Based on a revival of one of the popular type fonts of the 19th century, suitable for display, or text.

Albion Sharp Italic is an elegant sharply cut italic display face. Its classical elegance is ideal for setting headings alongside conventional body text faces, and an ideal way to imbue such settings with a little life and energy.

Pesto Fresco Italic is a new version of Pesto Fresco handwritten lettering system, a font family built of 27 styles. Overlapping Pesto Fresco Italic Regular with any of the other decorative styles you will get different graphic effects, so just choose the one that fits best with your layout. This font can be used for different purposes from packaging design to web design.

Primary-style italicized handwriting.

Law Italic was designed as an imitation of a formal style of penmanship used in legal documents. It has a more pronounced angle than standard italics. It is intended to be used by itself but can be combined with other faces to suit a designer's inclination. Historically, this face was once used by Bruce Rogers strictly for headings.

SketchCaslon Italic is a hand-rendered display typeface with its formal base in the structure of the types of William Caslon.

CONCEPT/CHARACTERISTICS
 The constructed, clear and modern cha­rac­ter of the typeface based on the basic form of the triangle. The motto is geometrically and italic. APPLICATION AREA
 The modern, futuristic and constructed font „slan­ted ITALIC shift“ would look good at dis­play size for poster, flyer, comics and gra­phic novel let­te­ring and logos. Head­lines in maga­zi­nes or web­sites, packa­ging, music covers or webbanner etc. TECHNICAL SPECIFICATIONS
 Head­line Font | Dis­play Font | Geometric Font „slan­ted ITALIC shift“ OpenType Font with & 308 gly­phs & 6 styles (thin, light, regu­lar, medium, bold, black). Alter­na­tive let­ters, symbols and liga­tures (with accents & €) FONT IN USE www.typographicdesign.de/font-in-use-slanted-italic-shift/

Bring your scrapbook page to life with unique journaling and titles made possible with this cool italic font. It'll add instant flavor to posters, signs, bulletin boards, and word art that call for an old-fashioned, antiqued flair.

Sispectly Harmonies classic and nostalgic serif Hi ladies and gentlemen! In accordance with market demand for classic retro design fonts, I created a serif font that suits your views. The Sispectly Harmonies font is a classic nostalgic serif font. is here to become a market favorite. We made this font look elegant, classy, ​​easy to read, stylish, attractive and easy to use. Sispectly Harmonies Font is a great choice for retro designs, logos, magazines, classic, classy designs, newspapers, modern, books, brand names, branding, and other projects. The Sispectly Harmonies font is here to enhance the quality of your designs. Follow us for the next classy font creation :) Feature: • Uppercase • Lowercase • Regular version • Italicized version • Multilingual Support • Numbers and punctuation

A freely drawn heading face prepared in 1912 by Lucian Bernhard for Bauer. The typeface enjoys a vogue in Europe.

A semi-serif font in vogue in the 1970s. Usage recommendations include captions, packaging, cards, posters, ads, book jackets, manuals, and menus.

Released by Intertype in the 1930’s, Vogue was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks such as its distinctive G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue the versatility to be a true workhorse.

Released by Intertype in the 1930’s, Vogue, was a geometric sans serif rival to Futura and Kabel. Vogue had many unique quirks like its distinct G, that striking Q with a vertical tail, and many others. Almost ninety years later there has been no decent digital revival of this wonderful typeface... until now. Intervogue Soft brings this classic to life in the modern age. Seven weights complete with true obliques and an alternate cut give Intervogue Soft the versatility to be a true workhorse.

One day shortly after Christmas 2004, the art-director of Vogue Moscow called me. Would I maybe make a Cyrillic version of my Bodoni Classic Text typeface? Well, since I had been thinking about doing it since a long time, this was the perfect reason to finally do it. It was not an easy venture, since I do not have the faintest idea of Russian but, together with those nice people in Russia and a fellow helpful type designer in Kiev, I managed. I did an enormous amount of kerning, thanks to the help of the Moscow Vogue office. Here the fonts are now for all of you: five text cuts, plus one standard roman cut that has no Cyrillic letters but an extra set of medieval numbers. At Vogue they are happy with the fonts, even though I did not quite adhere to Bodoni's originals in this case. Nastarowje (or whatever you say in Russia), Gert Wiescher

Stop is a heavy futuristic sans serif display font, designed by the famed Italian type designer Aldo Novarese. Stop's forms are vaguely stencil-like, and some of them only read as letters when used in combination with each other. Nevertheless, Stop has a real computer-technology" feel to its design. It should be used exclusively for headlines or logo work."