It's here and it's a major upgrade to Hudson NY. Weight variations and alternate glyphs were some of the requests that were being received for Hudson NY and these have all been taken care of in the Pro Edition of Hudson NY. Hudson NY Pro still comes in Regular, Serif and Slab styles now with completely re-drawn glyphs, there are now six weights as well as italics for each style. Some of the additional features included in the Pro Edition is Small Caps, Stylistic Sets and Alternate Glyphs. Hudson NY is now loads more versatile, it is the perfect Display family for sports, beverage and entertainment. Press versions have been dropped in the Pro Edition as these were the lesser used and sluggish fonts of the original Hudson NY family so the focus was to create a cleaner family with more usability options. Each Hudson NY style now also includes a Variable font which saves you the hassle of installing multiple font files.

In the pre-computer, pre self-adhesive label era of office supplies a number of companies (including Dennison, Maco and Denny-Reyburn) manufactured a wide variety of gummed labels for just about any use or purpose. Blank labels, specialty labels and decorative holiday seals were just a part of this line. One popular style was that of labels with parallel thick-and-thin borders of red lines and corners chamfered, rounded or straight cut. Occasionally, one could find similar labels with blue, green or gold borders but red was the mainstay, hence naming this typeface Red Border Labels JNL. Presented in this font is a collection of twenty-six standard and specialty shape label borders on the capital (A-Z keys) and twenty-six solid panel versions on the lower case (a-z) keys which can be used as backfills for the borders or as stand-alone labels.

"Hi there, thank you for passing by. Colllab Studio is here. We crafted best collection of typefaces in a variety of styles to keep you covered for any project that comes your way! Ambaghy is a goofy font that's elevated by its posh, handwritten style. It will spice up your designs and add a unique feel to your design and it just might be the secret ingredient you've been missing. We've spent years honing our craft to create the most unique and original fonts like Ambaghy. We were inspired by the wild creativity that flows from our hands, and we want to share that inspiration with you. Ambaghy works great for logos and headlines, and also works well in text blocks of body copy. A Million Thanks Colllab Studio www.colllabstudio.com

🏆 Selected for Tipos Latinos 8. 🏆 Hiii Typography 2018 Merit Award. Rocher was designed while looking for an answer to a simple question: what would a typeface look like if it was made of stone? It certainly would look solid, but did we have to add cracks and rubble so it would resemble rocks? We didn’t think so. We decided to tackle the problem a different way. We added corners where there usually aren’t any and threw some unusual letterforms into the mix. The result is a typeface that feels like stone, but if you look closely there is nothing inherently stony about it. Unexpected corners provide just the right amount of roughness, while unusual letterforms give the text an informal aesthetic, traces of something naive and handmade. A family was born when the sturdy letterforms were turned into a series of playful layers. With 9 fonts in total, Rocher can be mixed and matched to create unique layered compositions that add depth to the layout. We designed Rocher to be used in logotypes, packaging, mobile apps and headlines. We are confident you will find another handful of scenarios where it can shine.

Sonny Gothic is our most rational-geometric typefamily until so far. It’s inspired by the geometric style of the 70s, specifically by Herb Lubalin’s work. Since we were students, we have been gazing Lubalin’s logos, typefaces and magazines as inspiration that still lives in our subconscious. At first, we made a pure geometrical typeface with modern caps proportion, then we combine those proportions with the 70s traditional caps ligatures. It was at that point that we knew Sonny Gothic was ready to arise. Even though Chile is not the origin of a modern visual culture, for us geometric typefaces and Lubalin’s work are one of the most attractive aesthetics of the creative realm, and therefore, this is our homage. Designed with powerful opentype features, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for the several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Grotesk Polski FA developed in 1998-2006, was inspired by the Polish eminent pre-WWII text typeface - Antykwa Półtawskiego. Adam Półtawski designing his antiqua had took into consideration the special qualities of Polish language. He designed unique letters: k, w, y, z and R, K, Y. Another unique element of his typeface was polygonal dot. Grotesk Polski keeps all that shapes and goes further. It is a contemporary sans serif in four cuts: Regular, Italic, Bold and Stencil. The proportions of the typeface were rebalanced to give it a neo-grotesque form with a Polish twist.

We are happy to introduce Prague Metronome, inspired by the city of Prague and the metronome in the heart of this city. Prague Metronome, a font made manually by hand that we set in such a way that everything is connected in a neat rhythm, just like metronome used by musicians to set the tempo. This font has alternate stylistic for Uppercase and Lowercase, we also complement lowercase with alternate swash and titling. No half-hearted, we added 142 ligature to get the impression of natural handwriting. Comes with two thicknesses namely hairline and monoline as well as a unique shape appearance that will attract interest when used as your brand identity. This font can be used for brands, quotes, headers, websites, and other broader graphic designs. Prague with its metronome is a symbol for everything, beauty, history and personal impression that cannot be described. If European cities were a necklace, Prague would be a diamond among the pearls. Enjoy our font. thanks.

LTC Goudy Initials has been a best-seller since it was reformatted to font format by P22 in 2005. We decided that while it works very well at medium sizes, when it was used extra large, the outlines were not as true to Frederic Goudy’s 1917 drawings as they could be. We decided to redraw from the ground up—and here we have the NEW LTC Goudy Initials! Meticulously redrawn by Miranda Roth, these ornaments referenced original proofs of large sizes of Cloister Initials. In our quest for artwork for this project, we even arranged a quickly sold out recasting of the 120 point size and have produced a limited edition letterpress print from this casting This new digital version features two additional layers to allow for quick colorizing of the central letter and/or the floriated background. Registered users of the previous version of LTC Goudy Initials may upgrade to the set at a discount.

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

The long and frustrating search for a dynamic, monoline script drew our attention to the lack of such a typeface. This prompted us to create our very own, Terital, named after the 1960s Italian overcoat advertisement that was the original reference point for its 2003 creation. Fearing the odd all-caps script setting, we cheekily designed Terital as a lowercase set. This limitation was revised in the 2011 version. Beautiful swash capitals were also added.

Apparently, Lexicon is the most expensive font in the world. ‘Skiart Lexiconic’ has been on a long growing path getting to where it is now. This font family was originally inspired by the san serif font ‘Skia’, by Mathew Carter for Apple. ‘Skiart’ was designed to feel more like a serifed font, but without any actual serifs. It took a small step between sans serif and serif fonts. Next on the path towards a serif font came Skiart Serif Mini, with tiny serifs added. This was a true serif font, although they were subtle. Then came ‘Skiart Serif Leaf’. and now... We present to you... DT Skiart Lexiconic. Having evolved from the Skiart family, we chose to give it the serifed styling of Lexicon. This is no way a copy or clone of Lexicon. It still has the basic bones of the original Skiart font, but the position, shape and size of the serifs were very much influenced by the world famous Lexicon font. DT Skiart Lexiconic is not the most expensive font in the world.

Thank you for waiting. Finally, Bebas Neue has got lowercases! Bebas Neue is a world wide, the most popular font family with all caps released in 2010. Bebas Neue has been used from by big companies to by startup designers for many projects. In spite of the fact that Bebas Neue has only Uppercases, it became very popular font for these 10 years. At the same time, we received many requests for adding lowercases. To be honest, we had been developing whole new Bebas Neue with lowercases secretly for long time. Thinner Uppercase from thin to regular weights were redesigned for Pro. New lowercases were designed to match the Uppercases very carefully. You can access Tabular figures by using OpenType tnum features. Almost all European languages are supported by Pro. One more big thing is... Bebas Neue Pro has Italics! Please don't use sloped Bebas Neue. Pro has proper Italics! Bebas Neue “Pro” can extend your possibilities. Be the first to use this professional and premium Bebas Neue!

Remember those plastic Popsicle sticks that clicked together and you could make things from them with your sticky little fingers? Things like... camp crafts. Well, no� Of course you don't. You were too young. That�s why there is Campcraft. This is a fun loving dot-matrix font, or it would be a fun loving dot-matrix if the vertical and horizontal grid lines didn't pile up at the intersections. Then again, it wouldn't be any fun if they didn't pile up at the intersections, would it? Strictly a display type... Campcraft is excellent for what the name suggests. I goes well with Christmas sweaters, beaded jackets and purses and that time when we were all happy children with sticky little fingers.

The Adinkra alphabet is a way to write some of the languages spoken in Ghana and Ivory Coast, such as Akan, Dagbani, Ewe and Ga. It is a simplified version of the Adinkra symbols, and was introduced in 2015 by Charles M. Korankye, who has written a number of books about it. According to tradition, the Adinkra symbols were created by Nana Kwadwo Agyemang Adinkra, the King Gyaman people in the Ashanti region of Ghana from 1810 to 1820. Or they were created by Gyaman people, and the king liked them so much that he wore them on his clothes and named that after himself. The Adinkra symbols are used as decoration, logos, arts, sculpture, pottery and so on. The symbols represent sayings, proverbs or concepts, such as wisdom, authority, strength, unity, love adaptability, wealth, peace, war or agreement. Since Unicode codes have not been assigned yet, it is designed on a latin-based font. Please contact me if you want changes to the keyboard layout.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

Last year, we visited Brazil and we were totally captivated by its cheerful and warm people. Its wild nature is absolutely amazing and very noticeable in textile printing as well as in floral design. That was precisely what inspired us to create some ornaments and dingbats, which we then turned into a single typographic work. The resulting typeface was called Garden , a serif display handmade font with a playful and spontaneous feel. The Garden family offers a font with a set of original “catchwords” (‘Garden Catchwords’, based on brush calligraphy), floral dingbats and botanical ornaments. Please be aware, “Garden Catchwords” is a ‘Catchwords’ font, and does not offer standard AlphaNumeric characters. The OpenType version provides a wide range of creative options. Garden is well-suited for text composition, posters, headlines, label design and handmade-style items. Garden is inspiration, nature and joy!

Isabella was designed by Hermann Ihlenburg in 1892 for MacKellar, Smiths and Jordan, one of many type houses that were later amalgamated into American Type Founders. As testimony to its long-lived appeal, Isabella was one of the first PostScript® language typeface releases (in 1988) of Agfa Compugraphic. With its unmistakable 19th-century characteristics - swirls, loops, and surprising letter shapes - Isabella is a natural for display situations that demand high drama or, dare we say, melodrama.

Manufactory JNL and its oblique counterpart were re-drawn from examples of a now-antique typeface used within many advertisements found throughout the pages of The American Stationer magazine, circa 1879. The term ‘manufactory’ was popular during this era; the word being a more archaic form of ‘factory’. There is a bit of Western flavor to this type design, as the spurred serifs and the top and bottom strokes are heavier than the vertical and mid-point stroke weights.

This family was created inspired from the two sets of rough initials fonts used by the famous William Caxton in Westminster (GB) in the late 1400’s. As it was normal for the time, there were not any differences between I and J, U and V. It is not a mistake. We have reconstructed the few other missing characters. This font was conceived as a supplement for our 1479 Caxton but may be used with all our Blackletters fonts.

Whenever I've stayed in Munich my friend Michael Bundscherer and I go on a typographical expedition. When we talk about that, we remember the bygone world of sign painter. On one of the facades of a furniture shop in Munich, you can discover the lettering of the name in golden letters. This one convinced us because of the simple elegance Art Deco. These letters on the facade are in any case the character set, which forms the basis of this document. The missing (especially the lowercase letters and the numbers) were modeled. The "OPEN" called version tries to replicate the 3-D effect. The font is particularly suitable for shorter texts and headlines.

Oddity is a calligraphic script font with reversed contrast with some exceptions in some letters, adding more legibility and rhythm. This new typeface has a nostalgic Lo-Fi vibe, a tribute to a past era. When experimenting we were finally breaking rules to create a really openminded letterset. Using ideas from English calligraphy and our own Nautica family as a starting point, we created this classy 70s flavour type design. Its modern concept transforms a vintage design trend into an absolutely contemporary typeface. Oddity is a perfect match for quote designs, it is simply outstanding when used at very large sizes. You will love to use this font for posters, branding, magazines, book covers, packaging, or products.

Introducing HEXA’s second family-font, Retro Games Font. The RetroGames font is a witty reinterpretation of the fonts found in 90s 16-bit games that we enjoyed when we were young, presented as bitmap imaged fonts. It offers superior legibility and aesthetic sensibility compared to many other existing bitmap fonts. For instance, while most bitmap fonts create one stroke with 1 pixel or have various thicknesses in pixels, we have standardized it to a maximum of one stroke with 1-3 pixels, enhancing both legibility and aesthetic appeal. Since there are many similar bitmap fonts, we wanted to reinterpret it as a genre of its own. Our latest designed fonts HEXA, we noticed some shortcomings in legibility, and we aim to address those shortcomings in this bitmap font, Retro Games. Our RetroGames font, which brings back memories of our analog past, can be a valuable design element in many design works." ※ RetroGames is Latin-based and a completely crafted font that consists of 2 typefaces. Each typeface contains 195 sets of characters. This font family is in all-caps fonts. ※The font family includes 'Dropline' and 'Black.' 'Dropline' comes with a shadow effect, while 'Black' is designed without a shadow for simplicity." ※RetroGames is a monospaced fonts. So kerning is not applied.

Victorian Silhouette is a decorative all-capitals face made up of small silhouettes of people engaged in different activities. Before photographs were readily available, portraits were commissioned in the form of silhouettes, and these were extremely popular during the Victorian era. The Victorian Silhouette font is ideal for initial caps.

CA Capoli is a fine script typeface with a vintage touch. Perfect for illustrative titles or logotypes. It comes in two styles, Regular and Stroke. The inspiration came during our trip to Italy, where we took a short rest in a bar during a hot day. We discovered a simple ceramic ashtray on the table. The word “Nido” was inscribed in a typeface that looked like it dated back to the 1950s. We made some investigations about the word, its meaning and origin but it still remains a big mystery. Was it the name of a hotel or a restaurant or some vintage Italian cigarettes? We don’t know. We were so amazed about the design of the logo that we decided to create a typeface out of it. A sophisticated endeavor because we just had four letters. How could the rest of the letters – if it ever existed – have looked like? Our hypothesis is CA Capoli. A typeface with a full Central European character set and some nice alternative letters to chose from. When we thought about “Nido” and its possible derivation of hotel business, we felt like creating a small side project for this typeface, a brand for a fictional hotel called Hotel Capoli with business cards, letterheads, a reception book, key fobs and embroidered patches for the service dress of the hotel service stuff. The Hotel Capoli is located at the wonderful beach of Cape Arcona on the fictional country of Arcona Islands where our type foundry is located.

Originally designed in 1998 as a 3-font family, updated in 2016 by new italics, small caps and many OpenType functions, resulting in a set of highly visible poster typefaces. If a  text is set in a  good Egyptienne, we can observe a  kind of sparkle in the lines. Slab-serifs are cheerful typefaces, possibly due to the fact that they developed simultaneously with Grotesque typefaces. The design principle originating from the first half of the 19th century does not have such firm and long-established roots as for example, the Venetian Roman typefaces, hence it’s much more prone to a  “decline”. We know of Egyptiennes with uneven color, with letters falling backwards (this often happens in the case of “S”), and especially with slightly bizarre modeling of details. In the course of time, however, it was realized that such things could be quite pleasant and tempting. After a  century and a  half, we find that such Egyptiennes could refresh uniform computer typography. The forms of many twisted letters resemble the gestures of a  juggler: others, rectangularly static ones, reflect the profile of a  rail or a  steel girder – things which, in their times, were new and were observed by the first creators of Egyptiennes. These typefaces are ideal for circus posters and programs for theatre performances, just as for printing on cement sacks.

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.

-Fabulous, beautiful, friendly, talkative, sweet, caring, a little on the odd side, very desirable by many, good at almost everything- That's the definition of Fabiola according to the slang dictionary of americans. If you were you looking for something delicious, a font that covers a really wide range of uses and always looks amazing, Fabiola should be your choice. Although it may look as another of my scripts with juicy swashes, this time I explored in depth the pairing and interaction with capital letters for more unique results. Why? We are going through some crazy days where the number of people interested in letters is only growing. We see lettering everywhere: I can say that finally our field is shouting out loud; letters are THE protagonist more than ever. Hence the need of combining and pairing different styles is booming. Fabiola Script and Fabiola Caps were done in a way that they seem to need each other. There's nothing better than the above images to prove this. But, how does it work? The big swashes of the Script style were designed so they can surround, wrap and mingle with the Caps styles. The smaller swashes are meant to be used when the Script is alone. Simple, right? I hope you find Fabiola useful on your projects and enjoy using it like I did when making the posters! Have a super fabulous day!

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface lacks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

The typeface Typist originated during an extensive research on the origin and development of typewriter typestyles. The first commercially manufactured typewriter came on the market in 1878 by Remington. The typestyles on these machines were only possible in capitals, the combination of capitals and lowercase came available around the end of the nineteenth century. Apart from a few exceptions, most typestyles had a fixed letter width and a more or less unambiguous design that resembled a thread-like structure. A lot of this mechanical structure was due to the method the typestyles were produced. Looking at type-specimens for print before the first typewriters were good enough to came on the market we can see that in 1853 and in 1882 Bruce’s Type Foundry already had printing type that had a structure of the typewriter typestyles. Of course printing types were proportional designed as typewriter typestyles had a fixed width. So it is possible that except from the method of production for typewriter typestyles, the design of printing types were copied. In the design of the Typist, the purpose was – next to the monospace feature – to include some of the features of the early typewriter typestyles. Features such as the ball terminals and the remarkable design of the letter Q. This new typeface laks the mechanical and cold look of the early typewriter typestyles. The Typist comes in six weights with matching italics in two versions. One that resembled the early typewriter typestyles (Typist Slab) and a version designed with coding programmers in mind (Typist Code).

Futurum Parqez is the first collaborative font for Parquillian Design. The idea for this font first came to the creator, Jose V Lopez, almost 40 years ago. A couple years ago he shared his concepts and we were gradually able to collaborate on editing the designs and turn them into a working font. The philosophy behind the font is to use a standardized frame format and the fewest strokes possible, while maintaining legibility, to create an original minimalist and modern style.

The Yenisei Inscriptions consist of a total of 158 Turkish inscriptions, kurgans (graves) and rock stones that have been found along the Yenisei River, which passes through the Khakasya, Tuva and Altai Autonomous Republics in Russia. The inscriptions were written with Turkish Stamps, which we know as the Orkhon Alphabet. In addition, there are dozens of versions of the Turkish Runic script, apart from the Yenisei inscriptions and the Orkhon inscriptions. I will present the other versions here as soon as possible.

I really don’t like candy. In fact, I even hate the smell of candy! But… You can wake me up for caramel in any form or shape! When I was a kid, we used to get a tin of wrapped English ‘quality’ toffees for Christmas. My favourites were the big, flat chewy caramels in a bright purple wrapper! Chewy Caramel is a happy handmade font, ideal for book covers, candy wrappers and labels. Comes with double-letter ligatures for the lower case.

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 family of two character monograms and initial letters was inspired from a French portfolio containing about two hundred examples of "Chiffres - deux lettres", destinated to engravers and jewelers, published in Paris in 1864, drawn by French engraver, C. Demengeot. Unfortunately, a large part of the pages were lost, so we have had to redraw about two thirds of the complete monogram family. Each package contains numerals and two complete sets of two-letter monograms, for example the A-B set, containing AA AB AC... corresponding to caps keys alphabet and BA, BB, BC... corresponding to lower case keys alphabet. We have added an Initial set, with two choices of single characters. Warning: I and J have strictly identical monograms.

Niccolo Niccoli (1364-1437) was a wealthy bibliophile and an acclaimed scribe, in Florence (Italy). He was one of the most important Italian calligrapher in this early time of rediscovering Roman script. Of rare accomplishment was his adaptation of the so called Italian humanistic minuscule script. We were inspired from his late work to create this present Font. We have added a lot of accented and other characters (U/V, I/J...) who was not existing in the original and replacing "long s" by a small "s" for a modern use. The OTF encoding was used for intelligent alternates, permitting to use different forms of the same lower case or capital in a single word, reproducing easily the charming variety of a real manual scripture.

JabcedHy is a serifed, legible typeface in four weights with each weight having both an upright and an italic style. The original four fonts (plain, italic, bold, and bolditalic) were constructed by blending two other typefaces, and because the result seemed better than either parent, the parents were retired. Semibold and extra bold weights were added in a 2019 revision.

A few scant examples of some condensed Roman style water-applied decals inspired Sign Letters JNL. The decals were once part of the gold and black "Signmaker" letters and numbers once manufactured by the Duro Decal Company of Chicago and were sold through hardware and variety stores across the country. The condensed letters (which were eight inches in height) did not sell as well as Duro's mainstay sizes of 1/2 inch to 3-1/2 inches and were discontinued long before the rest of the line was supplanted by self-adhesive lettering.

In the early years of the twentieth century a number of romans with a soft and slightly script like quality were evolved. Although they did not represent the future in terms of the major design influences that were to appear after the First World War, they were a break with the past, and were developed further in the nineteen twenties and thirties. Monotype Bernard Condensed is closely associated with this period, a condensed roman evoking an easy charm. The Monotype Bernard Condensed font offers many display applications where warmth and friendliness is required.

This handwritten font is ideal for bringing back 90s nostalgic atmospheres. With its indie nature, this grungy font will add a touch of spontaneity and style to any creative project. This font recreates the atmospheres of our teenage years in the 90s, when we listened to Smashing Pumpkins, wore Chucks, and went to indie gigs. We love thinking about that time of wonder, discovery and imagination, and Teenage Dreams is perfect for bringing them back into our creative projects. Achieve a realistic handwritten effect by mixing the 4 different versions in titles and covers, instantly creating typographic artwork with an alternative, intimate attitude. On top of that, we also added a 5th bonus version of this dreamy font, with scribbles and drawings you can add to your compositions. This way, you will get a grungy scrapbook effect while adding intensity and style to any project. It is awesome when used on dark, noisy backgrounds, or used on top of images and photographs!