The Bitstream version of Bell Gothic designed by Chauncey H. Griffith in 1938 for telephone directories of the Bell Telephone Company. It is a good sans serif choice for listings, catalogues and directories as its design is very space saving. The weight of the line is moderate and uniform. Being a clear and easy-to-read font, Bell Gothic is popular now for display and magazine advertising. Cyrillic version by Isabella Chaeva was released by ParaType in 1999. Italic styles added in 2009 by the same designer.

Reksano was inspired by retro vintage arcades, toys, and games back in the 90s era. Embracing the retro-futurism trend with the mindset from the past, predicting how the future will look from the human eye's perspective. The bold, and tall form of construction makes the Reksano a no-doubt game-changer for your graphic design visual journey. Perfectly fit for logo, branding, gaming, esport design, poster, music video, album artwork, cover, book, packaging, merchandise, apparel, fashion, and many more.

Giambattista Bodoni was an Italian engraver, printer, and publisher who was one of the best typographers of the 18th century and became known worldwide for his iconic serif typeface. In the posthumous edition of Bodoni’s “Manual of Typography” published in 1818 by his widow Margherita “Ghitta” Dall’Aglio may also be found, among the other treasures, the Cancellaresca (Chancery). Ghitta is a redesign of this typeface in its finest form. With strong stroke contrast in 4 optical grades, 850 glyphs with wide range of language support, accented ligatures, oldstyle figures, 8 stylistic sets, and unique way of letter connection, Ghitta Bodoni Cancellaresca follows and builds on the best of Bodoni’s historical prototype and shifts further to a contemporary script typeface full of grace, neatness, and beauty. *** This font is powered by OpenType feature “Ligatures”, so it is necessary to have this function turned on. If you need support or more information, please kindly contact me: spurnej@email.cz

Marconi was created by Hermann Zapf in 1973. According to Gerard Unger, it was the world's first digital typeface. Zapf’s design was developed as a text face for books and magazines. The round forms of the Marconi follow the principle of the superellipse. The lowercase letters are enlarged as the result of reading tests, while the capital letters are slightly reduced. The 8-point size — normally used for newspapers — looks more like 9 1/2 points. Marconi is a legible typeface with its large and open lowercase letters. It is ideal for long text blocks in newspaper, book, and magazine production.

Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. Terfens draws influence from chancery scripts, updating it for the twenty-first century. Terfens Contrast is derived from Terfens' DNA and retains its humanist tone. It’s tall x-height gives it a friendly but not informal feel. With Terfen Contrast, calligraphy-inspired letterforms are rendered with a high contrast nib, lending raw vitality and expressivity. This juxtaposition gives the letters a sense of firmness and energy, but also of heavenly, delicate beauty. Terfens is a full-service branding and packaging solution, containing a lot of personality, combining the passion of a broad nib pen with the beauty of a brush. Terfens is a "workhorse typeface" comprising 48 typefaces in three widths and eight weights. There are ligatures and swashes in all weights, as well as support for more than 72 languages. Another powerful typeface to add to your collection of eye-catching fonts. • Recommended uses: modern branding and logo design, powerful editorial design, exciting packaging, and a wide range of additional jobs. • 54 font styles, including eight weights, eight italics, and three widths. • Each weight has 500+ glyphs. Useful Opentype features include: Access All Alternates, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Subscript and Superscript.

The design for Aurelia is based on the forms of Jenson, an Old Style typeface developed by Nicolas Jenson in 1470 which still influences type design today. Zapf gave Aurelia a bit of his own personal style and adapted it to the demands of modern technology. The family of typefaces was originally designed for use with the typesetting machines produced by the German company Dr.-Ing Rudolf Hell GmbH which was later merged with Linotype. The name Aurelia is a nod to the Roman emperor Aurelianus (214–275), who built the Via Aurelia in Italy. Aurelia is a robust and classic font, suitable for both text and headlines.

Sandena began as an attempt at a harmonic convergence between the classic lines of Palatino and the curved flair of Optima - both favorites of mine from the great Hermann Zapf. As I’ve always loved the Swash characters of the 50’s and 60’s letterforms, I incorporated these alternatives to offer the more complete package that you see here - a humanist font in the truest calligraphic sense. This OpenType font family comes in four weights and includes condensed and Swash Cap alternates. Sandena offers multiple-character foreign language support and is being offered in a number of packages best-tailored for your unique application.

The Bitstream version of Linotype Janson. Nicholas Kis (Miklos Kis) was a Hungarian punchcutter who worked in Amsterdam. His types are some of the greatest in the Dutch old face style and have been used as models for a number of developments in this century. The Linotype version of this style, Janson, was created by Chauncey H.Griffith in 1937 and based on an original face cut by Kis in 1670–90. The face is named after Anton Janson, a Dutchman who worked in Leipzig, with whom the face has no connection. The typeface is used for text setting. Cyrillic version was developed at ParaType in 2001 by Vladimir Yefimov.

Hermanz™ Titling is inspired by the most majestic caps that Hermann Zapf ever drew. They are inscriptional caps, square caps, or “capitalis monumentalis”. These caps are some of the most beautiful letters made by one of the greatest talents of our time; so beautiful they deserve to be seen and appreciated by everyone. If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Hermanz Titling works for anything labeled "fine": fine dining, fine music, fine art (pamphlets, books, posters, cookbooks). It also fits well for religious topics: posters, events, websites, hymnals, for biblical; and ceremonies, religious or otherwise. Emotions It Can Communicate: • Importance • Timelessness • Special Event • Tradition • Reverence • Artistry • Beauty Released June 2021 on the Memorial of Hermann Zapf, as part of the California Type Foundry Memorial Series: Honoring the life and work of the great font designers. FONT STORY The Majestic Caps When I was on one of my visits to rare books rooms I found some large caps of Hermann Zapf, and I knew that I had to make a font inspired by these. I was surprised that no one had ever made them into a font. They were some of the most beautiful caps I had ever seen. These caps were surprisingly difficult to make. I thought it would take me a week or two; to get the detail and spirit right took significantly longer– but it was well worth the effort! When you print Hermanz Titling on a page, you will see what I mean. Even when printed digitally, it’s the closest thing to letterpress. You might even have some people thing it was printed by a traditional method with ink! (Note: Unless printed at very large sizes, this font is not recommended for actual letterpress, because the serifs are too thin.) If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Enjoy this breathtaking font, and may it help inspire people with your messages! –Dave Lawrence & the California Type Foundry

Opal Bulgarian is a humanistic sans serif typeface of a modern type, inspired by the famous Optima typeface (designed by Hermann Zapf). Opal Bulgarian consists of 2 weights and corresponding italics. Opal Bulgarian is suitable for body texts; for titles; for corporate identity. Opal Bulgarian continues the design of Opal BulgarianCYR, designed in 1992 by Zhivko Stankulov. In compare to Opal BulgarianCYR the new font family Opal Bulgarian has more glyphs and cover more languages. A number of shortcomings in the construction of the glyphs have been eliminated, and the design as a whole has been updated. Opal Bulgarian is available with active support and upgradeability. Licensees will receive all new versions of the font free of charge.

The Palatino™ typeface was first designed over 50 years ago by Hermann Zapf, and is probably the most universally admired and used of his type designs. In 1950, it was punchcut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt am Main, and then adapted for Linotype machine composition. Zapf optimized Palatino's design for legibility by giving it open counters and carefully weighted strokes, producing a typeface that was legible even on the inferior paper of the post-World War II period. The font was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. It has become a modern classic in itself, and is popular among professional graphic designers and amateurs alike. Palatino works well for both text and display typography. The new Palatino™ Linotype typefaces are OpenType format fonts, which include many newly designed characters in four large character sets; including extensive support for the Latin, Greek, and Cyrillic alphabets, as well as for Central European and many other languages. The Palatino Linotype OpenType fonts contains the following Microsoft code pages: 1252 Latin 1, 1250 Latin 2 Eastern, 1251 Cyrillic, 1253 Greek with polytonic Greek, 1254 Turk, 1257 Windows Baltic, and 1258 Windows Vietnamese. The fonts also include many ligature glyphs, including some historical long s-ligatures, as well as sets of Small Caps, Old style Figures, and vertical & diagonal fractions. Each font contains 1325 different glyphs.

Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva. The fonts were based on Cyrillic version of Excelsior that was developed in 1936 in Moscow by professor Michael Shchelkunov, Nikolay Kudryashev et al., that in its turn was based on Excelcior by Chauncey H. Griffith, 1931, Mergenthaler Linotype. Digital version was developed in ParaGraph (ParaType) in 1991. In 2012–13 designer Natalia Vasilyeva made some corrections in original digital data, extended character set and add bold italic style. The family was rereleased in ParaType in 2013.

Rahere Informal is a slab semi-serif typeface that has a seriously charming personality and a little spring in its step. Serifs bend and flick, giving the characters a spirited, almost calligraphic feel. It's lively and friendly without being whimsical, great for messages that need a casual but credible tone with a bit of zing in the mix. Rahere Informal is suitable for a wide range of applications such as information signage, packaging, advertising, brochures, catalogues, screen text, visual identities and opera festivals. Want an annual report that pleases the board, shareholders and investors? Set it in Rahere Informal - that’ll put a smile on everyone’s face. The family comes in six weights from light to extra bold with corresponding italics. The lighter weights are more delicate, an evenly-spaced flamboyance of flamingos basking in the sun. As the weights get heavier, characters transform into a tight-knit group of line dancing rhinos. All styles contain a set of swash caps, a few ligatures and alternatives. Nice. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans and Rahere Slab). If a companion sans serif is needed, Rahere Sans is the ideal partner. They are both part of the extended Rahere typeface family and have been designed to complement each other. Seriously charming, charmingly serious. Seriously, what more do you want from a typeface? Rahere, founder of St Barts in London The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

Part of the extended Rahere typeface family, Rahere Slab is a humanist slab serif (or Egyptian) in six weights from light to extra bold with corresponding italics. Rahere Slab – like its sibling Rahere Sans – features subtle detailing, giving the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere Slab is a versatile, workhorse typeface that is suitable for a wide range of applications such as information signage, packaging, annual reports, advertising, brochures, catalogues, screen text and visual identities. Slab serifs are ideal for projects that need to convey a sense of authority tempered with diplomacy or messages that just need some serious oomph – and Rahere is a great slab for the job. The italic lowercase is more cursive and expressive than the roman and when they’re used together it displays enough character to create emphasis without looking out of place while harmonising admirably. Set on its own (for example, pull-out quotes), the italic exudes a charm that draws attention to the text. The character set covers most European languages plus Vietnamese. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles (matching Rahere Sans too) – indispensable for financial tables in annual reports. If a companion sans serif is needed, Rahere Sans is the perfect partner. They are both part of the extended Rahere typeface family and have been designed to complement each other beautifully. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded the Priory of the Hospital of St Bartholomew, London in 1123. In 2007 I was successfully treated at Barts for relapsed testicular cancer so I’m indebted to all the doctors, nurses and support staff who work there. A special shout out to Orchid Cancer – a UK charity that helps men affected by cancer – who funded the research for my treatment.

OPEN SERIF - answering the question “what font pairs well with Open Sans?”. Designed by Steve Matteson for extraordinary legibility and comfortable reading on screen and in print. Open Interpretation: Not quite Veronese – not quite Egyptian. A dash of panache in an otherwise sturdy serif typeface. Open Serif is an elegant text and display typeface family. Open Interiors: Visually open and legible at text sizes just like its cousin Open Sans. Open Serif reads smoothly but has an energetic texture. The chancery style italic contrasts nicely to the roman in a full bodied nod to Italian Renaissance forms. Open Type: Open Serif is full of OpenType features including Small Capitals for the Roman, Italic Swash Capitals and Old Style Figures for both. Open Translation: Supporting all the languages available in Open Sans, Open Serif completes the translation capabilities of international companies. Extended text is more pleasant to read in a serif typeface so go global with a unified typeface family! Open Face: Open Serif Titling is an elegant companion to round out the family. These ‘open-face' capital letters are ideal for initial letters, mastheads, titles and decoration.

Palatino Sans Arabic is a collaboration between Lebanese designer Nadine Chahine and Prof. Hermann Zapf. The design is a low-contrast companion to the award winning Palatino Arabic and comes in both regular and bold weights. It is designed for use in print in both large and small sizes, and brings into Arabic the informal and friendly appearance of Palatino Sans. The counters are wide open to allow for better readability in small sizes as well as to maintain an open and friendly appearance. The font has 1091 glyphs and includes a large number of extra ligatures and stylistic alternates as well as the basic Latin part of Palatino Sans and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages.

Alizé is a three-weight typeface inspired by the chancery italic of the 16th century. It is a high-contrast face, created with syncopations in axes and proportions and subtle irregularities that form a lively and delicate weave, suitable for setting a single word, a special expression, or a short block of prose. The family does not contain a roman, and instead promotes the italic as a primary style, a common printing convention in the 16th and 17th centuries. The italic lowercase predates inclined capitals by about twenty years, and as a nod to this typographic evolution, Alizé’s capitals, small capitals, and figures are very slightly inclined to match the energy of the lowercase. The low x-height and long ascenders and descenders, features associated with finesse and luxury, are reminiscent of the Venetian-style italic, but are further emphasised. Unlike the Venetian italic, however, Alizé has a sharp slope, giving a prominent sweep across the page (alizé is the name of trade wind). Each font of Alizé has a character set count of exceeding 700, and contains an abundance of ligatures, dynamic fractions, ornaments, and pan-European language support. They have also been manually hinted for the highest-quality display on both print and screen.

«Abelina» is a typeface that can be used in display sizes for titles where part of the central premise is to emulate certain features of gestural handwriting.  Concepts like spontaneity, speed and fluidity, associated with the use of certain calligraphic tools – in this case the pointed brush – led to a typographic result based on the pattern-like structure coming from the chancery and italic calligraphic models. «Abelina» - initially designed by Yanina Arabena (Calligrapher, Graphic Designer and Typographer) - is reborn to make way for “Abelina Pro” through the solid work of Guillermo Vizzari working together with Ale Paul from Sudtipos. Throughout its use, “Abelina Pro” maintains the structure of a firm style, integrating a dynamic rhythm in the composition of short texts and offering personality to each of the words it builds. It has over a thousand glyphs, including several alternates, ligatures combination, initials and miscellaneous to reinforce the idea of the author of merging a calligraphic project in the typographic world; allowing new ways to capture this great universe of italic faces. «Abelina» project was initially born as a typographic project developed by Yanina Arabena – tutored by Ale Paul and Ana Sanfelippo – under completion of the Specialization in Typography Design at University of Buenos Aires, Argentina, during the years 2011 and 2012.

ZapfinoExtra is an OpenType format typeface available in two versions. The Contextual version contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing the Contextual version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual), and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino family's 1676 glyphs. The Zapfino family's character set supports 48 western and central European languages. More Zapfino History: Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version-named Zapfino™ Forte. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities!"

Hesse Antiqua is the very first typeface designed by Gudrun Zapf von Hesse. It was a pioneering project originally created by her over 70 years ago as a set of brass punches to stamp into leather book covers and spines at the Bauer Type Foundry in Germany. In celebration of her 100th birthday on 2 January 2018, Ferdinand Ulrich and the Monotype Studio team collaborated with her to bring her brass punches to live as a digital font. Hesse Antiqua was developed with careful considerations and decisions to capture the nuance of the beautiful letterforms as they originally appeared in gold and blind stampings. We are pleased to introduce this modern OpenType typeface featuring a proper set of capitals and small capitals, figures, punctuation and some ornaments as well. Hesse Antiqua is best used at 36 points and above, as the designer intended.

Starsigns is a unique set of zodiac symbols with a handmade feel. This font includes twelve astrology symbols: Aquarius, Pisces, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, and Capricorn. Additionally, it features a moon and a sun symbol. The symbols were created from watercolor originals, giving them a warm and fluid quality. To utilize Starsigns, simply install it as a regular font. As you type, instead of letters, you will see the corresponding zodiac symbols. For accessing the symbols, type any lowercase letter on your keyboard between 'a' and 'm'. Most design software, such as Illustrator, InDesign, and Photoshop, provide a glyphs palette where you can select the desired symbol precisely.

Matthew Carter designed the Shelley family 1972 for Mergenthaler Linotype to be used as a new script face for the photo typesetting machines. The basic idea was to create one script face that would offer dfferent elegant letterforms. Matthew designed Shelley in three different versions, Allegro which is in the style of Kuenstler Schreibschrift, Andante where the caps are less flowrish and wide and Volante where the letters have its most expressive and wide forms and the lowercase z in this font is in the french anglian double stacked form. All three versions can be easily mixed to give the text a more individual calligraphic look Besides Shelley Linotype Zapfino from Hermann Zapf shows similar basics, but in a totally different letterform. In Linotype Zapfino the individual lowercase letters from the four different versions have different letterforms which gives the text an even more individual touch.

A mediterranean style sanserif in 4 styles The original idea of Costa was to create a contemporary mediterranean typeface style. Costa is a synthesis of the purity, as found on Greek capitals, and softness, found in Renaissance scripts. First thing was the design concept that take its roots on the Chancery script. Such writing style appeared during Italian Renaissance. Later few typefaces have been developed from such cursive models. Today most serifed typeface italic take their roots on such triangular structure we can find on gylphs like the n, p, or d. The Costa capitals remains close to pure sanserif models when the lowercases features an ending serif on many letters like the a, n, d, etc. This ending serif being more like a minimal brush effect, creating a visual contrast and referencing the exoticness of the typeface. Knowing that the Costa typeface family began life in the 90s as a bespoke typeface for Costa Crociere, an Italian cruise company — it suddenly makes sense and explains well why Jean François Porchez focused so much on Italian Chancery mixed to a certain exotism. The curvy-pointed terminals of the Costa n can obviously get find on other glyphs, such as the ending of the e, c and some capitals. So, the sanserif looks more soft and appealing, without to be to pudgy or spineless. The general effect, when set for text, remains a sanserif, even not like Rotis Semiserif. Costa is definitly not a classical typeface, or serif typeface which convey past, tradition, historicism as Garamond does beautifully. Because of the Costa crocieres original needs, Costa typeface was designed to be appropriate for any uses. Anytime you’re looking for good mood, qualitative effects, informal tone, cool atmosphere without to be unconvential or blowzy, Costa will convey to your design the required chic and nice atmosphere, from large headlines sizes, brands, to small text sizes. It’s a legible typeface, never boring. A style without neutrality which doesn’t fit comfortably into any typeface classification! Does it proves the novelty of its design and guarantees as well as its originality? Its up to you to be convinced. Barcelona trip Originally not planned, this need appeared because of a trip to Barcelona at the time of the project, where Jean François was giving a lecture. He wanted to pay an homage to that invitation to create something special. So, he designed during his flight some variations of the Spanish Ch, following ideas developed by the Argentinian type designer Rubén Fontana for his typeface called Fontana ND (published by the Barcelona foundry Bauer). Then, he presented during his lecture variations and asked to the audience which design fit the best to their language. They selected the design you can find in the fonts today. Read more about pairing Costa Type Directors Club 2000 Typographica: Our Favourite Typefaces 2004

Bisco Condensed is a small capital design inspired by hand lettered memorial wall art from the Harlem section of New York City. As a memorial, this design is dedicated to a type design colleague who lost his long battle with cancer. This font is a tribute to his strength and his liveliness. The original idea for Bisco Condensed was to capture the energy of those unique "streetforms" in a text/display design and encapsulate them into a lively & fluid type design with a high level of readability at all point sizes. Bisco Condensed is an excellent type for expressive display layouts. It works well as an independent design or a long with contemporary sans serifs that complement Bisco's irregular contours, weighting and bounce.

Rebekah Pro is a revival of ATF’s Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton’s Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009. Rebekah Pro captures the elegance and distinction of the original. Tom carefully studied samples from 1930s American Type Founders catalogues and created a digital version with meticulous care. While considered an informal script because its letterforms do not connect, Rebekah Pro has graceful strokes and a truly elegant appearance. Tom created a variety of typographic enhancements not found in the original Piranesi italic font. These OpenType typographic features offer a distinguishing touch to everything from invitations and announcements to greeting cards and advertisements. Rebekah Pro contains the Latin 1 character set and the following OpenType typographic features: Swashes, Small Capitals, Ligatures, Alternates, Oldstyle Figures, Proportional Lining Figures, Tabular Lining Figures and Ornaments.

Beatrix Antiqua is a humanist sans-serif typeface designed by Francesco Canovaro. Beatrix Antiqua is part of the Beatrix Family that takes its inspiration from the classic Roman monumental capital model: its capitals are directly derived from the stone carvings in Florence Santa Croce Cathedral - where the serifs are often removed while keeping the variable width strokes. So, even if it’s basically a sans-serif, Beatrix keeps a subtle swelling at the terminals suggesting a glyphic serif - in the same vein as Herman Zapf classic Optima typeface. In the lowercase design, Beatrix references early humanist typefaces, keeping small calligraphic details (as the prolongation of the e nose) that are especially visible in the italics. While Beatrix Antiqua, the companion typeface to Florentia , slightly exaggerates its antique stylistical features, Florentia tries to mix those influence with a more robust & digital age ready design, featuring bigger X-height and an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

CA Normal Serif is the perfect companion to its grotesque brother CA Normal. But it is not just a serifed equivalent. It has a character of its own while preserving the principal proportions and the idea of quirkiness. It was not the aim to build a typeface that can immediately be identified as a relative of CA Normal. The intention was to create a matching typeface in aspects of aesthetic and concept. Whereas commonly serif-companions to grotesques are old-style or slab-serif, CA Normal Serif is situated between modern and slab-serif typefaces. CA Normal Serif is a little bit of an uncomfortable typeface. Nothing is smooth and cozy. It picks up elements of classic newspaper type as brought to us by Chauncey H. Griffith's legibility group, sharing the flavor of abrasive details and "slabbish" serifs. But the proportions are more condensed than the ones of its predecessors giving it a bit more elegance, which moves it closer to the aesthetic of "Scotch Romans".

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Kirshaw is not your grandfather's sans serif from the 1950s and 1960s. All those old classics like Helvetica, Futura, Franklin Gothic, and Univers are showing their age like an old Elvis Presley song. Kirshaw is a clean, rounded design with sharp contrasting edges. Like those classics, Kirshaw is easy to read in small body copy and captions, plus it's delightfully modern and stylish for headlines and logos. I designed Kirshaw and Kirkly while undergoing cancer treatment at Stanford Medical Center. Font design was always in the back of my mind and now I had extra time. Kirshaw is a distinctive, modern, easy-to-read sans serif family consists of 14 weights (including italics). It’s an Adobe Latin 3 Character Set containing 350 glyphs per style (including special characters).

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Zapfino Arabic is designed by Nadine Chahine as the Arabic companion to Hermann Zapf’s iconic Zapfino typeface, with the approval of Prof. Zapf. The design is an evolution of Arabic calligraphic traditions that combines Naskh and Nastaaliq to form a backward slanted calligraphic style. The character proportions refer to Naskh traditions but the isolated and final forms bring with them an exaggerated swash-like movement that references the extravagant ascenders and descenders of Zapfino. The font contains a large number of contextual variants that work to create a smooth flow of pen movement, as well as 10 stylistic sets. The character set supports the Arabic language as well as basic Latin. Zapfino Arabic is meant to be used as a display typeface, for logos, greeting cards and short headlines. It could also work for short pieces of text, for poetry or chapter introductions, when used in a generous type size and with ample space around it. Its design is soft and elegant, and leaves a lot of room for typographic playfulness.

Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689–1836). The Bodoni font distinguishes itself through the strength of its characters and embodies the rational thinking of the Enlightenment. The new typefaces displaced the Old Face and Transitional styles and was the most popular typeface until the mid-19th century. Bodoni’s influence on typography was dominant until the end of the 19th century and even today inspires new creations. Working with this font requires care, as the strong emphasis of the vertical strokes and the marked contrast between the fine and thick lines lessens Bodoni’s legibility, and the font is therefore better in larger print with generous spacing. Chauncey H. Griffith’s Poster Bodoni displays characteristics of the advertisement fonts of the first half of the 20th century. The font was most often used for posters and signs, eventually including neon signs.

Kamui is a font designed by Carlos Fabian Camargo G. and used to write headlines. Its strategy makes it ideal for covers and advertisements with Japanese-style manga comics requiring latin style. Precisely its purpose was inspired by typographical classics such as Mistral by R. Excoffon and Zapfino by H. Zapf that then were diluted by separate strokes as blackletter calligraphy. However, high doses of miscegenation and lettering untimely torn between 50% esthetic and 50% legibility. That way his radical expression is highly profitable for composing and designing words and phrases with Eastern look. And more importantly, the writing seems drawn quickly with thin-tipped brush staining over a rough surface, from that process comes the idea of corroded outlines and changes in contrast. In conclusion, some diagonal strokes, horizontal, curved and vertical stand or hide from their simulation of scarcity or abundance of ink clots. That way each stroke seems inconsistent, footprint of the 423 brush drawing glyphs in Regular Kamuy. In that sense, the OpenType features included are: Standard Ligatures, Contextual Alternates, discretionary ligatures, swash, stylistic alternates, alternatives for titles, ordinals, fractions. And to end the Variable “Kamuy Dingbats” has is 52 fictitious drawings and zamurais.

Antonietta is Mauricio Astete Brito's first typeface, which is inspired by the eccentricity of the rococo style and Queen Marie Antoinette's wild personality. This project, supervised by Latinotype Team, was born from the idea of turning lettering into a digital typeface. Antonietta is based on the Copperplate style and inspired by the works of, among others, Hermann Zapf, Ricardo Rousselot and Herb Lubalin. The font comes in the following variants: Antonietta Script, Antonietta Caps, Antonietta Caps Illuminated, Antonietta Caps Shadow, Antonietta Caps Inline and Antonietta Ornaments. Antonietta Script is characterised by a big x-height, condensed proportions, and short ascenders and descenders, which can be modified by using the contextual alternates included in the set. Antonietta Caps, a companion font to the Script, is an all-caps typeface with rational structure and high contrast between thin and thick strokes. Antonietta is a 7-weight typeface well-suited for logotypes, labelling, headlines and short text. The Script variant contains a set of 878 characters that provide a wide range of contextual alternates to fit any project. The typeface also comes with an 'Ornaments' variant, which includes dingbats, borders and catchwords that complement the rest of the fonts.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

Terfens Gothic is the perfect choice for your next project! With its medium contrast and approachable design, this calligraphic sans serif has a classic feel that will never go out of style. Terfens Gothic is the perfect typeface for anyone looking to add a touch of uniqueness to their designs. With its generous x-height and rounded terminals, it's perfect for creating one-of-a-kind designs that are sure to impress. Its large x-height gives it a welcoming, but not too casual vibe. With forty-eight different typefaces, it has the versatility and aesthetic options you need to make your project stand out. Choose from regular, condensed, and extended styles, each with nine different weights and italics. Terfens Gothic has the look you need to make a powerful impression. Terfens is the ideal typeface for any project that has to stand out, thanks to its towering verticality. Terfens may be utilized for a variety of purposes because of its adaptable design. Terfens is a sans unlike any other- it starts with a beautiful calligraphic chancery script and then adds movement and personality. This sans is guaranteed to make your next project more exciting! The Terfens Type System's third typeface, Terfens Gothic, is an amazing addition to any type collection. The Terfens Type System's adaptability is unrivaled, with its vast choice of styles, widths, and weights. This font family has everything you need to create unique, customized designs that will suit your individual needs. Whether you need a narrow or wide font, or a hairline or bold weight, the Terfens Type System has you covered! And, with its Opentype features, the Terfens Type System is perfect for anyone who wants to add a personal touch to their projects.

Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version, named Zapfino™ Forte. A version of the 1998 Zapfino typeface ships as one of the pre-installed fonts included with Mac OSX. The Mac OSX version's letters are four times larger than the Linotype standard. In order to minimize compatibility problems for Macintosh users, Linotype has created OSX versions of its Zapfino Extra Pro typefaces, which have been enlarged to correlate visually with the Mac OS Zapfino system font. These special Linotype fonts can be distinguished by the letter X" in their name. Zapfino Extra is an OpenType format font, which is available in two versions. Which version you purchase should depend on which software applications you use the most and what features they support! The Contextual version of Zapfino Extra Pro contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing this version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual) and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino Extra family's 1676 glyphs. The Zapfino Extra family's character set supports 48 western and central European languages. Use Zapfino Extra to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities."

With the clear, simple elegance of its sans serif forms and the warmly human touches of its tapering stems, the Optima family has proved popular around the world. In 2002, when it was finally possible to produce digital alphabets without technical limitations and compromises, and more than fifty years after the first sketches, an expansion and redesign of the Optima family was completed and released as Optima nova. Hermann Zapf and Japanese type designer, Akira Kobayashi, collaborated on the project, which included re-working of the existing weights and the addition of several new weights: small caps, old style figures, light, heavy, and condensed. The original Optima was never manufactured with a real italic, only an oblique version of the roman. Optima nova has a complete range of beautifully designed real italics; the new italic forms, of the e, f and g are especially notable. The titling face includes capital letters with special and unusual letter combinations and ligatures, making it an excellent choice for headlines, logos and advertising purposes. Optima continues to be an all-purpose typeface; and Optima nova works for just about anything from book text to signage. Optima Nova® font field guide including best practices, font pairings and alternatives.

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