Bold, muscular, vaguely oriental, Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. The straight-forward, no-nonsense name tells us exactly what to expect: sans-serif letterforms based on wedge-shaped vertical strokes. The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. What is the opposite of "straight-forward" anyway? According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. The designer is unknown. A distinctive display face, useful when a strong and unusual statement is desired. Wedge Gothic ML features: 1. Glyphs for the 1250 Central Europe, the 1252 Western Europe, the 1254 Turkish and the 1257 Baltic Code Pages. Total of 335 glyphs. 2. OpenType GSUB layout features: pnum, ornm, hist & salt. 3. 66 kerning pairs. 4. Both tabular & proportional numbers. 5. Alternate bullets. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

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

The original brief for Vox was a extensive monoline typeface that can be both precise and friendly, yet contain enough choice of seamlessly interchangeable variants for the user to be able to completely transform the personality of the typeface depending on the application. Basically, a sans serif with applications that range from clean and transparent information relay to sleek and angular branding. When the first version of Vox was released in 2007, it became an instant hit with interface designers, product packagers, sports channels, transport engineers and electronics manufacturers. This new version (2013) is the expanded treatment, which is even more dedicated to the original idea of abundant application flexibility. The family was expanded to five weights and two widths, with corresponding italics, for a total of 20 fonts. Each font contains 1240 glyphs. Localization includes Cyrillic and Greek, as well as extended Latin language support. Built-in OpenType features include small caps, caps to small caps, four completely interchangeable sytlistic alternates sets, automatic fractions, six types of figures, ordinals, and meticulous class-based kerning. This kind of typeface malleability is not an easy thing to come by these days. For additional versatility, take a look at Vox Round, the softer, but just as extensive, counterpart to this family.

Austral Slab is a hand-drawn layered font designed by Antipixel, with unique textures & styles that combine giving your work a distinctive impression. This font comes in three weights, Regular, Light & Thin, with irregular outlines and uneven/crooked strokes, giving your work more personality and making it exclusive and powerful. For this same reason it can be used in a vast variety of projects, such as logos & branding, stationery, book covers, magazine design, clothing prints & tags, packaging, animated videos, and many more! Austral Slab has three sets of alphabets in uppercase and lowercase to avoid repeating the same character pattern, and giving the font a more natural handwritten feel. This is included in the Open-Type Contextual Alternates, which applies an automatic substitution of glyphs as long as the Open-Type features are activated. Also, Austral Slab offers other Open-Type features such as Stylistic Alternates, Ligatures, Discretionary Ligatures, Fractions, Superscript, Subscript, Denominator, Numerator, Scientific Inferiors & Kerning. This font has a very large glyph coverage and can be used in a wide range of languages, including English, Spanish, Italian, French, German, Polish, Czech, Vietnamese, Finnish, Icelandic, among many others. The style Maplines Thin is offered Free for commercial & personal use!

The core design of Pepper family, designed by VIDI Visual Design Studio, is the fingertip handwriting style inspired by children’s writings on windows. This distinctive low-contrast typeface combines characteristics from neo-grotesque and organic models. Warmer than most Helvetica inspired typefaces, Pepper has organic shapes, playful strokes, rounded endings, and a generous x-height which makes Pepper easy to read. This family could be used well for food packagings, content aimed for children, book covers, branding, high-impact titles and small body texts, advertising, editorial design and more. What makes Pepper Sans Vol.1 competent and more spicy then some other fonts is that it contains a set of more than 900 characters for each of 5 weights that support many Latin-based languages, Greek and Cyrillic. As the weight decreases, the typeface gains impact with becoming elegant, giving titles in (Hair, Thin or Light) a breath of fresh air. We derived a typeface family consisting of Hair, Thin, Light, Regular, Semi Bold in this Vol.1 edition. Typeface features: • 5 weights: Hair, Thin, Light, Regular, Semi Bold • Latin, Greek & Cyrillic multilingual support • More than 900 characters for each of 5 weights Font Specs: • Created: August 2020 • Files type: .ttf

Introducing Sociato: a typographic trendsetter. It's a quirky font that perfectly blends modernity and antiquity. The French Revolution was a period of uncompromising innovation in art and fashion, with celebrity artists, notably Jacques Louis David, creating propaganda for the new regime. This regime failed, but we have rare historical artifacts related to this historical upheaval. The typeface was inspired by a declaration published during the French Revolution that extolled the development of a new religion, the cult of the Supreme Being. It's a stunning piece of work, with a wild, baroque layout and hand drawn typography. Words leap off the page in a cascade of sounds and shapes, and quirky letterforms give it a lively, almost mischievous character. It's a veritable goldmine of typographic ideas. This typeface is based on the hand lettering in the original manuscript, but it has been enhanced by adding a full variety of characters. The typeface comes with a comprehensive range of diacritics, including old-style figures. The typeface is suitable for a wide range of uses, including titles and headers, and it should look beautiful in any typographic setting. Use Sociato to create a revolutionary identity, as bold and audacious as the French Revolution!

Presenting The Longlight! An Elegant Calligraphy Font with some alternates and ligatures. This font made with the perfect combining of each character. It looks original and can be used for all your project needs. Each glyph has its own uniqueness and when meeting with others will provide dynamic and pleasing proximity. This font can be used at any time and any project. You can see in the presentation picture above, The Longlight looks elegant and stylish on design projects. So, The Longlight can't wait to give its touch to all your design projects such as quotes, poster design, personal branding, promotional materials, website, logotype, product packaging, etc. Besides that, The Longlight also has some ligature that gives a surprise when you type certain characters combining. The ligatures are ee, ff, gg, gg1, ii, jj, ll, ll1, mm, nn, oo, pp, ss, tt, tt1, pp, and yy. WHAT'S INCLUDED? 1. The Longlight • The first version comes with uppercase, lowercase, ligatures, numeral, punctuation, symbols, and Standard Latin Multilingual Support (Afrikaans, Albanian, Catalan, Danish, Dutch, English, French, German, Icelandic, Indonesian, Italian, Malay, Norwegian, Portuguese, Spanisch, Swedish, Zulu, and More). 2. The Longlight Alternate • Included some alternates: f, g, i, j, l, p, s, t, y, and g. A Million Thanks Colllab Studio

Meet Arlen, a funky, variable type family in 36 styles. Inspired by 20th century hand-painted signs and the visual culture of the 1980's, Arlen adds a little extra to this already charismatic mix. Arlen is a display sans serif that can be freely used for larger bodies of text. Among its most prominent visual features are high contrast, flaring stems and dynamic letterforms. With 860 characters in each font, Arlen supports most Latin-based languages and offers a large number of extra characters, dingbats, alternate glyphs, ligatures, and punctuation marks. Some of the most useful OpenType features are included too, such as Case-Sensitive Punctuation, Stylistic Alternates, Tabular Figures, Fractions, Localization, and a lot more. Some letters and characters come in two versions: thin and bold, and you can easily alternate between the two using a corresponding stylistic set. Arlen is a cheerful typeface that conveys kindness, good cheer, and only good vibes. It would feel at home both in digital and print mediums; it can be used in advertising, editorial design, social media, web design, packaging, or personal design projects. With versatility at its heart, Arlen would be a perfect typeface for large design systems that require multiple styles for typesetting.

«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.

Designed by Heinz Konig, Waltari was released by the Rudhard'schen Giesserei of Offenbach A.M., Germany in 1900, and reflects all the flamboyant exuberance of that period. Waltari is a Jugendstil rotunda, combining its blackletter roots with a strong Roman influence in an effort to achieve a broader appeal than the traditional forms. As a rotunda, Waltari is easily read by readers who are not comfortable with the schwabachers and frakturs in common use in German printing. Waltari, with its decorative flourishes, has the amazing ability to be both traditional and youthful at the same time. Especially useful for for scrapbooks and invitations. The Waltari ML package includes: 1. Glyphs for ANSI 1250 Central European, 1252 Western Europe, 1254 Turkish and 1257 Baltic code pages. Total 319 glyphs. 2. Total of 472 kerning pairs. 3. OpenType GSUB features: Salt, dlig, hist and ornm. 4. Proportional Numbers 5. Alternate w and z. 6. Original design decorative ornaments The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

“Nasser” is a Kufic modern Arabic typeface. It is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It is very distinctive when used in black and white printout. It decorates colored pages and makes artworks more attractive. This font comes in three different weights. My father’s name is “Nasser”. Consequently, “Nasser” Typeface was designed for eternizing the memory of my late father. He was the person who taught me how to like arts, literature, and languages. Besides, my first cute child is named also “Nasser.” The main characteristic of “Nasser” Typeface is in its modern non-descender style for some of its Arabic characters such as “Sad”, “Seen”, “Sheen”, “Qaf” and others. The shape of the characters' “dot”, “dots”, and “point” is innovative; a triangle with a semi-circle shape. “Nasser” Typeface is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. Its characters' modern Kufic styles give the typeface more distinction when it is used also in posters, greeting cards, covers, exhibitions' signboards and external or internal walls of malls or metro’s exits and entrances. It can also be used in titles for Arabic news and advertisements appeared in different Arabic and foreign satellite channels.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp . Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Introducing "TE Warsh Tharwat Emara," an exquisite Naskh font designed to elevate your typography to the next level. Our font features intricate calligraphic strokes, elegant curves, and graceful flourishes that bring a touch of sophistication and elegance to your text. Designed with the utmost attention to detail, every character in "TE Warsh Tharwat Emara" is beautifully crafted and easy to read. "TE Warsh Tharwat Emara" is perfect for typesetting the Holy Quran, with its beautifully crafted curves and strokes. The Naskh script is one of the most popular calligraphic styles used in Arabic typography and is known for its clarity, making it perfect for Quranic typesetting. With "TE Warsh Tharwat Emara," you can create stunning, high-quality typography that is perfect for publishing the Quran, as well as other religious texts. In addition to its suitability for Quranic typesetting, "TE Warsh Tharwat Emara" is versatile and can be used in a variety of contexts. Its elegant and sophisticated design makes it perfect for book covers, posters, branding, and web design. "TE Warsh Tharwat Emara" supports a wide range of languages, including Arabic, Persian, Urdu, and many others, making it ideal for multi-lingual projects. "TE Warsh Tharwat Emara" includes a range of special features that take your typography to the next level. The font includes ligatures and alternate characters, which allow you to create more natural and fluid connections between characters. The alternate characters provide a variety of stylistic choices, giving you even more control over the typography. "TE Warsh Tharwat Emara" is compatible with a wide range of platforms and software, including Adobe Creative Suite, Microsoft Office, and many others. This means that you can use "TE Warsh Tharwat Emara" in your favorite design software, without worrying about compatibility issues. "TE Warsh Tharwat Emara" comes with a multi-user perpetual license, which allows you to use it for commercial and personal projects. The perpetual license means that you can use the font indefinitely, without having to worry about renewing your license. We also offer a range of licensing options, including a single-user license, to suit your needs. In conclusion, "TE Warsh Tharwat Emara" is a must-have for designers and typographers who are looking to create stunning, high-quality typography that is perfect for publishing the Holy Quran, as well as other religious texts. With its intricate calligraphic strokes, elegant curves, and graceful flourishes, "TE Warsh Tharwat Emara" will elevate your typography to the next level. It's versatile, easy to use, and comes with a range of special features that make it perfect for all kinds of projects. So, whether you're designing book covers, posters, or websites, don't miss out on "TE Warsh Tharwat Emara." Purchase now and experience the beauty of our Naskh font for yourself.

Gothic Tuscan One is a all-cap condensed gothic with round terminals and decorative “tuscan” center spurs. It was first shown by William H. Page of Norwich, Connecticut among his wood type specimen pages of 1859. Gothic Tuscan One exemplifies the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for simple, visually strong typeface. Although about 14 miles inland, Norwich lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. From the 17th century until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Gothic Tuscan One, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. There is also a more contemporary glyph of a whale, looking quite pleased that the only whaling ship left in Connecticut is the Charles W. Morgan, permanently moored at Mystic Seaport. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004). Gothic Tuscan One ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 332 glyphs. 2. Added OpenType GSUB layout features: pnum, ornm and dlig. 3. Added 330 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators 6. Included of both tabular (std) & proportional numbers (optional). 7. Refined various glyph outlines. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

Good Karma (its namesake) will be extended to you as you use this new relaxed script family. Produced from hand and sumi brush of Neil Summerour, Good Karma is a natural brush textured font family. Good Karma is filled with a lot of heart, reliable and genuine movements, and a wide range of letter options to befit any project needing an honest hand-lettered look. Each typeface comes with an additional set of stylistic alternates (upper AND lowercase) that harmonize wonderfully when you have the Opentype Ligature feature active. Additionally, special double-letter ligatures have been produced for specific combinations in need of more expressive flair, as well as a few swashes that work with the economical strokes originally produced from the sumi brush. To further expand the usefulnesss of this peaceful script, a separate Caps/Small Caps font has been added that provides the simple contrast needed to bring the script fonts forward. Rather than limit the personality of this script, various styles have been produced to complement the original Regular—Upright, Wide, Wide Upright, and the aforementioned Caps fonts are included in hopes of helping you find the perfect variation needed for your composition. Good Karma is the first release of the Positype Relaxed Script Collection of typefaces—all focused on fluid, effortless script fonts for simple use.

Sullya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Sullya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * International Language I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Sullya is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

An elegant duo of fonts and floral illustration extras - designed to work together in harmony, to produce a plethora of beautiful, sophisticated & feminine designs. The luxurious modern calligraphy script works perfectly together with the delicate hand-drawn florals - ideal for elegant branding projects, greeting cards, packaging, social media, logo design and of course, wedding invitations. Also included is Serenity Serif, a rustic serif font, with a touch of imperfection as you'd find in old printed press inks - to contrast with and therefore compliment the more refined luxurious contemporary flow of the script font . Serenity Script includes handy OpenType features that makes the font look more natural - it includes a universal beginning swash for lowercase letters , a full set of lowercase letters with ending swashes, a beginning swash that can be added via OpenType Ligatures by typing either { } or ( ), and a full set of alternate lowercase letters , as well as 70 beautifully crafted ligatures . A more slanted, and heavier version of the script is also included for you. OpenType capable software is required to access these features - The most popular of which is and Photoshop CC, any version of Illustrator, Indesign, Word (new versions).  The Serif font comes in 4 versions: Regular, Bold, Heavy and Italic - when used together with different tracking settings and weights, they produce beautiful looking type designs to compliment the Script.

Please note: Sindelar webfonts are exclusively available at willerstorfer.com Sindelar is a capable, contemporary text face addressing today’s news design requirements. Its large x-height, low contrast and robust serifs grant a high legibility in small sizes. The balanced, well chosen proportions make the typeface economic (i.e. space saving) without giving it a too narrow appearance. These characteristics make it the ideal choice for extensive text setting in newspapers and magazines – on paper and on screen. Named after famous Austrian football (soccer) player Matthias Sindelar (1903–1939), one of the best players of his time, the typeface shares two major qualities with its namesake: their technical brilliance and their way of performing aesthetically to the last detail. The football player’s nickname »Der Papierene« (the Paper-man) elegantly refers to the media too. Although optimised for small sizes, Sindelar’s low contrast and robust serifs give the typeface a strong impact and an unmistakable personality in larger sizes. Sindelar’s calligraphic influences can be noticed in the Italics best. The italic letters are inclined by slightly different angles, respecting the letters’ shapes and proportions and resulting in a balanced, yet vivid appearance. Sindelar comes in 18 styles – nine weights in Roman and Italic each. Each font is equipped with a huge character set of about 980 glyphs and various OpenType features.

Kudry is an elegant and noble typeface for extra large sizes. It looks good in cultural projects and exhibitions, logos, book covers, theater posters, wedding invitations, cosmetic and cake packaging,— basically any case in need of a beautiful typeface. It is a type family that consists of the modern serif and the contrasting sans serif, the weird serif and the stencil type. Both serif and sans have three options for different point sizes: Display for extra large sizes (from 72 pt or 96 px), Headline for large sizes (from 36 pt or 48 px) and Text for medium sizes (from 14 pt or from 24 px). Each style has a variety of alternate characters, swashes and ligatures, linear and old style figures, arrows and case-sensitive punctuation. The typeface supports major all European Latin and Cyrillic-based languages and all European Latin scripts. The authors of the typeface are Isabella Chaeva, Alexandra Korolkova and Nikolay Nedashkovsky. The character design of Kudry, details of the letters and alternates are an original contemporary solution based on the proportions and construction of the sans serif by N. N. Kudryashev. Digital versions of this typeface are Kudryashev and Petersburg, which can work in pair with Kudry in case you need a combination of a text serif and a display typeface. ITC Franklin Gothic, PT Root or Ida suit well as a paired text sans serif.

ATF Headline Gothic cries out to be used in headlines, and that is exactly how it was used after it was first created by American Type Founders in 1936 with newspapers in mind. It would be hard to imagine a better typeface for a shocking, front-page headline in a scene from an old black-and-white movie. With its all-caps character set, and its big, bold, condensed design, ATF Headline Gothic is the epitome of its name. “Extra! Extra!” The style of ATF Headline Gothic recalls the bold, condensed gothic display faces of the 19th century, but with more refinement in its details than many large types of the time (typically wood type). Its most recognizable trait is the restrained, high-waisted M, with short diagonal strokes that end with their point well above the baseline; this avoids the sometimes cramped look of a bold condensed M with a deep “V” in the middle, common in many similar headline faces. The digital ATF Headline Gothic comes in a single weight, all caps, like its predecessor, but offers two styles: one crisply drawn, and a “Round” version with softer corners, to suggest a more “printed” feel, reminiscent of wood type. Of course, in either style it includes a full modern character set, including symbols such as the Euro, Ruble, and Rupee, that didn’t exist in 1936.

Queenzia is a new fresh & modern script with handcrafted calligraphy styles, decorative characters and dancing baselines! So beautiful in invitations like greeting cards, branding materials, business cards, quotes, posters and more !! Queenzia came with 330 glyphs. Alternative characters are divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates. The Open Type feature can be accessed using programs that understand Open Type such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, and Microsoft Word. And this Font has provided PUA unicode (custom coded font). so that all stunt characters can be easily fully accessed by a craftsman or designer. Queenzia: Uppercase & Lowercase International Languages ​​& Symbols Support Punctuation & Numbers Unicode Ranges PUA Standard Alternative Style Alternatives Set Style 1-8 Character Contextual Variants. The files include the following: If you don't have a program that supports OpenType features such as Adobe Illustrator and CorelDraw X Version, you can access all alternative glyphs using Font Book (Mac) or Character Map (Windows). To Access Alternative Characters Click The Link Below: Adobe Illustrator CS https://www.youtube.com/watch?v=geL0Ye02Ryk Adobe Illustrator CC https://www.youtube.com/watch?v=V25yiUh8BcE Ms Word https://www.youtube.com/watch?v=HxkhZiCuwEw Coreldraw X7 https://www.youtube.com/watch?v=UBVsufJjons Adobe Photoshop CC https://www.youtube.com/watch?v=BYKXl58AdNY Indesign CS https://www.youtube.com/watch?v=HgZTCxKG14Q Thank you and happy designing :-) Thank you for purchasing!

Galano Grotesque is a geometric sans in the tradition of Futura, Avant Garde, Avenir and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Galano Grotesque aims to be a universal weapon not only because it works great in headlines, short and long copies but also because of its subtle neutrality. It comes in 10 different weights with matching italics and is equipped with a set of powerful opentype features including alternative glyphs, fraction, arrows, ligatures and many more. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. During the design process of the alternative glyph shapes of Galano Grotesque, the interest of creating a standalone version emerged rapidly. This was the birth of Galano Grotesque Alt. Not only because of the legible and unique character created by the alternatives, but also because this could be the small copy embracing stylistic companion to Galano Grotesque. In addition to the alternative glyphs, the height of descender and ascender was increased, supporting structure and rhythm. When finishing Galano Grotesque Alt, it turned out to not only work great in small and long copies but also to be a great performer in headlines and short copies. I'm proud to introduce: Galano Grotesque and Galano Grotesque Alt.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

Duvall is an idealization created from the Edward J. Duvall lettering. Mr. Duvall was a teacher in lettering, who was well known for his book “Modern Sign Painting” in the late 40s and early 50s. Duvall cursive script is presented in five weights, Duvall 1, as a light version, to Duvall 5 as a bold version, and Duvall Style a decorative typeface with Inline, ideal for set in color layers combined with Duvall 5. Duvall is a Script font with low contrast, not intended to be used as a type of reading, but is however well adapted to small sizes because its simple form is easy to read. It is advisable to use this font for large to medium sizes. Duvall is ideal for composition, ordinal, superior and inferior numbers, and thanks to the OpenType features you can compose with alternate characters, old style numbers and with a complete set of glyphs for Eastern and Western European languages. The Duvall set comes with a font called Duvall Ribbons, a dingbats font with which you can create interesting headlines with the taste of the advertising of the 50s. Duvall FunWords is a dingbats playing with funny words in English, French and Spanish phrases. Duvall is ideal for packaging, signs, banners, branding and graphic design in general and can be combined harmonically with your favorite sans fonts.

Introducing Slight, an elegant, full-featured script font with tons of alternate characters and OpenType features. Hand-lettered with a heavy right slant, Slight is particularly well-suited for invitations, branding, and editorial design. Slight comes with more than 1000 glyphs! Specific OpenType features include contextual alternates, stylistic alternates, initial and final forms, multiple alternate glyphs for many letters (accessed through the glyphs panel), multilingual support (including multiple currency symbols), ligatures, standard numbers, and six ampersand styles. Perhaps the most fun thing about Slight is that it includes multiple versions of all ascending and descending letters, making it lots of fun to play with in your layouts and compositions. The OpenType features can be very easily accessed by using OpenType-savvy programs such as Adobe Illustrator and Adobe InDesign. (To access these awesome features in Microsoft Word, you'll need to get comfortable with the advanced tab of Word's font menu. If you need help with this, ask me!) Files included: Slight-Regular.otf Mail support : julie@upupcreative.com --- Find inspiration (and sneak peeks at my next font-in-progress) on - Instagram: http://instagram.com/julieatupupcreative - Facebook : https://www.facebook.com/upupcreative - Pinterest: https://www.pinterest.com/upupcreative - My website: http://upupcreative.com --- PLEASE ENJOY! I can't wait to see what you make with Slight! Feel free to use the #upupcreative and #slightscriptfont tags to show me what you've been up to!

Tolyer font is an extra large super family of 50 fonts! In many cases quantity doesn’t mean quality but here we have such a big abundance of contrast, styles, weights and special effects in one place that it actually doesn’t pay attention to the fact this is an all caps family. When it comes to strong headlines, titles, posters, masculine brand names Tolyer type family is probably one of the best choices in sans serif typography. You could easily pick from low to high contrast outlines, uprights and obliques, 3D effects or different artistic textured styles to make your work diverse, expressive and attractive. Tolyer font offers you maximum readability even in poor display conditions like low quality printing or low resolution monitors. In some cases poor print quality could even add more value to the final result, because Tolyer has a lot of potential to be used in difficult conditions. Letterpress and high embossing are one of those print effects that really suit Tolyer best. Use it in high contrast with background environment, higher ink flow, don’t think about the dot gain and you should definitely use a textured paper – this is what Tolyer really likes and deserves. It will thank you for this with authentic look, classic vintage style and strong but attractive presence.

Volta is a robust typeface from the 1950s. A revisit to styles that were en vogue at the turn of the century, Bauer type foundry designers Walter Baum and Konrad Bauer designed this type family in1955. The form of Volta's letters are similar to those in New Transitional Serif typefaces, like Cheltenham and Century. Developed after the Didone (i.e., Bodoni) style types, New Transitional Serifs speak more to the zeitgeist of the late 19th Cntury, and were typographic adaptations to it's newer technologies. Already in the period of mass production, typographers and printers at the dawn of the 20th Century had to cope with larger print runs on cheaper materials. The robust letterforms of New Transitional Serifs were designed to compensate for this, but they were also ingenious little inventions in their own right. Form the beginning, the new, peculiar forms of New Transitional Serif letters were adopted for use by advertisers. Their robustness also allowed them to be used in virtually all sizes. Volta was designed especially with advertising display usage in mind. The x-height of Volta's letters is higher than average for serif faces. It is recommended that Volta be used exclusively for shorter tracks of text, above 12 point. Headlines look dashing set in Volta. Four different font styles are available for the Volta typeface: Regular, Medium, Medium Italic, and Bold."

Winter Flowers, a font duo, is a unique and modern hand script that provides a large selection of alternative characters to choose from as well as ligatures that look natural and add to the authenticity of the letters. Winter Flowers is a modern handwritten font, loaded with awesome OpenType features, and a set of alternative characters for uppercase and lowercase letters. Make all the extra decorative and unique choices you wish with the included swashes, endings, and alternative letters. Designed to work harmoniously, Winter Flowers is also equipped with a sans font, to perfect your design. This font is perfect for branding, logos, web and editorial design, branding, prints, invitations, handicrafts, quotes, and more. Winter Flowers features OpenType stylistic alternates, ligatures and International support for most Western Languages is included. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. Winter Flowers is coded with PUA Unicode, which allows full access to all the extra characters without having special designing software. Mac users can use Font Book , and Windows users can use Character Map to view and copy any of the extra characters to paste into your favourite text editor/app. Need help? If you need help or advice, please contact me by e-mail Greatstudio92@gmail.com Thank you, Great Studio

The Farfa fonts were designed for institutional use, commissioned by the City of Fara in Sabina, Italy. This project started from the study of the manuscripts found in the Abbey of Farfa, penned in a variant of the lower case of “Carolingian” typical style of that area. The Capital, ligatures and Small Caps, however, are based on the uncial writing that often appears in those codes and manuscripts. Farfa Abbey is a territorial abbey in northern Lazio, central Italy. It is one of the most famous abbeys of Europe. It belongs to the Benedictine Order and is located about 60 km from Rome, in the commune of Fara Sabina The origin of the Abbey is still unknown. Archaeological discoveries seem to prove that the first monastic establishment was built on the ruins of a pagan temple. The Vandals destroyed the first monastery in the fifth century. Only a few documents from the sixth-century prove the early presence of the monastic community. It had the heritage of Charlemagne (S VIII), the Lombard chiefs, and later the Carolingians, succeeded in withdrawing Farfa from obedience to the Bishops of Rieti, and in securing many immunities and privileges for the monastery. Farfa was at this period the most important monastery in Italy both from the point of view of worldly possession and ecclesiastical dignity.

‘Skiart Serif Mini’ is now available online. 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 serifs. It took a step between sans serif and serif fonts. Next on the path towards a serif font comes Skiart Serif Mini, with tiny serifs added. This is a true serif font, all be it on the small side. It remains fully readable and feels as clean and normal as any of the best body copy serifs, and yet still has the strong solid bones of all the other Skiart font familys. If compared to one of the more commonly used serifs like ‘Times New Roman’, the ‘Skiart Serif Mini’ lowercase is more open with a taller x-height, increasing its readability and friendliness. The serifs are smaller and less distracting. They are not pretending to be ligatures. Where ‘Times’ makes its p q b d forms out of a barely touching oval and stem, the ‘Serif Mini’ forms are much more firmly attached, appearing clearly as single letters. The standard setting for the g’s are round single storied, (the italic a’s are also), feeling warmer and more inviting in the ‘Serif Mini’ font. Much more friendly than the stuffy double storied versions in fonts such as ‘Times’ etc.

While sketching for a music project logo, Donald DBXL Beekman looked at several wood type alphabets as a starting poing. One of these was No.120, patented in 1880 by William Hamilton Page. With its distinct diagonally cut serifs and round shapes cut off at top and bottom, it bore just the right feel for the project. DBXL digitized the alphabet, adding all characters needed for a full set. During this process all shapes were widened, tweaked and streamlined to enhance consistency and rhythm along the whole font. VLNL Bonen is an all-caps display font with a very specific western cowboy or circus look. For instance burger or barbecue grill restaurants would do well with this one. We can easily see it shine on a festival flyer or poster as well, and not just country & western festivals. VLNL Bonen is suitable for any ‘big’ use that needs to stand out of the crowd. Bonen is the Dutch word for beans, a world wide source of nutrition and proteins it comes in a multitude of shapes, colours and sizes. Beans are also the most eaten foods in a cowboy’s diet along the trail. Available in abundance and easily preserved and transported, many recipes on the cattle drives in the American Wild West used beans. Think of chili, mashed beans with biscuits and bean soups. “Keep them doggies movin’, cowboy!”

Rufolo is a family of fonts that can be considered both aesthetic and utilitarian. It has an apparent serif, barely hinted at, whose clear past reference is a beautiful epigraphic script on the marble plate placed at the southern entrance of the Roman amphitheatre, in Pompeii. Perhaps its origin dates back to Ugarit's cuneiform writing (as Morrison suggests as the origin of the serif in "Politics and Scripts") whose characteristic triangular-shaped incision footprint produces a powerful trait that not only gives character to the writing but also facilitates its support and visual compensation of sizes with neighboring signs. Other clear inspirational references have been Robert Hunter Middleton's Stellar (1929); Albertus (1932) by William A. Dwiggins; Optima (1952) by Hermann Zapf; And more recently RRollie (2016) by our foundry. Rufolo collects the attractive characteristic of the stroke endings but the proportions of its structure becomes much more regular, the capitals are in line with a constant square module, while the above references retain the proportions of the Roman Trajan. Some endings strokes have slightly baroque reminiscence with the intention of giving it greater plasticity and aesthetic enrichment, but absolutely controlled, taking special care of the aspects of readability and expressive neutrality. Rufolo Family comes in four weight: Light, Regular, Bold and Black, accompanied by its corresponding Italic versions.

Santhiya is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of decent stylistic alternatives for multiple letters. Classic styles are very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Santhiya has alternative characters, including support for multiple languages. With OpenType features with an alternative style and elegant binding. The OpenType feature does not work automatically, but you can access it manually and for the best results required for your creativity in combining these Glyph / Character variations. Font Features : * Lowercase beginning and ending swash * Uppercase beginning swash * Initials * Intenational Language Support I heavily use programs that support OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all the variations of the Glyph. Santhiya is coded with Unicode PUA, which allows full access to all additional characters without having any special design software. Mac users Mac users, and Windows users can use Character Map to view and copy any of the additional characters to paste into your favorite editor / application.

Back in 1800 - 1900, the Serif fonts or known as Roman styles were very popular. Used in so many media, came from calligraphic technique and refined till it became a solid style even so many sign painters use this letter style back in that era. And today, these kinda style still got their fans who love the elegant yet clean solid style. That's what this came for. Please welcome, Sicero Duo Fonts. Its a dynamic duo fonts that came in Serif and Sans-Serif style which is perfectly fit to each other. Bring the old vibes instantly to your project with them :) Sicero Roman A Serif style font with implementations of old-era style, clean and done in click-by-click to fulfil your perfectionist personal. And it comes in Old Style Numbering too, to make the vibes stronger in the whole vintage design when using it. Sicero Sans A Sans-Serif font to make a good pair with Sicero Roman still holding those old vibes but a little bit modern touch in here to reach wider range of trends. Use it all alone is still good to go if you want something different with not pairing it with Sicero Roman as well. Available in OTF, TTF, and Webfonts. Enjoy it more. Have some fun with it, Oldsport :) Cheers, Konstantine Studio

Brahma V2 is here. The new version has been three years in the making. It has multiple new updates and improvements based on user feedback. The focus for this version has been improved readability while maintaining the unique, modern identity of Brahma type family that has received so much love since V1 was launched in Dec 2020. Brahma is a modern geometric sans-serif font family with weights ranging from Thin (100) to Black (900). Features: Available in 9 weights Over 550 glyphs supporting extended Latin Ideal for display texts: Titles, Logos and Headlines etc. Perfect for branding and rebranding Supports OpenTypes features like Ligatures and Stylistic Alternates Tabular Numerals included Symbols for 10 major currencies including Bitcoin provided in all weights Description: The name comes from Brahmā who is known as the god of creation. And manifesting the same spirit, the Brahma font family focuses on modern creativity. Every character effortlessly integrates with current design standards and interfaces. The fonts are professional yet have a hint of informal personality in them. This makes Brahma perfect for use in modern apps and websites. Brahma is built for the designing and marketing squads. It has a trendy geometric characteristic which is ideal for any branding and rebranding. Brahma has lot of OpenType features (like ligatures and tabular numerals) and the Extended Latin character set supports over a hundred languages. Start Creating!

Satimah is a stunning Arabic style typeface that brings an elegant and professional look to any design. With its simple yet refined design, this font is perfect for a wide range of projects, from branding to editorial and beyond. The font also comes with stylistic set 1 and 2, as well as stylistic alternates for some characters, giving you even more creative options. Satimah is particularly well-suited for Islamic design and Islamic theme events, thanks to its beautiful calligraphic flourishes and timeless elegance. With both regular and italic versions, this font is versatile enough to be used in a wide range of design applications. And with multilingual support, you can be sure that your message will be communicated clearly and effectively no matter where your audience is located. Features : - Satimah Family Font - Stylistic Alternates - Stylistic Set - Multilingual, US Roman, Latin 1 Support --- This Font Support Language: Afrikaans, Albanian,Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, ManxMorisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Uzbek (Latin), Volapük, Vunjo, Zulu, Hope you enjoy with our font! Attype Studio