Solanel is a neo-grotesque with flawless curves. This is a low contrasted and smooth sans serif with subtle and effortless details. One of the main particularity is its italic, which is not a rendition of a slanted roman, but a mix of a rotated and slanted version, which give a “rotalic” feel. The large range of style, from UltraThin to Black help to give flexibility to this family. This family contains many OpenType features, such as Alternates, Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Does the world really need one more vernacular pop culture typeface? We here, at astroluxtype shout a resounding yes! Sure, at myfonts.com, you can find the apex of fine font design that will have your mind and eyes burst with joy at the level of sophistication and craftsmanship they exhibit- Koo Koo Puff Light Condensed and Regular Condensed are not one of those fonts. But if kooky goofy is your thing, we're selling it at the astroluxtype booth. Koo Koo Puff Regular Condensed is the companion font to Koo Koo Puff Light Condensed. Both fonts includes an upper and lowercase glyph set. Regular Condensed has a different upper and lowercase “O” from the original Koo Koo Puff Light Condensed. Spacing metrics are looser, as well. The font is not a match for Light Condensed, it is a separate font. Both are headline display faces, for optimum usage it is recommended to be set at 48 points or larger in size. Look to astroluxtype’s Sugarbang ! as the first in a series of fonts inspired by vintage product packaging, Koo Koo Puff is the second release in the Cerealboxx series. The third font is in the fridge getting cool now, watch for it in the future. Rave on you design genius.

The purpose of this monospace font is to display braille in an original although rather steganographic way. Its glyphs are built from a flat hexagon which can be read as 3 rows of 2 vertices (i.e. regular braille glyph grid). The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 5. Glyphs are connected to each other, thus 6 connections for each hexagon (2 on left/right and 4 on top/bottom). In the final design many diagonal segments of the hexagon were removed for esthetical reason. Text is displayed not as a honeycomb but as a lattice instead which mixes hexagons, squares and "irregular convex octagons" (mostly unclosed), the design favored squares over octagons. The whole slightly resembling a PCB. Text can be framed with 3 sets of Frame glyphs (as shown in Poster 4): Octagonal: { €, °, £, µ, §, ¥, ~, ¢ } which can be mixed with Rectangular High Rectangular Low: { è, é, ê, ï, î, à, â, ä } Rectangular High: { Â, ù, Ä, Ê, Ë, ô, õ, ë } which can be mixed with Octagonal NB: When using Frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

Bombora evolved over years of designs in the world of surfing. The native name is given to massive surf building up over a reef, often dangerous, always spectacular. The font was expertly digitized by Brian Kent in New York. This font lives on the beach in a Polynesian grass hut and goes out for a surf before breakfast (o: ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Haboro Slab Soft is a scion of the Haboro hyperfamily. This concept powers through with its well built, accommodating nature. Haboro Slab Soft’s serifs are rounded, giving it a softer look. The Haboro hyperfamily is a comprehensive design suite that provides solutions for many projects. The iconic angled wedge makes this family ideal for apparel, packaging, apps, corporate identities and advertising campaigns. Subfamilies in the hyperfamily include the original Haboro, a Didone face, Haboro Sans, Serif, Soft, and Slab. The Haboro hyperfamily is known for its ability to make your copy appear clear and simple. The Haboro typeface is built on a common underlying model. It has the same cap height, the same x-height, and the same basic character shape. This unification of shape and proportion results in a complementary set of typefaces. Haboro Slab Soft’s wide variety of ligatures and OpenType alternatives give your message the clarity it deserves. The Haboro Slab Soft family includes seven weights, from Thin to ExBold, three widths, and matching italics. There are over 550 glyphs per style and support for over 70 Latin-based languages. Haboro Slab Soft includes features such as small caps, ligatures, fractions, and alternatives. Haboro Slab Soft is there when you need to present information in a clear and friendly fashion.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

Humanist sans in 8 styles Designed by Jean François Porchez, Le Monde Sans is a sanserif based on Le Monde Journal — a practice that become commonplace from early nineties. Designed originally in 1994 for the Le Monde newspapers, it was expended over the years to the large family we know today. Le Monde Sans features a “traditional g” in addition to the usual 1994’s g. Le Monde Sans is offered in numerous weights — in roman, italic to meet all kinds of situations. It will help designers to select the best weights depending their needs, from glossy paper printing to high resolution screen. Superfamily The design of Le Monde Sans continues the basic common structure found in the members of the Le Monde family: its proportions, a relatively narrow width, a fairly oblique axis, etc. The typographer can, at all times, switch between Sans & Journal or Courrier without any disruption in the composition. The verticals metrics and proportions of Le Monde Sans are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Type Directors Club .44 1998 European Design Awards 1998

As mentioned on previous released font Axeo (freeform serif), now, the original sanserif font is released with similar name, Axeo Sans. Axeo was release first when Axeo sans is still in minimal glyphs and font weights. However, Axeo sans is released with more fonts, 7 font in roman and 7 in italic/oblique versions, instead of semi condensed. 7 fonts is in roman form of weight: Light, Regular, Medium, Semi Bold, Bold, Extra Bold and Black; and 7 fonts in italic/oblique versions of its weight, respectively. This font weight offers the user to use the best fit to the usage. Axeo sans is neutral typeface, designed for general use. This font has also more glyphs variations and OpenType features. More than 700 glyphs for each cut. While the OpenType is equipped with: Large unmarked Basic Latin caps (ss02-ss05); normal character variation for some letters (ss01); Small caps (c2sc and smcp); superscript for 1, 2, and 3; ordinals for a and o; 5 basic fractions; standard and discretionary ligature; kerning; case sensitive and ornaments. Large Caps is unique setting, additional letters for font variations lover/user, applicable for first letter of paragraph, sentences, for design mean, just for fun or other usage.

Delightful is a whimsical and cheerful handwritten font family of varying weights and widths. This typeface is like if Comic Sans had a cousin who studied abroad one summer and now wears scarves to look more grown up, even though inside she's still the same, sweet marshmallow she always was. The letters were inspired by my handwriting on a good day - slowed down, legible, and intentionally drawn. I even threw in some of my favorite doodles as alt characters because the set wouldn't be complete without them. And the name was inspired purely by how it feels when I see it - and by my word of the year, delight. Delightful is ideal for anyone who wants to include a bit more warmth and a personal touch with their messaging. It's friendly and non-threatening, and will enhance personal projects or professional ones alike - whether you're a designer, an Instagram influencer, or you need to create some flyers for the local Mom 'n Pop Shop. There are two versions of this font. The original style is slightly more rounded and gets chubbier as you increase its boldness, and the stretched style is like a condensed version, except it's been stretched taller rather than squished narrower. I hope you delight in it as much as I do!

For these fonts I have reworked the spacing a bit, and completely redesigned the "N" as they were calligraphically very wrong. Kevin King says: "Petrock is based on letterforms found in a small city Church in Exeter - from a display case about bell ringing. A lovely simple labeling hand, I think I've done it justice... Petrock Light is a lighter form of Petrock - makes both of them more usable." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The font family Brun includes two styles Regular & Clean. Brun is a casual, modern and hand brushed font. I've designed Brun carefully with the intention to preserve in its glyphs the original tell-tale dry brush imperfections and a bouncy baseline for a more personalized effect even more authentic. Brun Clean preserves the characteristics of a brush font without being dry brush stroke. As an exclusively Open Type release, with 575 glyphs and 35 ornaments, it has several special alternatives for all letters with lots of possibility an an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, swashes and stylistics alternates for each letter, beginning and ending letters. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. This will help your creativity and make it easier to make the impressive and elegant typographic work. This font is a perfect choice for greeting cards, posters, labels, t-shirt design, logos, and more. Brun was made to make your project more beautiful and attractive! Have fun with it! To activate the optional glyphs you may click on buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Enjoy it!

Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations. The Waltari ML package includes: 1. Glyphs for ANSI 1250 Central European, 1252 Western Europe, 1254 Turkish and 1257 Baltic code pages. Total 319 glyphs. 2. Total of 472 kerning pairs. 3. OpenType GSUB features: Salt, dlig, hist and ornm. 4. Proportional Numbers 5. Alternate w and z. 6. Original design decorative ornaments The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Aure Jane defines grace under fire. These clean, sans-serif forms engage the reader with a subtext of trust. Jane’s excellent legibility will stand up under almost any typographic challenge, bringing confidence to text and titles, and clarity to astrological expressions and chartwheels. Jane is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. In addition to Aure Jane’s versatility as a text font, Jane can enhance the message of other designs. Aure Jane pairs well as an innocuous foil to any decorative font; Aure Sable, for example, will shine all the more beside Jane’s sensible utility. The witty highlights of Aure Brash will sparkle against Jane’s practicality. Give Aure Jane a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Designed by Cosimo Lorenzo Pancini and Maria Chiara Fantini with the help of Solenn Bordeau, Erotique Sans is the sans serif version of Erotique: a typeface that evolved the original design of Lovelace mixing its romantic curves with the glitchy & fluid aesthetic of trans-modern neo-brutalist typography with the aim of creating a design that was feminine in an assertive and self conscious way. With its restrained, didonesque elegance, Erotique Sans is mostly thought for display use. Its high-contrast design is ready to take center stage in projects where a subtle elegance and an edgy, contemporary touch are required. All its weights (regular, medium, bold and monoline) have been paired with an Alternate version to give immediate access to a wide array of exotic alternate letterforms, available as Open Type Stylistic Sets in the standard family. For logo design and titling use Erotique Sans is paired by Erotique Flourishes, a set of whiplike fleurons that can not only be added to some letters, but also be used as interlocking patterns. For editorial use, since its high contrast requires big text size, the family is complemented by the Erotique Text weight that allows for longer text typesetting thanks to streamlined design, lower contrast and better readability. With a character set of over 500 glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you liked Erotique, you won't be able to avoid falling in love with Erotique Sans - the font that can't keep its serifs on...

The Typorium presents a new optimized and enriched version of ITC Ellipse which first appeared in 1996 in the International Typeface Corporation typeface library. ITC Ellipse Neo design has been lightly modified. Three weights have been added (light, Medium, Extra Bold, including Italics) to the original Regular and Bold styles. ITC Ellipse Neo is both modern and classic. Modern in the unusual shape based on the geometric ellipse form. And classic in the structure of some letters like the lower cases c, e, g, o, s. These letters alone could come from a traditional typeface, but they fit perfectly with the atypical rest of the alphabet giving it a present-day and traditional mix. Furthermore, the ellipse shape fits naturally in the italic styles, giving the font an organic and fluid feeling. ITC Ellipse Neo offers OpenType features such as alternate characters for upper and lower case, and an extended accented character set to support many languages. Five weights have been created for each style to offer a wide range of graphic possibilities in a tidy digital footprint. Designer: Jean-Renaud Cuaz Publisher: Typorium MyFonts debut: December 15, 2020 Le Typorium présente une nouvelle version optimisée et enrichie d'ITC Ellipse qui est apparue pour la première fois en 1996 dans la bibliothèque de caractères de l'International Typeface Corporation. Le design de ITC Ellipse Neo a été légèrement modifié. Trois graisses ont été ajoutées (léger, moyen, extra gras, y compris les italiques) aux styles originaux Regular et Bold. ITC Ellipse Neo est à la fois moderne et classique. Moderne dans le dessin inhabituel basé sur la forme géométrique de l’ellipse. Et classique dans la structure de certaines lettres comme les minuscules c, e, g, o, s. Ces lettres pourraient provenir d'une police de caractères traditionnelle, mais elles s'intègrent parfaitement avec le reste de l'alphabet plus insolite en lui donnant un mélange de modernité et de tradition. De plus, la forme de l'ellipse s'intègre naturellement dans les styles italiques, donnant à la police une sensation organique et fluide. ITC Ellipse Neo offre des fonctionnalités OpenType telles que des caractères alternatifs pour les capitales et les bas de casse, et un jeu de caractères accentués étendu pour prendre en charge de nombreuses langues. Cinq graisses ont été créés pour chaque style afin d'offrir un large éventail de possibilités graphiques pour une empreinte numérique rigoureuse.

Introducing Remissis—the sans-serif typeface that’s the perfect balance of casual and refined. With its off-grid letterforms, Remissis has a natural and organic feel that’s hard to come by in other typefaces. It’s not too laid-back to be dismissed as whimsical, but it’s not too rigid either. It strikes the perfect balance of being approachable yet professional. If you’re looking for a typeface that can convey the idea of softness and naturalness without coming off as too playful or zany, then Remissis is the perfect choice. Its delicate horizontal angles add a touch of elegance, making it ideal for projects that require a refined and sophisticated aesthetic. Designed for high-resolution displays and print, Remissis’s unique “lining old-style” numerals are available in OpenType-capable apps, giving you even more design flexibility. And with numerous mathematical symbols, monetary symbols, and diacritical marks, Remissis is versatile and functional. Available in seven weights and italics, Remissis is a typeface that’s sure to elevate any project. So if you’re looking for a typeface that’s both approachable and refined, choose Remissis. 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.

The Brass Family has a lineage that extends into English history. About five hundred years ago a devout, but anonymous Englishman gave glory to the God he worshipped by designing the capital letters and decorations of these two fonts. Originally recorded in The History Of Mediaeval Alphabets And Devices by Henry Shaw (London 1853), they are described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY 1959) as “Initials and stop ornaments from brasses in Westminster Abbey.” I wish I could say I remember seeing them when I was there, but that was forty-two years ago and all I remember was seeing the tomb of Edward the Confessor. One definition of “stop” as a noun is a point of punctuation. I have heard people from the British Isles speak of a “full stop” when referring to a period. Some may remember a 19th century form of communication called a telegram being read aloud in an old movie, with the use of the word “stop” to indicate the end of a sentence or fragment. A full dozen of these stop ornaments are provided. They occupy positions 060, 062, 094, 123, 125, 126, 135, 137, 167, 172, 177 & 190. The Brass Family consists of two fonts: Brass and Brass Too. Both fonts have an identical upper case and ornaments, but paired with different lower cases. Although the typefaces from which the lower cases were drawn are both of modern design, both are interpretations of the textura style of blackletter in use in England when the upper case and ornaments were fashioned for the Abbey. Brass is paired with Morris Gothic, which matches the color of the upper case quite well. Brass Too is paired with Wedding Regular, which is distinctly lighter than the upper case. I find it very interesting how each connects differently. The resulting fonts are unusual and most useful for evoking an historic atmosphere.

A. R. Bosco made Romany for ATF in 1934, when there was much demand for script types in advertising and publishing. It was the high times of Speedball lettering, and a casual script in that fashion was naturally very welcome. It became an instant hit and was used widely for a good part of the 1930s and 1940s. Apricot is not only a revival of Bosco's work, but also a major expansion of it. It contains very effective solutions to the many problems presented by the original metal type, which had to always be tracked too wide because of the forms of some of its letters. Solving these problems was not an easy task. A comprehensive set of alternates was designed to give the user the ability to replace some forms in certain uses, and a large set of two-, three-, and even four-letter ligatures was added to solve the awkwardness of some of the more common letter pairings. The resulting work is quite delightful, especially for those who like to take advantage of OpenType technology. Apricot is the rarest kind of script in digital type these days, the kind that is upright, round, bold, feminine, and distinctly young in appearance. A birthday cake for a teenage girl can certainly benefit from these letters. So can greeting cards, family show posters, diary covers, party invitations, women's shirts, toy packaging, celebration literature, and almost anything that needs that special touch of shiny happy youth. Apricot is available in all common font formats. The Postscript and True Type versions come in 4 fonts, which include one for alternates and two for ligatures alongside the main font. The OpenType version is one font that contains more than 380 glyphs and all the necessary programming for the palettes of OpenType-supporting applications. If you liked Canada Type's hugely popular font Dominique, you will love Apricot.

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

Introducing "Citrus Shore," a cool and chic modern handwritten marker font that embodies a refreshing and vibrant aesthetic. With its lively brush strokes and contemporary style, Citrus Shore brings a burst of energy to any design project. Whether you're creating invitations, branding materials, or social media graphics, this font's playful and dynamic character adds a delightful touch of modernity. Its versatility and undeniable charm make Citrus Shore the perfect choice for those seeking a trendy and captivating typeface that leaves a lasting impression. With its expressive and authentic appeal, Citrus Shore ensures flawless communication across borders. Supporting a wide range of languages, from English to Spanish, French, and more, this font guarantees your message is effectively conveyed. What sets Citrus Shore apart is its inclusion of over 400 alternate letters and ligatures, offering endless creative possibilities for stunning and original typography. From captivating logos to distinctive headlines, this font breaks free from the ordinary, infusing your designs with a touch of individuality. If you end up publishing your designs on Instagram, tag me - @silverstagco and I will make sure to showcase your design and work to my audience as well! Citrus Shore - Playful Marker Font Includes: Over 400 ligatures and alternate letters Numerals & Punctuation Language Support Web Font Kit is included as well Detailed instructions on how to use alternates in most of the apps on your computer as well for Canva Happy creating everyone!

The TYMA Garamont Roman was inspired by the Berner-Egenolff type sample from the 1560s. The Italic was inspired by a sample from Robert Granjon, also from the 1560s. The name TYMA is short for AB Typmatriser, a Swedish company founded 1948, because the Second World War stopped all import of matrices for Linotype and Intertype typesetting machines. It took until 1951-52 before the import was up to speed again. Until then, Sweden had to fend for itself. TYMA produced all technical equipment needed for type production, including the pantograph to cut the matrices, a complete set for each size and version. The templates for Garamont Roman were initiated by Henry Alm 1948. Bo Berndal was hired the following year, and continued the work by drawing and cutting templates for the rest of Garamont Roman, as well as for the remaining Garamont family. Bo Berndal stayed at TYMA until it went bankrupt in 1952. At that time Bo Berndal had already kick-started his career as type designer by drawing the typeface Reporter for one of the big daily newspapers, Aftonbladet, a version of Cheltenham for another daily, Dagens Nyheter, and copied several old typefaces for other customers. Librarian Sten G. Lindberg at The Royal Library of Stockholm, Kungliga Biblioteket, procured copies of original type samples. Henry Alm started the work in 1948, and Bo Berndal completed it - finally in this OpenType version.

Jim Rimmer’s first typeface was originally published in 1970 as a basic film type alphabet through a small, independent type house in central California. Its sources of influence (now calligraphic type standards by Dair, Goudy and Zapf) are ones that remained with Jim for the rest of his career. If you squint at Totemic in just the right way, you can see some recognizable themes Jim would later flesh out and make his own in later works throughout his career as a type designer and printer. Totemic is now available for the first time as a digital font, of the refined and expanded kind now expected from Canada Type. It comes with quite a few standard advanced typography features: Small caps, caps-to-small-caps, automatic fractions and standard ligatures, stylistic alternate sets, six kinds of figures, case-sensitive forms, and extended Latin language support. It also comes with a very unique and unprecedented feature: Variably stackable totem poles. Simply enable the discretionary ligatures feature, type any unique three-digit combination using numbers between 1 and 4, and watch the magic happens. With a name like Totemic, we just couldn't help ourselves. Many thanks to Andrew Steeves of Gaspereau Press for finding Jim’s lost gem in a most unexpected place, and for helping us bring it back to life 45 years after its analog birth. 20% of Totemic’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The digital font Technotyp is based on the hot metal typeface created by the German typographer and type designer Herbert Thannhaeuser (1898-1963) for the former East German type foundry Typoart in Dresden. In the typography book ‘Der Schriftsetzer’ (Fachbuchverlag, Leipzig, 1952), by Paul Fritzsche, this absolutely beautiful slab serif design is presented in all its variations. Fritzsche remarked that – because of its rather condensed form and its relatively long ascenders – the 'Werkschrift' of the Technotyp (comparable with our 'Regular') seemed to be very well suited to serve as a text face, and recommended for this purpose that the face be cut for the composing machine. However, this never happened and the entire Technotyp family was made available for hand composition only. This is finally changing and being remedied for good now: URW++ proudly presents the new digital version of this really charming font family with its distinct flavor of the 1950s, adding it to the other digital renditions of Herbert Thannhaeuser fonts at URW++, namely Garamond No. 4 and Magna. The original Typoart family had an italic style for the light version only. The new digital version of Technotyp includes italic styles for the regular, medium and bold weights as well, enhancing the family to meet today’s standards and requirements for professional type setting. To further increase its usefulness, Cyrillic faces were created, too. True to the standard for all digital fonts at URW++, the character set for Technotyp covers all West- and East European languages.

A squarish uppercase font perfect for logos and short eye-catching headings. The lowercase contains some alternate letterforms - more specifically: uppercase have closed forms (I made a new A D and R), and lowercase have some open alternatives (new B E F P and T in addition to the A D and R). I noticed the two width version of the H and made similar normal and wide versions of J and L. Then I added lots of missing glyphs and all the diacritic letters, of course - and finally the family has been expanded to 7 weights AND corresponding Italics! Enjoy! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Real Enemy - Original Handmade Brush Font is an Authentic brush Font that is written casually and quickly. Letters are made with Procreate. Then trace down into vector format, and carefully crafted into a typeface. That is why Real Enemy has a rough, authentic, and strong characteristic more natural look. Real Enemy Perfect for designs, branding projects, Logo design, Quotes product packaging and another Project that require cool strong brush font.

DEMARUS originally designed for use in e-Sports related projects, logotype, quotes, wordmark, magazine, t shirt etc. The downloadable file contains the font in ttf, woff, font license. Includes: Uppercase Numbers Punctuation Symbols multilingual support PUA Encoded Characters Fully accessible without additional design software. To access alternative glyphs, you'll need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign, and Corel Draw.

Sheet music for the song “The Little Thing You Used to Do” (from the 1935 motion picture “Go into your Dance” starring Al Jolson and Ruby Keeler) had its title set in what closely resembled Bank Gothic Condensed. [Bank Gothic was originally designed by Morris Fuller Benton for American Type Founders circa 1930.] This reinterpreted version is now known as Stenographer JNL, and is available in both regular and oblique versions.

Landre is a stylish and original multi-functional font that fits perfectly for both modern and vintage design. With it, you can create beautiful logos, labels, templates, signs, highlight text, use it for outdoor advertising, branding, and much more. Also in this font there are stylistic alternates, ligatures and swashes that will make your design even more attractive and interesting. It is easy to use and has OpenType features.

Introducing Hazard! Stylish Marker Font is a smooth brush font. With a style that looks original, this font has its own uniqueness and when meeting with others will provide a dynamic and pleasant closeness. It is suitable for all your design projects such as quotes, poster designs, personal branding, promotional materials, logos, product packaging, and more. It includes a bonus swash weight to let you add even more to your design.

Willy small but fine is a typeface with a wink. This display font is based on existing piquant form from the immediate vicinity. It is sexy, if you have an eye for. But it also should not be taken too seriously, especially because it has a humorous slant. The font has its origins in an art project. It is now made available for design around festifals, parties, invitations, etc.

Hem and Haw SRF is another Ray Larabie original for Stella Roberts Fonts. Rebuilt from Ray's former freeware design "Stitchen", the lettering looks as if it were stitched into fabric. The font now is more complete with foreign characters and additional accents, punctuation and currency symbols. The net profits from my font sales help defer medical expenses for my siblings, who both suffer with Cystic Fibrosis and diabetes. Thank you.

Vintage Browner is an exquisitely designed vintage-inspired typeface. Meticulously crafted with an original hand-drawn design, it exudes an old-school charm that is ideal for designs requiring a classic touch. This font is truly a perfect fit for vintage themes, including vintage logos, logotypes, packaging, storefronts, prints, t-shirts, decals, labels, and countless other possibilities. With its special characters, you can create your very own vintage aesthetic designs!

Michael Signature feels just as charming and elegant. This stunning Monoline script font is a stylish homage to classic handwriting. It features a varied baseline, smooth lines, gorgeous glyphs, and stunning alternatives. This font is PUA-coded which means you can access all the amazing glyphs and swashes with ease! It also features many special features including glyphs and alternate ligatures so that it displays natural and original handwriting.

This font was inspired by a French solicitor's document dated 1638, written in the special style so named "Civilité". We have worked to transform the almost illegible original form into a contemporary usable typeface, but keeping the time appearance. It contains Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turkish diacritics. The numerous alternates and ligatures made the font looking like a real various hand.

Bebedot originated from doodles and scrabbles in notebooks; irregular forms very well might contain a style for an alphabet. Once used for an intro spread in Wired magazine (#6.04, April 1998): "To keep up you need the right answers. To get ahead you need the right questions". The name was inspired by a women clothing poster at the San Francisco bus stands. The dot is for the com that never came.

Originally designed for American Type Founders, Goudy drew inspiration from the classical old style faces for Goudy Old Style. Round characters have a strong diagonal stress, ascenders are fairly long but descenders are very short. Goudy bold was introduced in 1920; this was designed by Morris Fuller Benton. This typeface has been particularly popular in America where it is extensively used in advertising, book jackets, for labels and packaging.

Prelom is modern serif family inspired by retro designed typefaces. Comes in 5 Normal weights, 5 true Italics and 5 Condensed weights. With tall x-height, sharp serifs like fishing hooks, original Italics and distinctive character overall design, Prelom is ideal family for editorial use or branding. Beside extended Latin character set, Prelom contains Cyrillic characters as well. It is equipped with Initials, Ligatures, Fractions and Tabular Numbers as OpenType features.

Stropha is compact slab serif font family that comes with matching Italics. With distinctive differences between letter stems and with five weights only, Stropha is imagined as small, but "all you really need" family. It's original, with characteristic serifs, with deep ink traps, curvy top diagonal endings and gentle curvy touches in details. Contains Extended Latin character set. Fully applicable in any situation, from branding and editorial design to webfont usage.

Fitzronald is a body text typeface with a strong personality combined with a good legibility in small sizes. It is an excellent book typeface, but it can be used in e.g. advertising and packaging as well. Due to its good legibility at low resolution, it is a superb website and e-book typeface. Fitzronald is based on Ronaldson, an American typeface originally cut by MacKellar, Smiths & Jordan in 1884.