One of the most remarkable characteristic of this humanistic sans serif is its versatility. Ronnia’s personality performs admirably in headlines, but is diffident enough for continuous text and small text alike. The heavier weights deliver very cohesive shapes, and they have been successfully used for branding and newspaper headlines. Its ten styles grant the designer a broad range of coherent color and texture variations in text blocks, necessary tools to solve complex information and editorial design problems. Ronnia has been mainly engineered for newspaper and magazine applications manifested in its properties: economic in use, highly legible, and approaching the reader with some friendliness and charm. Ronnia features about 800 characters per weight, including small caps, fractions, old style and lining numbers, scientific superior/inferior figures, and a set of symbols and arrows. It supports over 40 languages that use the Latin extended alphabet. Ronnia Basic is a reduced version of Ronnia. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Born at a crossroads, the collaborative sans family of 18 styles Ways is the latest arrival in our portfolio. The name is no coincidence, as Ways pulls out all the stops to bring you excellent legibility. Combined with brutal and elegant details for a distinct humanist flair, this sans offers perfect functionality across all weights. Visual compensations, extra white space, wider apexes, subtle tweaks, and moderate inktraps distinguish Ways among similar typefaces. Use over 690 glyphs, extended Latin and Cyrillic support, extensive OT features set, icon set of more than 60 navigation pictograms, and one variable style, to design full-fledged signage systems that get you from point A to point B without relying on G-Maps. Family overview: 9 weights (from Thin to Black) + italics Extended Latin Cyrillic 690+ glyphs languages 1 variable font (2 axes) 1 free font - Ways SemiBold OpenType Features: Localized Forms Standard Ligatures Contextual Alternates Lining Figures Tabular Figures Subscript Scientific inferiors Superscript (Superiors) Numerators Case-Sensitive Forms Standard and Discretionary Ligatures Stylistic Alternates Contextual Alternates

Chercán is a spirited typeface created with a delicate sense of how readability doesn't need to be dull. Chercán wears a uniquely friendly voice, and its mature design makes it highly legible in small bodies as well as in the distance. Its balanced rhythm is the result of a slow pairing of qualities found in old classics admired by Gálvez, such as Copperplate by Frederic Goudy (1905) and Antique Olive by Roger Excoffon (1962). Chercán occupies a unique place in the contemporary type design shelf, by exquisitely combining versatility and elegance. Due to the delicate grey colors it gains within long texts, Chercán is good for immersive reading, where one wants to avoid readers’ eyes fatigue. It can be a great choice for setting texts that require a slightly informal atmosphere without losing authority. Chercán is the Chilean name for the melodious little bird Troglodytes aedon usually found all across the Americas. Available in Std and Pro versions with all the usual OT features, Chercán addresses all modern needs of the demanding typographer.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans.

Thanks for checking out November Starlight! A lovingly hand-painted script font, fantastically elegant & eccentric with a sprinkle of carefree fun. November Starlight doesn't play by the rules - with extra bouncy characters, long vertical brush strokes and authentic hand-painted edges, it's bound to make a bold statement on anything from greeting cards and invitations, to personalised logos and handwritten quotes. November Starlight consists of 4 fonts; November Starlight • A cursive font containing upper & lowercase characters, numerals and a large range of punctuation. November Starlight Alt • This is a second version of November Starlight, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. November Starlight Clean & Clean Alt • Totally clean versions of each of the November Starlight fonts, with all rough brush textures removed. Perfect for specialised printing techniques such as laser & vinyl cutting, or simply for a silky smooth finish to your text. Special Characters are also available for several lowercase letters, with added beginning & end swashes - please see the character map image for a full list. These characters are accessible via software with a glyphs panel, e.g. Photoshop CC, Adobe Illustrator.

Sleeve Notes: A font from the analogue age. Inspired by album covers and hand-written song lyrics. Sleeve Notes is an experimental script font and all-caps pair with a loose hand-written style that explores the golden-age of record stores, vinyl albums, cassettes and CDs. It imagines our teenage selves kicking back with a coke (oversized headphones on) discovering a new band and studying the notes on their latest album. Besides production credits, the best sleeves (otherwise known as liner notes) included photos, cool artwork and hand-written song lyrics that gave the listener a human connection to the mind of the artist. This font embraces it's subtle ink blotches and rough edges; all imperfections that build to create a sense of a hastily written lyric, set-list or just a fun little scribble. The package includes six fonts in total; the regular script with two complete sets of alternatives, then two sets of all-caps, and finally the special characters font that features a decorative alphabet plus symbols and underlines. For authentically retro, hand-made looking lettering, it's a great choice and offers the flexibility few other fonts can match. Check out all the visuals to see it action!

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

Say hello to a casual handwritten font family - Dreaming OutLoud. 8 handwritten typefaces made to complement each other in the best possible way. They are easy to use and perfect for expressing your thoughts, posting quotes and simple daily updates on social media. The font package is complemented by more than a 100 transparent background marker lines (easy to change color!) - to emphasise what you are saying :) - and dingbats & doodles font. Two sub-packages included: Elementary package. Use this one if you primarily work in Canva/Cricut and similar applications and don’t want to deal with OpenType features of the PRO fonts. To access alternates - simply change the font to it’s ALT version. Voilà. You can use these fonts on your iPad in Procreate app! Charged package. You need this one if you feel comfortable with OpenType features, if you work in Adobe Suite and similar applications that have OpenType panel to access OT features. You can use these fonts in Canva-like applications as well - they are fully unicode mapped. Contact me with your MyFonts order # to get a free bonus - more than a 100 "Marker selection lines" in png and psd

Densit is a display mega black typeface, containing 6 styles. It aims for a ultimate density with a maximum weight on a minimum place. Glyphs therefore balances on a slim border of touch. The typeface is designed for expressive and short texts at big sizes and is suitable for photography or other visual materials underlaying. The 3 basic styles parodies ordinary type styles. They only differents from each other lays in the lenght of straight thin lines. The stencil style without these lines is intended especially for spray stencils, the sans style is imitating linear sans types and the serif style having stronger contrast and indicated serifs. The typeface contains a large set of special ligatures for playing with aesthetic qualities of text and obtain maximum space saving. Densit contains 34 special forms for members and frequently used short words in various languages. Very short terminals offer compact setting of multi-lines captions. Densit can be used for music posters, eye-catching headlines of art articles and everything in which is possible graphic impression from legibility prefered. • 6 styles (2 alternatives, 3 kinds) • 12 OT features • 1313 glyphs • sophisticated system of ligatures • support of latin languages

History is always in sight; it is constantly being reconsidered and reformulated in the context of now. We see approaches to art, fashion, textiles, homewares, furnishings … not to mention music, graphics and everything else that culturally enriches our daily lives, revisited and made anew for today.    Address Sans indulges in the spirit and aesthetics of mid-century Modern – Italian industrial design, sleek coffee makers, stylish cars, seductive jazz pressed on vinyl – with a charm and charisma that defies time. It evokes history but is decisively created for today.    Its design, in reality, is rooted in the condensed structure and block modulation of early 1950s German lettering intended for use in street signage, but when we started to work on the various weights and widths, the result was a set of fonts in a style similar to the typographic work developed by Butti and Novarese in the 60s. The multitude of potential applications for Address Sans then became clear.    In a range of 3 widths and 8 weights each, Address Sans includes little verses, true italics, small caps and numerous alternative signs for a total of 48 fonts. The result is a functional typeface that is effortlessly seductive, with geometric features and design details that ooze cool, and take it away from mere reinterpretation towards typographic forms that adapt perfectly for contemporary use.

Studio Neon is an all-caps display font constructed with three rounded-end strokes; the lowercase set is included as a repeat of the uppercase to make setting type just that little bit easier. It’s a modern rendition of neon sign lettering, with a decidedly art deco pedigree, and is intended for use in larger sizes of type, upwards of 36 pt. It’s perfect for a design that wants to imitate neon — use Photoshop layer effects to light it up! I originally started this font with only a few letters, since I could not find a neon-style font made with 3 strokes that looked modern. (Once I started, I found out why. It's a LOT of work!) Most traditional neon fonts include a “bent tube” element in the design; however, not all modern neon signage is constructed with the tubes bent. I also wanted to design a fun font that would have more life than just as an imitation of signage — something to inspire designers who love the geometry of art-deco type. So I made all the corners consistent, with no references to bent tubes. Use this font for any application that needs a bold and decorative look. Studio Neon should work well for sign production and even vinyl cut applications at larger sizes.

NOMAD —Regular is a stand alone font. Nomad -Regular is a clean, interesting revival font. It is a Display font. Nomad, now exclusively in OpenType .oft by Joseph V Coniglio of Coniglio Type. It is a narrow boldfaced font. Its analog source was comprised of an extremely limited die cut, truly generic, craft, peel-and-stick vinyl set of capital letters of ascenders and numbers. It was purchased at a five & dime stores, hardware department from the 1970's. My father owned an original set of characters: Nomad-Regular is nicely expanded to meet the needs of OpenType. The original adhesive labels adhered to the bows of that small boats so fisherman wouldn't get turned away at the Canadian border for not having their vessels tagged and listed with the appropriate license name and numbers, recorded by customs. It was a required serialization of letters and numbers marked on the side of their vessels. On the other hand, most beer and whisky drinking fishers, card players and bait casters would rather not deal with it, but the boat could not cross over the border without them. (Once part of Market LTD from the 1990's, a collection of limited faces, mostly alpha-numeric and some just plain numeric, used primarily in retail and display situations and titling.) Designer: Joseph V Coniglio Author: Coniglio Type

Introducing La storia - a fine tip signature font. Beautiful monoline signature, looking so classy and natural. There are 2 version, - Regular - Bold La storia is perfect for branding, photography, invitations, quotes, watermarks, advertisements, product designs, labels, and more that needs a natural sign feel. Includes number-punctuations and multilingual support. I created 89 ligatures to keep this font looks natural. at ct dt et ft gt ht it jt kt lt mt nt ot qt rt st tt ut vt wt xt zt an in un en on ar ir ur er or aa ant int unt ent ont att itt utt ett ott ii ee oo uu ff rr ss xx zz ll adl idl udl edl odl ald ild uld eld old art irt urt ert ort fl fh fb jl Fr Gr Hr Ir Kr Mr Nr Or Pr Tr Ur Vr Wr Dr space-r Titling and Ending Swash - Quick Access Add underscore 2x before or after a lowercase (you can see this on the presentation posters). For example a_ _ or _ _a Swash Lines make this font complete. Add underscore 2x before numbers from 1 to 9, you'll get 9 variations of swash line (as shown in the posters). For example _ _1 Thank You so Much!

Modular Matrix «Calligraffiti» Robotic Letterform Typeface! New Edition. Redesigned with Obliques and OT Features! This Typeface was inspired by Graffiti Calligraphic Broad Markers and Underground Lettering Technic and Style, grid based by squares perpendiculars and Diagonals… Is Part of a juxtaposed “Type-Game” based on inversions and rotations… Type cool legible digital manuscript Aesthetics body text, scripts, lyrics, articles; Plus, Create Fancy Display’s Branding designs, Packaging, Publishing, Advertisement, Posters, Art Support, Motion, Games, tastes good to text on everything! Experiment Automatic and Responsive OpenType Features, like Fractions, Ordinals, Nominators, Denominators, Scientific Inferiors, Numerators, Localized forms and Kerning. Previous Released by MMC-Typo* 2020. Post Released by MMC-TypEngine 2022. Tip 1: Combine styles into infinite possibilities of Digital Monochromatic or Color Typesetting, by ‘central pasting’ or you may dislocate layers for improvisations! TIP 2: *BLIND BLOCKS ‘FREE-STYLES’ Use Block «Free Styles» 1 & 2 also to add 3D, change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. *All Styles have 917 Glyphs. Follow the Groove!! & Power to The Pixel!! Greetings !! André, MMC-TypEngine.

Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press. Some of Karmina's most representative features are the rather large serifs, intended to work perfectly in small reproduction sizes, the sharpness of the shapes, including some calligraphic reminiscences, and the large and yet graceful ink traps in the acute connections. Structurally, Karmina combines a significantly large x-height with relatively compressed letterforms. The result of these features grants Karmina outstanding legibility and economy. Karmina features four weights and 800 characters per weight, including small caps, discretionary ligatures, fractions and a complete range of numerals for every use. It also supports over 40 languages that use the latin extended alphabet. Karmina was selected in the text typography category at the Letras Latinas exhibition 2006 and won a merit in the European-wide ED-Awards competition 2007. Karmina Basic is a reduced version of Karmina. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

We Redesigned this Slantblaze-Pro. Slantblaze Pro is an exteme slanted display script with characteristics: Simple, Thick, Contrast, and Dynamic. First launched in 2011, and now we present it again in a new version to provide the best user experience. As italics (default), Slantblaze Pro has aloof challenge as a display font. It was designed as an alternative for headline, title in any purpose such as header, brands, packaging, identity, automotive logo, etc. What’s new and changed: This version 2.02 comes in a True Type OT-flavor version. The outline were designed to be smoother than before. Redesign of ‘C’, ‘E’, ‘F’, ‘G’, ‘T’, and some changes to all other smallcases Removed: question.sc, questiondown.sc, exclam.sc and exclamdown.sc assuming they will never be used Rewrite the features structure and adding some new related to all changes New swashed glyphs: A-Z The writing system of numbers is completed with the old-style version and each tabular and proportional method New contextual (calt) to an alternative look of “A" when combined with all lowercase. Also in this feature we have another way to access Ornaments is more interactive by combining dlig and calt features. Another new glyph may be access only in feature (salt)

South Wind Font is a handlettered font with 107 ligatures, lot of alternate characters and multilingual support. Is ideal for blog website, instagram, branding, invitations, business cards, weddings and many more. Ligatures list: ab ae al am an ar as at ax ay bb bl cc ch cl ct dd ee ef el en ep er es et ff ft gh ia ic ie il in it iu kt ll of ok ol om on oo op ot ov rr sh sl sm ss st th ts tt Af Ap As Be Dl Em Es Et Eu Ft If Is It Kt Ml Mr Ms Mt Ph Pl Pt Se Sh Sl St Us outh all alt arr ass can cus ell esl etl ett ill obl old oll oth out sim ted South Wind font also include multilingual support for Western and Central Europe. South Wind Font is a set of 542 glyphs, Upper and Lowercase characters with 107 ligatures, numerals, lot of punctuation glyphs, 3 alternates for each lowercase character and 2 alternates for each uppercase character. For access to Stylistic Alternates is required software with glyphs panel like Photoshop, llustrator, Inkscape etc. No special software is required to use Ligatures.

Many sport publications missed typefaces designed especially for sport communication conditions. We usually see only mechanically slanted or other synthetically destroyed standard typefaces. I want to fill in this space and create a system of fonts, that will be used primarily in sport. It is usable for many prints - logotypes, magazines, catalogues, posters etc. Elasticity of glyphs reflected an adrenalinous shapes of latest bikeframes, skies or sportcars. Maximum open arches guaranteed good readability in very small sizes and prevented interchanges of glyphs „o, c, e“ per poor reading conditions. Softness of lowercase is at uppercase balanced in bottom arches, that are subtly kicked-up. Numerals are an important component of sport communication, so this font offers expressive design, different from numerals of book typefaces. Every font has 9 kinds of numerals. Character case contains over 1000 glyphs, sport icons and othes signs creating the sport feeling. The font name, Akceler, represents acceleration, which is characteristic attribute of this typeface. It’s suitable for display and text usage, too. To see more please visit the PDF specimen. ■24 styles (2 alternatives, 3 grades of dynamics, 4 weights) ■over 1 000 glyphs per font ■9 kinds of numerals ■icons of sport equipment ■8 stylistic sets ■8 kinds of arrows ■23 OT features ■support of latin languages

Idiom is an extra-condensed, tightly spaced display face with congruent forms exuding a strong sense of rhythm and elevation. The basic stenciled geometric shapes are reminiscent of the decorative style found with P22 Albers and Futura Black. Careful consideration of each letter's construction, relative to all characters, lends Idiom a decided sense of cohesion and sophistication. The included non-traditional 'weights' (Medium and Bold) are completely blacked out, creating entirely new letterforms that exhibit a very stark, contemporary sense. Increasing the versatility of the Idiom family, a selection of OpenType features allow access to a set of contrasting linear punctuation forms, unconventional ligatures, case-sensitive punctuation and more. Features include: Basic Ligature set including 'f' ligatures (ae, oe, fi, fl, ff, fh, fj, ft, fa, ct, st, rt, ot, ta, sa, mi, si, vi, su, oc, oo, ru, ib) Alternate characters (M, W, T, ß, _, $, @, (), {}, [], /, \, |, -, –, —, +, -, ±, ≤, ≥, , «, », and more) Case forms (shifts various punctuation marks vertically to a position that works better with all-capital sequences, in this case the numerals or letters with ascenders) Slashed zero Full set of numerators/denominators and superscript/subscript Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

One of my dreams as a type-designer was making a good looking chancery cursive. Full of life, like some of the best calligraphers around the world do on their artworks. With Julian Waters, John Stevens and Denis Brown (just to name a few of them) (1) chancery, or italic script, was transformed into a new, exciting and very fresh style of calligraphy mainly at the end of 20th Century. Dream Script may be that dream named above made true. I have been practicing chancery in the way I learnt from those calligraphers for many years now. Making a font out of my ink-sketches was a tough work, since they were closer of -being art- than of -being type-. However, this font rescues many aspects of handmade calligraphy: You have to look at it really close to notice it is actually a font, and that was one of my goals. The secret of a good looking chancery is on its subtle details: pen angle is constantly changing, even on the strokes which seem straight. Capitals and swashes have to be done a little faster than lowercase letters. The rhythm has to be even, in spite of its playful look. The fact that makes Dream look alive is that it has many alternates per glyph. This makes each word look unique like it happens in calligraphy: you will find alternates for the beginning/ending of a word/phrase, some for the middle of it, some interchangeable. Also, to accompany the script, you will find Dream Caps, which was inspired in the eternally beautiful trajan capitals. Place them like I did on the posters and you will have great results for sure. The font works great in small, middle and big sizes and can be a great selection for magazines, wedding invitations, perfumes, and posters. Close your eyes, and Dream with me... TECHNICAL Dream Script Pro is the most complete style, it contains all the alternates and ligatures (OT programmed, better if you use Adobe applications) If you plan to use the font for text, be sure to activate the less decorative capitals, which are placed in the “salt” group of alternates. Dream Script Standard has less glyphs than the Pro one, it contains just some ligatures for a better legibility. (OT programmed, better if you use Adobe applications) NOTES (1) Not only are they great artists, but also good people, who are always willing to share with their students all what they know. I would also like to thank Ricardo Rousselot, whose work inspired me this time to make “The Dream Script” exlibris; and to Alisara Tareekes, a very talented friend which international calligraphy conferences gave me: She kindly helped me with some tips to make this font better.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans. Now, Nimbus Sans is also available as Round (like the popular URW fonts Futura Round and Eurostile Round). The Round versions are intended to facilitate the work of designers and typographers. The fonts can be used directly, without further preparatory work in graphic programs as finished, high-quality Rounds.

The first versions of Nimbus Sans have been designed and digitized in the 1980s for the URW SIGNUS sign-making system. Highest precision of all characters (1/100 mm accuracy) as well as spacing and kerning were required because the fonts should be cut in any size in vinyl or other material used for sign-making. During this period three size ranges were created for text (T), the display (D) and poster (P) for small, medium and very large font sizes. In addition, we produced a so-called L-version that was compatible to Adobe’s PostScript version of Helvetica. Nimbus was also the product name of a URW-proprietary renderer for high quality and fast rasterization of outline fonts, a software provided to the developers of PostScript clone RIPs (Hyphen, Harlequin, etc.) back then. Also in the 80s, a new, improved version of the Nimbus Sans, namely Nimbus Sans Novus was designed. Nimbus Sans Novus was conceptually developed entirely with URW’s IKARUS system, i.e. all styles harmonize perfectly with each other in terms of line width, weight, proportions, etc. On top of that, Nimbus Sans Novus contains more styles than Nimbus Sans. Now, Nimbus Sans is also available as Round (like the popular URW fonts Futura Round and Eurostile Round). The Round versions are intended to facilitate the work of designers and typographers. The fonts can be used directly, without further preparatory work in graphic programs as finished, high-quality Rounds.

‘Technical Signature’ 2015-2021. A Pixel labyrinthine Display Type System! Plus, Digital “Layer Game”, Futuristic & Sci-Fi Optical Texting for interfaces evolution Landmarks! Now with 3D Styles! 18 Styles total! Revised, Verified & Updated New Edition ! It was inspired also by antique juxtaposed zig-zag Greek mosaics ornaments “ancient times computer” which defined it into a Small Caps Font, while another pair font with same metrics was made to reminisce the manuscript look as a “sister” and Cursive symbiont. Searching for a technical language and perpetration, resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better correspondent renamed fonts & style linking, addition of responsive OT features encoding and 3D Styles. Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is ideal to Technician Designs, things like Footer Signage, Engineering & Crafts Logos, Op-Art Posters, Stamps, Labels, Printed & Digital Certificates, Plus Movies interfaces, Internet Headings and Text and of course Video Games!

The idea of Limes emerged at the seashore last year in late summer. Getting ready in advance for a dark winter, we've decided to design a special fontfamily which would bring a bit of vitamins and summer sun into the rough everyday routine and help us survive the cold winter. Limes is both a dream of the sun while it’s gone and a refreshing breeze for the time when it finally gets warm! Limes is a completely handwritten fontfamily and consists of 23 typefaces. To create Limes Sans and Limes Slab families, we've used regular watercolor brushes, and to create monolinear Limes Script, as well as for Catchwords and Dingbats, we've used a felt-tip pen with circular section. Limes Sans and Limes Slabs fonts work perfectly together with Limes Script due to the general handwritten idea, as well as due to the widths contrast – despite its width, Limes Script mixes well with narrower opponents and adds a bit of human spontaneity into the general handwritten concept. The Limes collection includes: Limes Sans (Thin, Light, Regular, Bold, Black & italics), Limes Slab (Thin, Light, Regular, Bold, Black & italics), Limes Script, Catchwords and Dingbats. Limes Sans and Limes Slab widely support OT features: tnum, ordn, frac, case, numr, dnom, subs, sups, and Limes Script uses a large number of context alternatives.

This is Lady Slippers, a delicate and beautiful typeface resembling one of Eliza Gwendalyn’s popular modern calligraphic styles! She is the full blown version with many OpenType bells and whistles such as, swashes, ligatures, discretionary ligatures and stylistic alternates. Enabling them makes it possible to create beautiful and seemingly hand-written calligraphy designs. Then there’s Lady Slippers Basic, Lady Slippers Loops, and Lady Slippers Align. These fonts are toned down versions of Lady Slippers. Still beautiful and delicate handwritten script typefaces, they are meant for users who don't require all of OpenType goodies. Each of these fonts support some basic OT features, like fractions, superiors, and ordinals. In an interesting twist, we have redrawn the lowercase in Lady Slippers Align to align on the baseline, giving Lady Slippers a more traditional calligraphic appeal. Finally, Lady Slippers Ornament is offered as a companion for any font in the Lady Slippers family. It contains decorative ornaments, crests and other hand drawn elements, as well as a set of figures, minimal punctuation, and some catchwords useful for invitations and bridal pieces. The package includes a key map so finding the ornaments is made easy. All the glyphs are accessible from any standard keyboard. You can purchase the fonts separately, or one of the discounted bundles we've put together, Lady Slippers 4 Pack (includes Basic, Loops, Align and Ornaments) or the Lady Slippers & Ornaments pack.

When designing a typeface, one has to be conscious of superfluous details. Although I am always tempted to add little personal touches, experience taught me that the phrase -less is more- is totally true. In Model, the letters (like models do) participated of a contest: An event in which models engage in competition against each other, often for a prize or similar incentive. The prize was staying in the font! yay! Tall, delicate, refined, the right amount of elegancy: These were some of the aspects to be chosen. Typographically speaking, these things were achieved thanks to a tall x-height (which leaded the font to be somehow condensed), a subtle contrast between thicks and thins, and just the right amount of decorative swirls. The result is a nice script that can be used in magazines, invitations, posters, book-covers and works very well when used over photographs. Get Model and let it be the star of the catwalk. STYLES Model Pro and Model Small Pro are the most complete styles of the font. Both have all the ligatures and decorative glyphs seen in posters above (OT programmed). Model Std One, Std Two and Std Three are reduced versions of Pro. This means they have less glyphs inside. TIP If you are planning to print the font in small sizes, it’s highly recommended to purchase Model Small Pro. Its thins are thicker so they will be better printed.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

TT Severs useful links: Specimen | Graphic presentation | Customization options TT Severs is a geometric grotesque with emphasized elements of internal brackets. A distinctive feature of TT Severs is the unusual form of internal ovals, which refers us to the style of traditional Arabic writing. TT Severs has a strong character and is great for use in high tech (IT), the web, in robotics, computer games, and sports. TT Severs is a 2-in-1 font family. In a large body size, it works great as a display font, creating a distinctive character for logos and headings. At the same time, when TT Severs is used in a small body size or in large text arrays, the font’s peculiarities of bracket construction fade, and it perfectly functions as a text font, thanks to both the low contrast between vertical and horizontal strokes and the detailed logic of interaction of black and white letter elements. The font family TT Severs includes 18 fonts, each of which consists of 558 glyphs. The family has standard and discrete ligatures, which include experimental ligatures for the Cyrillic alphabet. In addition, TT Severs can be made a little more humanist—it is enough to turn on stylistic alternates, and due to them the font takes the form of a humanist grotesque, which refers us to traditional broad nib writing. As part of the font family, you will also find old-style figures and a large number of OT features such as case, ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac.

There are many script typefaces but there is only one Scripticus. Scripticus is like a chameleon: In whatever surroundings you put it, it adapts itself and looks like it couldn't be anywhere else. Be it a sales advertisement, a music Website, a comic strip or a journal with complex chemical formula – Scripticus always solves the problem in a natural and leisurely way. And it never makes compromises concerning clarity. But where does Scripticus come from? … From the good old high school blackboard! Blackboards have become almost obsolete in teaching, but be it a black or white background – clear, strong characters placed on the board while the facts are explained are still one of the best ways to make and keep things understandable. Scripticus is dedicated to my high school chemistry teacher who was an expert in just this. While the letterforms come from different inspirations, its aim is the same as the pedagogical aim of my teacher: Combining clarity with a strong personality. Scripticus has a special trick to give it its natural look: Four alternates for each letter and each number plus rotation coding make the glyphs appear in lively melodic flow. In this way even mathematic equations look nice! Scripticus has a lot of OT-features that help it do its job. They are: capital spacing, localized forms, subscript, scientific inferiors, superscript, numerators, denominators, fractions, ordinals, tabular figures, historical forms, ligatures, stylistic alternates, stylistic set and ornaments. Finally, as is my general goal in type design – Scripticus supports close to one hundred languages from Latin extended to Cyrillic extended.

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

Born in the 70s Personal influences are unavoidable in type design and usually find their way through into finished fonts. At Fontsmith, one period in particular provides inspiration, according to FS Pimlico designer, Fernando Mello. “Jason and Phil have always known that I’m very into the visual language of the 70s. I know that Jason shares my love of the 70s and Phil will sometimes admit to being a fan, too. I think that’s the reason they were both so supportive in the development of this font. “And, of course, we all share an interest in good-humoured and intelligent design. We like to think it’s a Fontsmith characteristic.” Back from black FS Pimlico started in an unusual place: with a tubby, penguin-like lowercase “a” that Fernando Mello had been sketching. From “a” grew the rest of the alphabet – a bubbly, fat, friendly family with a brush-written quality that became FS Pimlico Black. The black weight certainly isn’t the normal starting point for creating a regular and bold weight, but Fernando pressed on, driven by a glut of influences: brush-writing; Letraset and early digital systems catalogues; the type of Herb Lubalin and Tony di Spigna; 70s clothes and vinyl; and 70s revival disco nights in London’s Pimlico and Vauxhall. Natural or flourished Not often do fonts come along that seem to span the ages. FS Pimlico is at home in an office environment providing a fresh clear identity in communications or providing text that’s clear and easy to read. But it likes to party, too, 70s style. With the OpenType features switched on, a designer can totally change the look of their work, and create point-of-sale, headlines and titles that stand out and get noticed.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.