Guaruja Grotesk is the first Tipogra Fio family for headlines & body copy. The grotesque form factor is much inspired in the Modernism movement from the mid of 20th Century but the Italic weight is a great cursive contrast aside the Roman ones so you can make very brutalist layouts or craft humanist projects, without losing the communication between all the family. Do not be afraid to type words with uppercase I and lowercase L because this last one has its own personality so do others glyphs like Italic lowercase G, Y and K and the straight corners in the Roman uppercase A, K, V, W, X, Y and Z. The same curves and corners are transferred to the numbers, symbols and so on. If your text is in a latin alphabet even though has lots of diacritcs, Guaruja may get it done! If you’re making a mathematical equation, it also can make it. If there’s a signaling project with lots of destinations, trust the arrows to help with together with the whole family.

Sometimes a sans serif just needs a sister. Meet Mamirolle! A geometric wedge-serif companion to Mimolette! (OR is Mimolette the sans serif companion to Mamirolle.... hmmmmm....) Mamirolle, like her sister, is great for text and display alike—she's super-readable AND super-legible, and her different weights lend themselves to creating clear contrast in your textual hierarchy! And she's got some nifty features, too! Mamirolle has a two-story a and g in the upright versions, but if you want a one-story a and g, just turn on Stylistic Set 01! Her italic is a true italic, not just an oblique. Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mamirolle was made with love, as always, by yer pals in the Ampersand Forest.

Here’s a set of arrow shaped callouts in two varieties within one font. The black-on-white letters are on the upper case keys, and the white-on-black characters are on the lower case keys. The numerals 1 thru 10 in black-on-white are in the standard key positions, while the white-on-black numbers are on the same keys when engaging the “shift” key. The 'zero' key houses the number '10'. For a more dynamic look, the font is also available in an oblique version.

Avonick is a beautiful condensed font family with an elegant touch. Avonick has a sophisticated and professional look, its clean and elegant letters make it perfect for sleek and professional projects. Avonick comes in four weights, Light, Regular, Semibold and Bold. Each font weight has an oblique version. Avonick has a stylish design which makes it very versatile, the font can cover a wide range of projects such as: branding, mastheads, magazines, logos, banners, wedding invitations, websites, blog posts, pull quotes, editorials, packaging, social media posts, advertisements and much more. We hope you enjoy using the Avonick font family.

Ryo is a Japanese kana typeface design composed of hiragana, katakana and some punctuation marks. Available in five weights--medium, semibold, bold, extra bold and heavy, Ryo Display has been specifically designed for use when setting copy in larger sizes, such as in headlines or posters. Supplied in the cross-platform OpenType format, this special kana font can be used to supplement or replace the existing kana designs in existing Japanese fonts that contain full character sets. Creative professionals using the Japanese version of Adobe InDesign may use that program's Composite Font tool to easily combine Ryo Display with other typefaces.

Introducing Squid GT Display new generation Typeface with 9 Weights. Squid GT Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Squid GT is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Nine Weights. Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black.

Porchlight is a soft serif font inspired by vintage French typography. It includes three weights: regular, semi bold and bold, with matching italics. It also includes bonus ornaments that complement the font beautifully, for elegant and easy designs. Included in this trendy font family: 6 fonts: regular, semibold and bold, plus italics, with over 300 glyps each, including small caps and lots of ligatures. ornaments font with 52 ornaments (13 different designs, mirrorred horizontally and vertically). borders font, with borders with different thickness. Use Porchlight in print layouts, logotype design, social media posts, branding and packaging.

Introducing Oxine Display new generation Typeface with 7 Weights. Oxine Typeface created with the vision of to attract the audience to your brand . The finest details of this typeface are methodically and mathematically created. Oxine is created with all the tasks of a corporate font and also for the usage in a variety of projects, including branding, logos, titles, headlines, servers, posters, screens, display, digital ads, and everything else. We are putting a lot of effort on this font as a long-term project. The Typeface includes Seven Weights. ExtraLight, Light, Regular, Medium, SemiBold, Bold and ExtraBold

Syabil is a sans serif font family designed by Eko Bimantara. This font crafted with the intention to present a clean, legible, multipurpose that easy to read wether it on screen or print. Fit for all purposes; Text, display, headline, print, corporate identity, logo, branding, product, infographic, photography and other application and medium. This font consist of 9 weight; Thin, Light, Book, Regular, Medium, SemiBold, Bold, ExtraBold and Heavy with each weight paired by italic. Also including Latin Plus language support with more than 11.700 glyphs in all weight which make this font contain broad language support.

Gosford is a luxury and elegant serif font. It teases your eyes with its curves yet still able to maintain its classy composure. The variety of weights provide a range of choices that will help you find the best typographic colour. The available stylistic Ligature and Alternate offer a perfect font for anything your creativity takes you. 5 Weights (Light, Regular, Semibold, Bold, Black) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Alternates & Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... OTF file format Free updates and feature additions Thanks for looking, and I hope you enjoy it.

The long-awaited Rust Bundle addition to our Panton type family has arrived, featuring the headliner Panton Rust and its trusted partner Panton Script Rust. Start your engines and get ready for 72 fonts, grouped into five weights ranging from SemiBold to Heavy, and including multiple Base combinations with different Shadows and Grunge Textures. All of the above is also a part of the accompanying Panton Rust Script, whose natural flow is further emphasized with specifically adjusted Contextual Alternates. The list of OpenType features wouldn’t be complete without localizations, figures, fractions, superiors and inferiors, numerators and denominators, as well as tabular numerals for Panton Rust. The Rust Bundle includes Extended Latin and Cyrillic coverage, providing support for more than 130 languages. This handcrafted package was created to bring about authentic and original vintage type, making it especially suitable for any design that speaks of craftsmanship, a sublime human touch, and a mature signature with undeniable flavor. In Rust we trust! Features: • Textures, Shadows and Inline versions of the fonts which can be combined for a multicolor effects • 72 styles in total, including 42 fonts for Panton Rust and 30 fonts for Panton Script Rust; • 5 weights from SemiBold to Heavy; • Extended Latin and Cyrillic coverage with support for more than 130 languages; • A broad set of contextual alternates and ligatures for Panton Script Rust

The Obla font family is a modern serif typeface accompanied by appropriate italic in seven weights. Sketches of letters were drawn manually, using thick marker for creating shape and pencil for finishing details. Calligraphic origin of shapes is revealed beneath strained curves drawn on computer. All of the weights were carefully adjusted to each other. Obla is equipped with some basic OpenType features and supports Cyrillic and Latin script. Using Obla in small sizes is very convenient, because of its large x-height, and Obla is a very readable typeface. It seduces the reader with its vivacious character. The typeface is also suitable for usage in large sizes. The best choice for headlines is using the heaviest (Black) and the lightest (Thin) weight. There are two smaller family packages in offer: Obla Basic Set contains Regular, Italic, Bold and Bold Italic, while Obla Light Set contains Light, Light Italic, SemiBold and SemiBold Italic. These two sets are the most appropriate for working with small text. Other weights can be bought separately, or within the whole family. Obla is an awarded typeface. It got Special Mention in Cyrillic Typefaces category in Granshan 2016 competition and it was chosen as a Merit Winner in Print’s Typography and Lettering Awards competition. At that time, before publishing, the typeface was named Petra.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.

This is a decorative and steganographic Braille font based on Lorraine Cross pattern. As the Lorraine cross splits space into six areas, it may be used to represent Braille glyphs. Provided Glyphs * Lowercase letters (a..z): a White cross and Black square dots * Uppercasecase letters (A..Z): a Black cross and White square dots * Special characters (e.g. !#$%*+<>{}()[]...) * Decorative glyphs (provided in black and white as well) Glyph code intervals - Codes 48..57: Bullets (0..9 digits) - Codes 130..150: 'White Stars' - Codes 192..233: 'Black Stars', Black border glyphs and other black patterns. - Codes 214..233: Border/Decorative glyphs (Black) - Codes 235..255: Border/Decorative glyphs (White) - Codes for Cross w/o dots: Black (192), White (235) - Codes for Cross and 6 dots: Black (191), White (234) - Code for 'Half-width space' (166) Posters 1. Logo: illustrates usage of border glyphs 2. Meta: Two big Lorraine Braille glyphs drawn with pattern glyphs 3. Stars: illustrates usage of 'Star' and pattern glyphs 4. Bullets: illustrates usage of bullet glyphs (0..9) 5. Human rights - Article 1 NB: - Encoding is: Windows Latin ("ANSI") - Published in two versions: Commercial and Free for personal use

A new series of eclectic decorative initials, Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with a whimsical walk through the alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's eponynmous Versalien for Schriftguss AG in 1927, and Walter Haettenschweiler's Breitfette Unziale from 1958, along with a fancy nine-element box border. Dressing up your next projects with these snappy caps is, indeed, a capital idea.

Utilize the elegance of Art Nouveau in modern form with Lotus Grove. Lotus Grove is a high-contrast serif typeface with deep roots in Art Nouveau aesthetics. In contrast to its archetypal models, Lotus Grove boasts a clean-cut and smooth design, perfectly suited for modern requirements. It is a fancy typeface that suits any kind of display use. Lotus Grove is equipped with Stylistic Alternates for letters G, E, K, R, S, T and ampersand.

Gatara is serif font family with elements of Didone available in 6 weights and matching Italics. It is high contrasted typeface with some distinctive details such as stemmed shape of “h”, “n”, “m” and “a” letters, unique “f” and “k” in same style. Comes with Standard Ligatures and Fractions with Extended Latin character map. As Gatara contains dose of decoratively design, beside editorial use, branding or web font usage, it can be used effectively for titles as well.

Neo Phalanx is a rectangular, circular & curvy modern display sans inspired by Ancient Greek mass military formation. The difficulty of make this font is balancing rounded corner & sharp edge. There are letters like "M W A H R N K S Z" provides a unique personality in the title display. Numbering and punctuations also designed in unique styles to deliver different visual language. This font is suited for variety of applications from poster to branding, advertising, digital.

This family takes its inspiration from two early Art Deco faces from Germany. The Normal version is based on Dynamo, designed by K. Sommer for Ludwig & Mayer in 1930, while the Narrow version is based on Stadion, designed by Erhard Grundeis for Die Schriftguß AG in 1929. Their common design motifs epitomize the Age of Streamline. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Barmoor is a robust, classic roman display face, inspired by the letter designs of the Parisian craftsman Claude Garamond and other 16th century French engravers as well as antique roman letterforms. It works especially well letterspaced and in all caps. Alternate W, R, J, M, Q and K can be used to add a modest bit of flair to letterspaced, all cap treatments. Barmoor is mainly intended to be a display font or a limited text font.

This is a digital reinterpretation of Walter Huxley's 1935 evergreen "Huxley Vertical", which was originally cast for American Type Founders. A timeless classic which has been in use since the Art Deco era, this version is known as Hotel Suite JNL. As in the original metal type, alternates for A,K,M,R,W and Y are available and can be found on their respective lower case keys. Hotel Suite JNL is available in both regular and oblique versions.

Linotype Animalia is part of the Take Type Library, chosen from the contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. The font was designed by German artist Johannes Plass and is full of surprises. It is like a walk through the zoo, where the j is a shark chasing a small fish and the K is a moose gazing at the sky. Linotype Animalia is intended exclusively for use in headlines with large point sizes.

Ideal is a neo-grotesk typeface characterized by exaggerated pro­portions and an un­­con­ventional shift in balance such as in its a, k or s. Following low-contrast construction principles and with a generous x-height, Ideal works well both for expressive headlines and versatile reading sizes. The family consists of ten weights plus corres­ponding Italics. It supports languages written with Latin, Cyrillic or Greek alphabets. Each font includes fractions, tabular and oldsytle figures, arrows, ligatures and more.

Hello Aluyeaholics! Boulevard Signature, an exclusive handwritten signature font. Coming with 100+ stunning and super easy to use alternates and ligatures. Very suitable for your wedding invitation, packaging, apps, magazine, headline, website, ads and all type of design project you have. Super Easy to Use alternates - You can easily call alternates using special combination like a.2 k.3 b.4 t.h c.c etc. To get results like the preview just type Boul.4evard.3 Sig.4nature

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

Senkron is composed of "normal" and a "blok" styles. Senkron ("normal") was designed as a pure and modern neo grotesk font. The anatomy of the letters are designed to achieve an equal text color. For this purpose, the legs of the letters “R” and "K" are designed with a vertical angle to prevent the white space that would occur in the middle of these letters. In the minuscule, the characteristic features of letters such as ‘a’, ‘l’, ‘t’ are concretized and legibility is supported in the text. Considerable attention has been paid to the harmony between the anatomical structures of the letters and the diacritical mark’s structure. Senkron Blok is arranged for situations which have diacritical marks overflow to leadings of the headline and headline typographical color is affected negatively from this situation. For this purpose, majuscule diacritical letters are resolved within the letter height. However, when this is done, new forms are obtained by integrated diacritical marks with letters instead of directly merging them. The idea behind this approach is to preserve the typographic value of diacritical marks and emphasize the semantic value of diacritical letters. 82 letters have been redesigned in this way.

Lucky's Tattoo Flash is a unique tattoo styled font with sharp edges and a mean streak that can only be defined by the amount of whiskey it consumes.

Inspired by the famous Tennessee whiskey logo from 1866, the Black No.7 has over 400 glyphs including ligatures, alternates and special characters. Download the font for the price of a bottle Tennessee Whiskey. Note: If you plan on using the logos from the font for any commercial purpose then it is recommended that you contact those companies and request guideline information along with their official artwork. The Black No.7 has not been approved as official artwork by the company.

LittleMuffin is a lovely serif font family with a modern feel. The elegant design was created by fusing modern and vintage elements. When it comes to choosing the right typographic color for your project, the different weights give you a lot of options. The available Ligatures and Italic styles provide a diverse range of characters to make your project design stand out. 5 Weights (Light, Regular, Semibold, Bold, Black) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

“Aeternus”, a new geometric Sans Serif typeface, with matching italics. The combination of several weights, provides versatility in any text usage. Developed in a range of nine weights from thin to heavy, with a matching set of italics, Aeternus has been designed to optimize the space and preserve the legibility in any text size. Use effortlessly this typeface for titling, contemporary branding, web design, UI/ UX design, clothing, large print formats. Specifications. - Files included: Aeternus Thin, Aeternus ExtraLight, Aeternus Light, Aeternus Regular, Aeternus Medium, Aeternus SemiBold, Aeternus Bold, Aeternus ExtraBold, Aeternus Heavy with corresponding italics - Formats:.otf - Multi language support (Central, Eastern, Western European Languages)

Hello... this is Cherries, a cute and bounch hand drawn font family. Cherries have 5 weight: light, regular, medium, semibold and bold with 2 styles: regular and slanted also included with pairing font Cherries Display. Cherries included with some alternate character and ligature to make your design awesome. Cherries is fun and very suitable for cute or girly design needs such as cover design, typography, sticker, greetings card, logo, merchandise and many more. Cherries also easy for read and you can use it for quote or caption. Add this beautiful handwritten font to each of your creative ideas and notice how it makes them stand out!

Redland is a modern classic serif font that created for brand or logo design purpose. It teases your eyes with its curves yet still able to maintain its classy composure. The variety of weights provide a range of choices that will help you find the best typographic colour. The available stylistic Ligature and Alternate offer a perfect font for anything your creativity takes you. 5 Weights (Light, Regular, Semibold, Bold, Black) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Alternates & Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

Leonardo Sans is a modern sans serif with a geometric touch. It comes in 10 weights, clean and modern caps, thereby creating more variability. Designed with powerful opentype features in mind. Each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. 10 Weights (Thin, UltraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black, Heavy) Oblique font is available Numbers & Punctuation Extensive Language Support Thanks for looking, and I hope you enjoy it. Check out Newgate which is a great pair for Leonardo Sans.

Galpike Sans is a neat and clean variable font. The typeface is versatile to blend in your design- with 9 weight, ranging from regular, medium, thin, bold, semibold, extrabold, light, extralight and black & 18 styles + variable type to touch a lot of personality. Perfect anywhere you need a right finas touches for branding, publishing, titles, book, magazine , and use on UI/UX design. Features: Variable Font uppercase & lowercase numbers and punctuation multilingual 9 weight & 18 Style PUA encoded More about variable fonts : https://creativemarket.com/blog/what-is-a-variable-font if you have any questions don't hesitate to send our email at letterhend.com/tutorials/using-opentype-feature-in-any-software/

Manila- Modern Elegant Serif Font Manila font is a modern Elegant Serif font with a Elegant , fancy, playful, unique, and versatile vintage sans serif that you can combine to get a beautiful typography. It is a Serif font with moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility. What's Included: Ready 9 Weight (Thin, Extralight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black) Character set A-Z Alternative Uppercase & Lowercase Numerals & Punctuation Accented Characters (West Europe) Works on PC & Mac Wish you enjoy our font. :)

Rockdale is a bold and luxury serif font that created for brand or logo design purpose. It teases your eyes with its curves yet still able to maintain its modern and classy composure. The variety of weights provide a range of choices that will help you find the best typographic colour. The available stylistic Ligature and Alternate offer a perfect font for anything your creativity takes you. 5 Weights (Light, Regular, Semibold, Bold, Black) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Alternates & Ligatures Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.