr is considered as a chain of geometric fonts series designed for engineering companies. After HS Almohandis and HS Alhandasi were designed we are looking forward to giving some additions to the geometric typefaces field.

Corporative Sans Rounded is the rounded version of Corporative Sans. Its curved terminals provide it with a marked personality and distinctive traits, but turn it into a friendly face at the same time. The font works well at both display and small sizes. Corporative Sans Rounded is the perfect choice for logotypes, posters, signs, branding, packaging and so on! Corporative Sans Rounded comes with Latinotype’s standard set of 350 characters, making it possible to use the font in 128 different languages. Corporative Sans Rounded provides users with a wide range of characters, weights and widths for every project. By combining different variants, designers can achieve the best results. The family consists of 32 fonts: a basic family that includes 8 weights plus italics and an alternative family of 8 weights with matching italics as well. Corporative Sans Rounded was created by LatinotypeTeam and developed by Elizabeth Hernández and Rodrigo Fuenzalida, under the supervision of Luciano Vergara and Daniel Hernández.

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