The first inspiration for Missiva was a sixteen century letter from S. Francisco Xavier (St. Francis Xavier) but then I adapted my own handwriting in order to have the basic character set.

Chubbét (pr. Chub-bay) Distended is the extended version of Chubbét. The regular weight starts off plumper than plump, then it expands inward until there is a minimal amount of positive space.

High Fidelity is our funky new variable font that was inspired by an incredible vintage poster we saw at the NYPL (sadly, the designer wasn't credited.) First we developed the ultra wide top-heavy style. Then, unable to resist the dynamics of variable type, we added the narrow width and violà our first variable font was born. We then added "drip" and "stretch" axes so you can play around and customize it to your heart's content. We think it works for anything from album covers, posters, social media, apparel - really anywhere you need a fun, expressive look.

insigne is pleased to present new Christmas ornaments as the latest in the Blue Goblet series, a series of fonts and ornaments by artist Cory Godbey. This best-selling series has now been extended to include a new Christmas-themed member. Hand drawn by the artist, the Blue Goblet additions are a fun and lively take on Christmas ornaments. Expressive and spontaneous, these ornaments seem to dance their way across the page. They can be used in conjunction with the original Blue Goblet Ornaments and the Blue Goblet fonts, which include both a sans serif and serif member. Combine them to form interesting compositions, or insert them directly into your layout as chapter headings or illustrations. There are over 60 of the Christmas-themed ornaments, including Christmas trees, bows, ivy and more. Check out the .pdf or the promotional graphics to see all of these great options.

Introducing Culoare V2.0 is the second version of the space bright color gradient font. (The first version is here - Culoare) This is a new set with completely new color combinations, bright and saturated like neon. 3 types of stylization in 9 different color gradient combinations with soft transitions. Letters seem to be backlit and it looks very original in addition to stylish minimalist glyphs. Lots of design use cases. Ideal for promotional illustrations, headlines and covers. Font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Culoare V2 Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different colors. - Transparency in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

ITC Matisse was designed by Gregory Gray while he was designing an editorial layout for Madame Figaro, a supplement to the Paris newspaper Figaro. While working on a feature on the work of Henri Matisse, Gray created a typeface with paper and an X-Acto knife, and then scanned the cutouts into a computer. The style of the design comes in part from Gray's passion for African art, with its contrasts between flat areas and protruding surfaces. ITC Matisse is ideal for offbeat display applications and initial capitals.

This set is inspired by the work of Vincent van Gogh. The alphabet captures the essence of van Gogh's handwriting style, using his extensive correspondence with his brother Theo as the primary reference. This lettering style presents a bold brush-stroke appearance which bears striking similarities to the painting style of Van Gogh. A full international charcter set is featured. The extras feature selected imagery from van Gogh's drawing and paintings.

This font was created out of a desire to offer a kid-friendly, playful, legible font that works for my speech language pathologist friends who work with students every day. They wanted something that worked for little kids and allowed them to use the necessary international phonetic alphabet.

This typeface finds a perfect balance between technical excellence, careful design of letter forms for extended reading, and a measured dose of charm and personality. Its informal feel allows for successfully typesetting a wide range of applications, from magazines and fiction books to advertising and websites. Calligraphy, be it done with the broad-edge pen, brush, or other tools, has been fundamental in the development of Pollen. Its influence is clearly visible in the construction of the top serifs contrasting the curved bottom serifs and the fluid aspect of terminals and tails, such as on “g” and “r”. The shapes of the diagonal letters are based on a less formal calligraphic model, but still uses the broad edge pen. ­The letters were then subject to a further process of pencil drawing and digital re-interpretation, which gave them the final shape. The designs of “e” and “c” are derived from drawings made with only one continuous line, with the pencil always touching the paper. The letters “g” and “y” express the intention to bring informal elements to a typeface intended for long text reading, usually characteristic of casual writing. Pollen consists of 3 basic styles with an extended OpenType Pro character set and large language support, perfectly serving the most common typographic needs.

Gallazzi is a fun display typeface with a lovely and attractive appearance. Start using this font in your project since it is smooth, cool, and cute to the eye. Then you’ll have a project that is truly distinctive and cheerful in comparison to others because the harmony and harmony will make your project bolder and bolder and look different. Let’s construct an awesome project using this typeface, and make it one of a kind. This font is perfect for games, sporting events, branding, banners, posters, movie titles, book titles, quotes, logotypes, and more. Start using our fonts for your amazing projects.

Lamiran is a Distorted Wavy Font . You're not going to write a novel with this font, I will tell you that but... if you want something seriously psychedelic thats part art and part font, then this is the font for you. Using it sparingly to mix and match with a clean sans serif or go all out for a good time. Thanks, Have a wonderful Day. Ragamkata

Propaganda in a poodle skirt? Another gem gleaned from Schrifti Alphabeti, a book of Cyrillic alphabets published in Kiev (now Ukraine, then USSR) in 1979. Flouncy, bouncy, perky and quirky, this typeface will add sass and charm to any project it graces. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it! The inline version has a wider spacing after the letters CEK = no connecting words. Otherwise just as lovely and retro! Nick Curtis says: "Here’s a strange hybrid: I took the lower case from the formal script font Stuyvesant, straightened out its rather extreme 22° slant, and combined them with caps from the font Bellevue, again making them upright, and adding an inline effect. The result is a font that flows very nicely, with a nice balance between clean lowercase characters and swashy caps. Thanks to Deb Dunbar for naming this font. Fontleroy Brown is the solid version, produced at the request of the King of Ding, Jeff Levine." 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.

Are you looking for fonts for logos and event brochures? Bulgarian Dreams font the solution, Bulgarian Dreams Font is a lettering style font with a touch of smooth and natural curved lines like when writing manually on paper using a brush pen. There are 4 font styles that you can use to enhance your design Apart from being used for logos and brochures, Bulgaria Dreams font can also be used for poster titles, book titles, lettering, merchandise Design etc What's Included : - More than 270 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations, Stylistic,Ligatures ) - multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Faroese, Finnish, French, Frisian, Galician, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Get ready to jazz up your design game with the brave Ugroh Display Black font include Italic! Armed with a whopping 260 glyphs, it's got all the languages covered and comes with a bonus of ligatures and alternative glyphs. So, whether you want to add a fancy twist or a subtle tweak, it's got you covered and will make your designs shine like a star! With its bold and modern look, Ugroh Display Black font is a perfect choice for any design project that requires a touch of elegance. Its clean lines and sharp edges will give your designs a professional look that will impress any audience. Whether you're creating a logo, a poster, or a website layout, Ugroh display black font will give your project a unique and stylish look. Its versatile character set makes it a great choice for a variety of design styles, from minimalistic to ornate. And with its extensive language support, you can be sure that your message will be heard loud and clear, no matter where your audience is located. So, why settle for a dull and uninspired design when you can jazz it up with Ugroh display black font? Try it out today and see your designs shine like never before!

Patmos Sans is a carefuly hand crafted sans serif font, inspired by the art of the cyrillic calligraphy, as well as the script of the Greek Orthodox art. The font contains Latin, Greek and Cyrillic alphabets and supports Central, Eastern, Western European, Baltic, Turkish, Greek and Russian languages. Patmos Sans has a variety of stylistic alternates and classes, titling altrenates, discretionary and standard ligatures and it is fully unicode-mapped (PUA encoded). The standard ligatures of the font, are 4 decorative ornaments, that you may add at the end of a word and they fit perfectly with the titling alternates. All you have to do is to make sure that ‘standard ligatures’ are activated in your application, then type "d" and a number from 1 to 4.

Khatija Calligraphy is a beautiful calligraphy font in base style of penmanship with a modern look, an eclectic concept by paying attention to the beautiful choice models. This fonts consist of 2,484 letters ready to use. To make it easier for you to use it, we utilize the access all alternates feature so that you only need to type and then select one of the letters then the alternative letters will appear automatically. We also use the stylistic set selection feature from SS01 - SS20, because we made a very unique alternate pair, alternate 1 paired with alternate 2, alternate 3 paired with alternate 4. We matched the alternate pair's kernings perfectly. For wedding themes and elegant product brands, believe it.. this font is the perfect choice, because we also prepare a ligature that raises flower ornaments to complement your design, you only need to press your keyboard | 1 | 2 | 3 to | 10. Now you have very beautiful flower ornaments. You can combine these ornaments again according to your needs. Khatija Calligraphy has 27 language support: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Slovak Slovenian Spanish Swedish Turkish Zulu.

Ahhh, who doesn't want to sleep late? That’s excactly what a “sovetryne” wants ... even though he/she often sleeps way to much! But that’s not the case with this font. It’s legible, even though it’s slightly worn. Change between upper- and lowercase letters to variate the typing - and turn on ligatures, in order to use the substitution of double letters such as aa, bb, cc and many more!

The slab serif Waterloo Bold was designed by Alan Meeks. He chose unique and individual forms to give this alphabet its unmistakable character. The cross strokes of the capitals are not in the optical center, the serifs have light furrows, and the figures have a slight slant tot he right, giving this font a dynamic, flowing look. Waterloo Bold is reminiscent of cigars, whiskey and the 1930s and should be used only in headlines in large point sizes.

TT Tsars useful links: Specimen | Graphic presentation | Customization options The TT Tsars font family is a collection of serif display titling fonts that are stylized to resemble the fonts of the beginning, the middle and the end of the XVIII century. The project is based on title fonts, that is, the fonts that were used to design book title pages. The idea for the project TT Tsars was born after a small study of the historical development of the Cyrillic type and is also based on Abram Shchitsgal’s book "Russian Civil Type". At the very beginning of the project, we had developed a basic universal skeleton for the forms of all characters in all subfamilies of the family, and later on, we added styles, visual features, artifacts and other nuances typical of the given period onto the skeleton. Yes, from the historical accuracy point of view it might be that such an approach is not always justified, but we have achieved our goal and as a result, we have created perfectly combinable serifs that can be used to style an inscription for a certain time period. The TT Tsars font family consists of 20 fonts: 5 separate subfamilies, each of which consists of 4 fonts. Each font contains 580 glyphs, except for the TT Tsars E subfamily, in which each font consists of 464 characters. Instead of lowercase characters in the typeface, small capitals are used, which also suggests that the typeface is rather a display than text one. In TT Tsars you can find a large number of ligatures (for Latin and Cyrillic alphabets), arrows and many useful OpenType features, such as: frac, ordn, sinf, sups, numr, dnom, case, onum, tnum, pnum, lnum, salt (ss01), dlig. Time-related characteristics of the subfamilies are distributed as follows: • TT Tsars A—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars B—the beginning of the 18th century (Latin and Cyrillic) • TT Tsars C—the middle of the 18th century (Latin and Cyrillic) • TT Tsars D—the end of the 18th century (Latin and Cyrillic) • TT Tsars E—conditionally the beginning of the 18th century (only Latin) TT Tsars A and TT Tsars B families (both the beginning of the 18th century) have different starting points: for TT Tsars A it is Latin, for TT Tsars B it is Cyrillic. The development of the TT Tsars A family began in Latin, the font is based on the royal serif Romain du Roi. The Cyrillic alphabet is harmoniously matched to the Latin. The development of the TT Tsars B family began in Cyrillic, which is based on a Russian civil type. Characteristic elements are the curved one-sided serifs of triangular characters (A, X, Y), drops appear in the letter ?, the middle strokes ? and P are adjacent to the main stroke. Latin was drawn to pair with Cyrillic. It is still based on the royal serif, but somewhat changed: the letters B and P are closed and the upper bar of the letter A rose. This was done for the visual combination of Cyrillic and Latin and at the same time to make a distinction between TT Tsars A and TT Tsars B. TT Tsars C is now the middle of the 18th century. Cyrillic alphabet itself did not stand still and evolved, and by the middle of the 18th century, its forms have changed and become to look the way they are shown in this font family. Latin forms are following the Cyrillic. The figures are also slightly modified and adapted to the type design. In TT Tsars C, Cyrillic and Latin characters are created in parallel. A distinctive feature of the Cyrillic alphabet in TT Tsars C is the residual influence of the flat pen. This is noticeable in such signs as ?, ?, K. The shape of the letters ?, ?, ?, ? is very characteristic of the period. In the Latin alphabet, a characteristic leg appears at the letter R. For both languages, there is a typical C characterized by an upper serif and the appearance of large, even somewhat bolding serifs on horizontals (T, E, ?, L). TT Tsars D is already the end of the 18th century when with the development of printing, the forms of some Cyrillic characters had changed and turned into new skeletons of letters that we transposed into Latin. The figures were also stylized. In this font, both Cyrillic and Latin are stylistically executed with different serifs and are thus logically separated. The end of the century is characterized by the reduction of decorative elements. Straight, blueprint-like legs of the letters ?, R, K, ?. Serifs are very pronounced and triangular. E and ? are one-sided on the middle horizontal line. A very characteristic C with two serifs appears in the Latin alphabet. TT Tsars E is a steampunk fantasy typeface, its theme is a Latinized Russian ?ivil type (also referred to as Grazhdansky type which emerged after Peter the Great’s language reform), which includes only the Latin alphabet. There is no historical analog to this typeface, it is exclusively our reflections on the topic of what would have happened if the civil font had developed further and received a Latin counterpart. We imagined such a situation in which the civil type was exported to Europe and began to live its own life.

Eugenia is a font for display and poster needs. Each stroke reflects the strong nature of a woman who hates what she loves. This font is suitable for posters with the theme of art and enthusiasm. The name Eugenia reflects the glory and the figure who likes to do good, we hope that people who use this font can make something that is good for others.

SCALTER was designed in the early April and published in July 2020. Scalter Serif is inspired by the characteristics American vintage sign then the sans serif it’s combination retro typeface. All shape of this typeface is make strong and more contrast, giving a more dynamic and retro feel. Scalter are available in 5 Widths (Condensed – SemiCondensed – Normal – SemiExpanded – Expanded) with matches 4 style (Serif – Semi Serif – Sans Bold- Sans Black - Script) with a total 42 Styles. Also includes support for 26+ Latin (Extended) Languages.

Lumios Brush is a new addition to the Lumios Extended Font Family. It was written with Pilot Brush Pen on a glossy paper (which allows a really smooth brush movements) and then carefully digitized. Just like Lumios Marker, its Brush sibling has multilingual (including basic cyrillic) support. The font also benefits from 2- and 3-letter ligatures (again, multilingual), stylistic alternates and swashes, underlines, arrows and a few symbols. If you already own Lumios Design Elements, you can used them with the Lumuis Brush font.

Abdo Rajab is the second version of the font FS Rajab which was designed by the type designer Abdulsamiea Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Regular, light and bold) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

Abdo Salem is the second version of the font FS_Salem which was designed by the type designer Abdulsamie Rajab Salem for Future Soft company fonts. It is a leading company in Arabization field and producing the Arabic and Islamic programs beside the children programs. This font appeared between 1998 and 2000. In this version there were a lot of adjustments to keep the font in its spirit and uniformity between the various characters. Also added some new characters, which gave him another beautiful addition to be used in both title and text designs. Three weights (Light, bold and black) have been created. Then the font was converted to OpenType to support Arabic, Persian and Urdu to be compatible with the various operation systems and modern software. The combination of modern Kufi and Naskh styles and varying between straight and curved parts made it a beautiful typeface appropriate to the titles and text, and able to meet the desire of the user in the design of ads and modern designs of various types of audio and visual.

This cute bunting style font includes extras like a cupcake, anchor, and a fleur de lis. Use the ( ) { } [ ] to make end pieces and join them with the underscore __.

Too often, familiarity in type design can fool us into mislabeling similar styles of lettering. The Art Deco years provided many variations of the thick-and-thin alphabet, and we tend to lump all of them together as being "a version of Broadway", as this is the most popular of the genre. However, if one looks closely at each design, they will see variations of line thickness, angles and even individual character design. One such variation is Stagehand JNL, based on a set of wood type and now presented in digital form.

Have you heard? It’s in the stars: next July we collide with Mars! But until then, there are plenty of good reasons to treat yourself to this swell typeface. LiebeLotte Swell is a great investment for letter lovers who design beautiful things for their friends and family and also for designers who love their clients: Your next birthday invitation? Check. That photo album you’re making for your mom? Check. The business cards you’re designing for your friend who runs a deli? Check. There are so many nice things that want to be designed, and LiebeLotte Swell wants to be your assistant in the old-fashioned way: polite and friendly. Just like her monolinear siblings in the LiebeLotte family, charming LiebeLotte Swell knows how to impress with her perfectly drawn curves and her perfectly connected loopy letterforms. Of course LiebeLotte Swell comes with a state-of-the-art character set. She also sports a variety of ligatures and alternative forms, available through OpenType features. (Please make sure your software supports ligatures for the letter connections and OpenType if you wish to use the advanced features.) Advanced designers, check out the complete LiebeLotte family with six weights of monolinear loopiness. You may also want to take a look at our best-sellers LiebeErika and LiebeKlara, they get along great with LiebeLotte Swell.

Brotha Script Font is a fun bold script, fresh and with a modern style . Brotha script font is good for you to apply as the main title of your design work, and for those of you who like thick fonts in the style of calligraphy. This font is very useful then if you don't have it. Brotha Script Font suitable for logos, branding, greeting cards, posters and any design that you create.

In our early days of type hunting, we considered this to be the prize of our collection. Fonts of this late Victorian period seem to have less ruffles and flourishes than the earlier ones, which makes them easier to read.

Hermaphrodite was developed for the Bastard Project and had its origin in the idea of applying the process of an Antiqua on a Grotesque. In other words, a Grotesque font was drawn calligraphically and then digitized. Some inconvenient corners were simply cut off.

Selectric typewriter font. The part of the large, many years project on revival and further development (over 1000 glyphs) of the 20th century’s most famous typewriter Selectric golfball fonts, lost for many decades, not being created since then in digital vector form.

Italian type design master Aldo Novarese was not famous for making calligraphic designs, nor had he any interest in them. He is much better known for his text faces, and quite innovative sans serif and decorative designs which became the definition of what we now know as techno and modern. But in 1968, Novarese surprised everyone with a fantastic flowing deco script entitled Elite. Novarese's formula of simple soft curves and toned-down swashes makes for one of the most unique alphabets ever seen, not to mention one of the best flowing and most legible scripts. This is now its digital incarnation, named Fontella. Fontella's applications are virtually limitless. This is the sort of script that can feel at home pretty much anywhere; a sign, a fridge magnet, a bumper sticker, a greeting card, a movie poster, a book cover, music artwork, magazine ads, newsletter headlines, etc. Digitized from original specimen and expanded with a few built-in alternates and ligatures by Rebecca Alaccari, the font was named after the famed jazz singer Fontella Bass. These letters are just so sweet they had to be called Fontella.

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.