One of the classic display types of the 19th century, an Egyptian with bracketed serifs. Quite bold.

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

Etruscan was the language of the Etruscan civilization, in Italy, in the ancient region of Etruria (modern Tuscany, western Umbria, northern Latium, Emilia-Romagna, Veneto, Lombardy and Campania). Etruscan influenced Latin but was eventually completely superseded by it. The Etruscans left around 13,000 inscriptions that have been found so far, only a small minority of which are of significant length; some bilingual inscriptions with texts also in Latin, Greek, or Phoenician; and a few dozen loanwords. Attested from 700 BC to AD 50, the relation of Etruscan to other languages has been a source of long-running speculation and study, with its being referred to at times as an isolate, one of the Tyrsenian languages, and a number of other less well-known theories. The consensus among linguists and Etruscologists is that Etruscan was a Pre–Indo-European,and a Paleo-European language and is closely related to the Raetic language spoken in the Alps, and to the Lemnian language, attested in a few inscriptions on Lemnos. Grammatically, the language is agglutinating, with nouns and verbs showing suffixed inflectional endings and gradation of vowels. Nouns show five cases, singular and plural numbers, with a gender distinction between animate and inanimate in pronouns. Etruscan appears to have had a cross-linguistically common phonological system, with four phonemic vowels and an apparent contrast between aspirated and unaspirated stops. The records of the language suggest that phonetic change took place over time, with the loss and then re-establishment of word-internal vowels, possibly due to the effect of Etruscan's word-initial stress. Etruscan religion influenced that of the Romans, and many of the few surviving Etruscan language artifacts are of votive or religious significance.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Introducing "Wasleyton," a vintage ephemera font that weaves the elegance of a bygone era into your modern design projects. Drawing inspiration from the timeless charm of elegant signage, gold leaf craftsmanship, and the artistry of old label products, Wasleyton is more than just a font—it's a journey into the aesthetics of the past. Unleash the power of nostalgia as Wasleyton offers a plethora of alternate characters, ensuring your designs are not just eye-catching but also uniquely authentic. The versatility of this font makes it a perfect choice for a range of applications, from authentic logos and elegant headings to the artistry of sign painting and captivating posters. Infuse your projects with a touch of vintage sophistication as Wasleyton lends its charm to letterheads, branding materials, magazines, album covers, and book covers. Watch as your designs come alive in movies, apparel, flyers, and label designs, each one telling a story of craftsmanship and timeless style. Combine Wasleyton with other fonts, be it a script for a touch of fluid elegance, a serif for classic appeal, or a sans serif for a modern twist. Add a few effects, and suddenly, your project transforms into a masterpiece—classic yet contemporary, elegant yet bold. Elevate your design game with Wasleyton's ability to transport your audience to a different era. Whether you're working on product packaging that demands attention or creating an atmosphere on a movie poster, Wasleyton brings that touch of vintage authenticity that turns your project from ordinary to extraordinary. In summary, Wasleyton isn't just a font; it's a time machine to the aesthetics of yesteryears. Perfect for logos, signage, posters, branding, magazines, album covers, and much more, Wasleyton is your key to infusing a timeless vintage charm into the modern design landscape. Add it to your toolkit, and let your creativity unfold in a tapestry of nostalgia and elegance.

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

AB One is a captivating sans-serif font family that effortlessly blends modern aesthetics with a dynamic, fluid formality inspired by the world of architecture. This versatile typeface offers three distinct weights, each carefully crafted to cater to a range of design needs. Key Features: Dynamic Fluidity: AB One embodies the dynamic essence of architectural forms, showcasing a graceful flow and a sense of movement. The font's letterforms possess an inherent flexibility that adds a touch of vibrancy to your designs, making it an excellent choice for contemporary projects that demand energy and liveliness. Sleek and Modern: The light weight of AB One radiates a modern, minimalist charm, perfect for creating a sleek and refined impression in your design projects. Its clean lines and well-balanced proportions ensure readability while evoking a sense of cutting-edge sophistication. Three Distinct Weights: The AB One font family offers three carefully crafted weights to provide versatility in your design work. Sans-Serif Elegance: As a sans-serif typeface, AB One represents a harmonious marriage of legibility and style. Its straightforward, elegant letterforms make it suitable for a wide range of applications, including branding, advertising, editorial design, and web interfaces. Inspired by Architecture: Drawing inspiration from the world of architecture, AB One captures the essence of structural elegance and sophistication. This font is an ideal choice for projects that require a touch of architectural finesse. Versatile Application: AB One's adaptability allows it to excel in a variety of design contexts. It seamlessly integrates with other design elements, providing a harmonious and engaging visual experience. AB One is a typeface that thrives on the principles of sleek modernity and architectural inspiration, making it a go-to choice for designers who seek to infuse their projects with a touch of dynamic fluid formality.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

The requirements of Middle Ages scribes who copied and produced books in monasteries were fundamentally to preserve space, due to the high cost of the writing surface. During this long period of the development of Gothic forms, many other variations of the style of black letters appear: Textur or “Gothic-antique”, another group called Rotunda preferred by Italian and Spanish scribes. In 1490, the style "Bâtarde" (according to the the French classification) began to be widely used in Germany with more rounded shapes and named Scwabacher (probably derived from the city of Schwabach, but not certified) Fractur is a more condensed and narrower form than Schwabacher. This style is attributed to Johann Neudörfer of Nuremberg, cut in 1513; it was quickly imitated, therefore a few years later became to be a German national identity that extended over the next four centuries. The shape of its characters can be considered as a fusion of Texture and Schwabacher: the lowercase actually has medium strictly vertical and half curved strokes. The first expressions of the baroque influence this writing whose appearance of movement is due to the ornaments applied to the uppercase letters and the ascending and descending features of the lowercase. Despite having spent so many years and being a typeface not suitable for extensive reading texts, the Gothic Fractur has endured over time for possessing a strong and solid characteristic, as well as being closely linked to the spirit of gothic cathedrals of countries in northen Europe. In fact, it is probably that this expressive feature leads them to be chosen in the most varied graphic communication needs, which run from from banks and financial companies, insurers, law offices, publishers, newspapers and TV networks, till alcoholic drinks, funeral tombstones, packaging and even tattoos.

Moho is a broad family of types inspired by the burgeoning modernism of the early twentieth century. Moho introduces an unconventional style in the form of his glyphs which aims to impregnate the text compounds thus a distinctive aesthetic sobriety and elegance while creating a flow of practical reading. The Moho family consists of a wide range of various weights. Thought for innovative text composition, Moho covers all shades of Medium, Regular, Light, ExtraLight to delicate Thin. Moho has a square shape letter style, provided with a competent OpenType programming for Moho OT family and basic functions for Moho Std family. Among the family characteristics OT has features such as small caps for letters and numbers, stylistics alternates, swash letters where "t" is extend over others, giving the typeface that particular style ideal for headlines, ligatures for pairs and triplets of letters, fractions and ordinals. In addition, each comes with its weight set italics. Moho has a character set to compose texts in European languages ​​of east and west with over 600 glyphs. Moho is a letter in resonance for general topics like sports, art. technology trends, fashion, tourism and transport. There exist two groups of Moho Family OT = Full OpenType Features and full set of glyphs Std= Basic OpenType Features and less glyphs

A Belle Époque humanist serif in two styles: crisp, high-contrast Haut-Monde and soft, low-contrast Demimonde… When you design a lot of display pieces, you’re often in need of tall, slim type. Liaisons provides that, in a distinct fin-de-siècle style inspired by the great posters of the Gilded Age from Sweden, Denmark, France, and Scotland. (The ampersand alone is a bit of a love letter to Charles Rennie Mackintosh!) Both styles use the same slim skeleton, and are named after the stratum of society where one might find… a “dancing partner.” HAUT-MONDE is a high contrast face of the sort that says “High Society.” Elegant and sleek, it speaks to the refinement of the moneyed classes of a bygone era. Great for high-end products, too! DEMIMONDE is soft and low-contrast — more reminiscent of hand-lettering on Art Nouveau/Jugendstil/Wiener Werkstätte advertisements and posters. A comfortably chic display face all around! Both typefaces feature full Western and Eastern Latin character sets, as well as full Cyrillic/Slavic ones. And, perhaps best of all, both typefaces feature capitals with high, middle, and low waists, so you can change up the look as you see fit! Part of The Ampersand Forest's Sondheim Series

Savor the perfectly imperfect strokes of "Limoncello Recipe," a handwritten font that embraces the charm of human touch in every line. Just like the handwritten notes of a well-used family cookbook, this font features delightfully uneven lines and a casual, unrefined style that brings an approachable, personal feel to any project. With 84 standard ligatures, "Limoncello Recipe" reflects the natural variations of handwriting, creating connections that are as authentic as they are unique. These connections celebrate the beauty of imperfection, making your text resonate with the warmth and originality of a handwritten letter. The font's assortment of beginning and ending swashes provides a variety of expressive flourishes, giving your words a laid-back elegance. These alternates allow for a playful freedom in your designs, echoing the spontaneous and joyful scribbles found in the margins of a secret family recipe. Ideal for designs that call for a touch of rustic charm and a dash of whimsy, "Limoncello Recipe" is a reminder that beauty often lies in the flaws. Whether you're designing a quirky brand identity, a charming event invitation, or packaging for artisanal products, this font proves that sometimes the best approach is a little bit carefree and wonderfully imperfect.

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

Characterized by quickness, lightness, and ease of movement, Bird Script is a font which challenges many aspects of type-design: every single stroke, comes directly from the author’s hand and tries to reflect not only the tool used, but also his feelings at the moment of writing. Bird Script is a font filled up with the energic gestures of what it’s called gestural calligraphy, a not very explored field in typography, where hardly ever a letter comes the same way two times: When manipulating the pen, the letterer seeks for the beauty of the differences and the grace of a confident execution. Originally done with a flat speedball pen nib nº5 and retouched with pencil for the bolder elements, it turned into a very pleasant to the eyes font which dances between the formal rules of typography and the artistic look of calligraphy. Bird Script Pro and Bird Script Light Pro come with many ligatures, alternates and ornaments. Into the standard ligatures we find lots of pairs of two and three ligated letters so when they are activated the font seems alive. However if none of them are activated, the font gives a really particular text pattern, specially in smaller sizes. Get Bird Script, add rhythm to your work.

Fazeta Sans is a perfect companion to serif typeface Fazeta. Two light weights were added, so the complete typeface consist of 14 fonts (7 weights + matching italics). The fine gradation lets you choose perfect weight for any type of project. Every font have 1140 glyphs – just like the serif version and contains the same features, so use and combining of whole typeface is very comfortable. Also fixed kerning allows better comfort for eyes by reading and shortens the length of the text. I tried to preserve sharp and cold impression from serif version, but some straight lines had to be curved due to the natural limitation of sans typefaces (for example the upper arch of “f” is shaped more smooth). However it keeps extremely open form. A little playfulness was left at the end of letters “k, K, and R”, but if you want, this can be eliminated by using a rigorous SS01 feature. Serifs were here transformed into a small yaw from main stroke and so enlive the monotony of sans kind of types. Also slight cutting the top of the letters helping to surprisingly vivid final impression. Fazeta Sans is therefore suitable for wide range of type sizes – from small marginalies to huge poster sizes. To see more please check the PDF specimen.

Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world. After building his own theoretical framework of relevant legibility parameters, the design process used a unique custom real-time simulation software, which could simulate difficult reading conditions (distance, fog, halation, positive/negative contrast) while the letters were actually being designed. This process made it possible to optimize even the tiniest details of each letter for maximum legibility. Being made specifically for wayfinding purposes, this type family does not compromise on any aspect of legibility — and yet, the typeface is a beautiful, clean and modern sans serif. With its broad language support and the large number of available styles it is perfectly suitable for any possible signage project anywhere in the world. In an independent empirical study at the University of Applied Sciences “htw” in Berlin different typefaces were recently tested when used on signs and Wayfinding Sans Pro was the winner in all conducted tests, being significantly more legible and therefore superior to all other styles of the tested typefaces. Check out the PDF specimen for more information: wayfinding-sans-pro.pdf

Ladoga — one of the most beautiful Russian designs from the soviet period. The type family was developed in Polygraphmash in 1968 by Anatoly Shchukin on the base of his own lettering for book covers and titles. It was one of the first attempts in Cyrillic typography to create text face in a style of renaissance antiqua. Stylization to broad pen calligraphy resembles early forms of Latin types that were based on handwritten humanistic minuscule. Unique in its character set digital version of Ladoga was designed by Viktor Kharik on the base of artworks of Shchukin for ParaType. The family consists of roman and italic styles in text and display versions. Character set includes characters of original shapes as well as more modern alternatives. Besides there are a set of additional characters, old style figures and small caps. The fonts cover all modern languages based on Latin and Cyrillic scripts, Greek alphabet (including polytonic extension), Hebrew and historical Cyrillic letters. Ladoga is gorgeous in display sizes and pretty readable in texts. It’s well suitable for fiction literature, historical books, art criticism, religious and philologist works. It will be extreme helpful for multilingual issues and for inclusions into body text historical passages in original orthography. The family was released in 2010.

Improved kerning of the Updated Version of 2020 - New Features: • Cyrillic language support • Bulgarian Localization • Completely New Nexa Text subfamily • New ExtraLight weight with a corresponding italics • Stylistic Set suitable for Display purposes - ss02 • Tabular Figures Even the most recognizable typefaces of our time, such as Nexa, should be updated sometimes. We proudly present you with the latest upgraded version of the notorious geometric sans serif. The completely refined family design comes with an addition of one more weight—Extra Light—and its matching italic, alongside an entirely new subfamily—Nexa Text, optimized for longer text, and even a futurist stylistic set of Nexa for an alternative display look. The outcome is altogether 9 weights and 36 fonts! The glyph case now covers not only an improved Extended Latin but a new set of Cyrillic with adequate language localization. The fluent functionality of Nexa is achieved with multiple OpenType features, such as case-sensitive forms, contextual and stylistic alternates. The standard numerals set encompasses tabular figures and symbols, superiors and inferiors, numerators and denominators, plus fractions. The unique appearance of Nexa combined with rich variety places it beyond the scope of regular geometric typefaces for all kinds of scales and purposes and designs that speak for themselves.

Introducing the "Northnoh Metal Modern Typeface" – where the raw power of brutalism meets the modern edge of dead metal aesthetics. Unleash the untamed spirit of your designs with this bold and brave font that boasts a prickly character, exuding strength and attitude. Designed for those who dare to be different, this typeface is a true representation of fearless creativity. With 862 meticulously crafted glyphs, the "Northnoh Metal Modern Typeface" ensures a comprehensive arsenal for your typographic adventures. Explore a world of possibilities with included ligatures and alternatives, allowing you to customize and enhance your text with a touch of unique flair. The font's distinctive personality is perfect for projects that demand an unconventional and daring approach. Whether you're working on album covers, posters, branding, or any other design where a fierce statement is required, the "Northnoh Metal Modern Typeface" rises to the occasion. Embrace the rebellious spirit of dead metal while enjoying the ease of use and versatility this typeface offers. Its multilingual support broadens the horizons of your creativity, making it a global tool for expression. Unleash the brutal beauty of "Northnoh Metal Modern Typeface" and let your designs scream with individuality. Elevate your projects to new heights with a font that challenges the norm and breaks free from the conventional boundaries of typography.

Change Serif is a typeface family designed as a part of Mateusz Machalski's PhD project, carried out in 2015-2021. The main goal was to create a typeface allowing for the typesetting of complex humanistic texts, containing many historical letterforms. The starting point was the preparation of most of the glyphs provided in unicode for Latin, Cyrillic and Greek. From the formal point of view, the Change family is based on Renaissance proportions with contemporary details. Classic upright version is paired with expressive and calligraphic italics, inspired by the works of Robert Granjon. Each of the styles contains about 4,000 characters, allowing for a broad range of typesetting capabilities – multiscript publications, historical translations, and texts transcription. The crucial aspect was to treat all scripts equally. All OpenType features, such as swashes, final forms, decorative ligatures, can be found in Latin, Cyrillic and also Greek. The name of the typeface refers to the design process in which there are constant changes and corrections. On the other hand, it means to convey how this project influenced my perception of typography and allowed me to embrace it as a medium of artistic expression. Due to its similar proportions, Change works perfectly with the Gaultier typeface.

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Dulcinea is the title of Ramiro Espinoza’s in-depth look at Spanish Baroque calligraphy’s most extreme tendencies, and especially at some of those produced by the writing masters Pedro Díaz Morante and Juan Claudio Aznar de Polanco. These 17th and 18th centuries alphabets with their plentiful calligraphic flourishes represented a marked break with the harmonic and angular Renaissance Cancellaresca style. It was Morante who first introduced and popularized the use of the pointed quill in Spain, and although his famous text entitled “Arte Nueva de escribir” – first volume published in 1616 – contains alphabets that have much in common with traditional broad nib Cancellaresca calligraphy, most of the examples therein are outgrowths of the new models put forward by the Italian master Gianfrancesco Cresci. The writing’s swashes are complex and intricate, but at the same time they feature a profusion of defects. Many of them sometimes come close to ugliness. However, these pages contain an artistic essence that bears a relationship to the ironic and sometimes somber character of Spanish Baroque. That’s why the name of the font pays homage to “Dulcinea del Toboso”, the fictional beauty from Miguel de Cervantes’s ‘Don Quixote’, a work that reveals many of the period’s conflicts, such as the contrast between utopian ideals and reality, uncertainty and madness. But Dulcinea is far from being just a revival. Its forms are not careful tracings of the outlines of Morante and Polanco’s letters, nor are they attempts to reproduce them digitally. In fact, the author of the letters says that had the font been created that way it would have been too archaic to serve as acceptable contemporary typography. However, he believes that there are myriad interesting details that can be rescued and preserved, along with the playful spirit of the original. The work of designing Dulcinea consisted of combining original historical elements with the creativity and calligraphy of the font’s author in order to produce a modern typography that isn’t based on the same traditional sources as many recently created scripts fonts. Dulcinea offers attractive options for the setting of texts and headlines: abundant ligatures and swashes along with intricate alternate characters. It sophisticated forms make it an ideal option for women’s magazines, recipe books, lingerie products or perfume packaging.

The Bruce Foundry in New York gave this Italian Clarendon the catchy name of Ornamented No. 1529. The original had a top right white shadow which we eliminated. Additionally we improved the color of several of the characters.

Before designing this font, C.H. Griffith consulted the results of a survey of optometrists regarding optimal legibility. Excelsior font was then presented by Mergenthaler Linotype in 1931 and remains one of the most legible and popular fonts worldwide.

Based on the more usual pen stroke form of 'runes', (translation of Elvish Certar and Cirth). The richest form was also known as the Alphabet of Daeron. NOTE: this font comes with an interpretation guide in pdf format.

An elegant new design with just a slight bit of flare. A face which will work for both headlines and text. Its delicate serif gives a bit of class while its swash 's' adds a touch of fun.

Doge’s Venezia is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Darker and Doge’s Banner. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

Based on L&C Hairline, this family of faces is weighted to achieve stroke consistency in a variety of sizes. Both versions of this font support the Latin 1262, Central European 1250, Turkish 1254 and Baltic 1257 codepages.

Beyond the halls of the ivy league, a vintage sport font from the days of old. A complete family for all of your layout needs. Includes a layered COLLEGE effect to stack up and command those team colors.

Doge’s Darker is one of a set of four typefaces, the others being Doge’s Delight, Doge’s Banner and Doge’s Venezia. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Black Ornaments is a family of ornament/dingbat fonts, inspired by the CalligraphiaLatina font series. Is excellent for use in editorial works of art and publishing, as the cover of books, headpieces, packaging, magazines and many other solutions.

Doge’s Delight is one of a set of four typefaces, the others being Doge’s Darker, Doge’s Banner and Doge’s Venezia. Together they make up a splendid family of Victorian inspired Tuscan faces, allowing for an integrated design approach.

HU Mois KR is a calligraphy typeface with a sense of speed and a naturally slanted feel as if writing. It also gave a sense of free rhythm of handwriting. Includes Korean from the existing 'HU Mois' font.

Based on a few examples of an Art Nouveau-inspired wood type, Nouveau Sans JNL has an interesting mix of angles, curves and general letter shapes that are reminiscent of the period preceding the Art Deco streamline movement.

Mazzard Soft is a rounded version of Mazzard – a superfamily of three geometric grotesques with three different x-heights (H, M, and L). It features rich language support, includes Cyrillic, and offers a wide variety of alternate forms.

Face Your Fears was created using a brush, paint and ink and a lot of paper. Due to the horror-like nature of Face Your Fears, the font looks great on websites, games and - of course - halloween cards.