Start good day for new font! present to you, Gilter! Gilter is a font created specifically to give your designs a modern, stylish, and unique feel. With a combination of fun retro serif shapes and an elegant appearance, this font is the right choice for designs that want to display a creative impression and be different from the others. Gilter presents strong and tough-looking letter characters, but still maintains a friendly and welcoming impression. This makes this font very suitable for various types of projects, from branding, packaging, posters, to website design. What's you get? Gilter Regular Gilter Italic Unique letterforms Works on PC & Mac Simple Installations Accessible in the Adobe Illustrator, Adobe Photoshop, Microsoft Word even work on Canva! PUA Encoded Characters Fully accessible without additional design software. I really hope you'll get pleasure using Gilter font and it will be perfect addition to your font collection! If you have some questions, please write me a letter! Shakira Studio

It's a fun monoline script font! With it’s clean, handwritten style Hey Hogmanay is perfect for flyers, posters, invitations, greeting cards, gift ideas and much more! It also plays really well with sans serif fonts making it a creative choice for logos and branding! Hey Hogmanay includes a set of ligatures, including ‘double letter’ ones, to add extra variety to your words! Hey Hogmanay Caps includes a completely separate set of letters for those moments when you just want to type in all caps! Each letter has been specifically designed to work together where the script font may be a bit tricky. Both fonts offer multilingual support.

We use an old hand juicer at home: a cheap plastic one that we bought a long time ago at a Swedish home appliances and furniture giant. We haven never considered upgrading to an electronic one, as it still works, it doesn’t use electricity and we don’t really use it that often. This font is called Juicer. It was not named after our manual juicer, or any juicer in particular. It was just a word that seemed to fit the font nicely. Juicer font is a handwritten, script-ish kinda font that comes in two great styles and contains a set of double letter ligatures.

Breathing Fresh is a handwritten script font. This font is perfect for quotes, branding, ornaments, shirts, mugs, headings, blogs, logos, invitations and more! What's Include : PUA encode & Opentype ( It is full of Tails and glyphs ) Multilingual support Use the fonts for: logos, branding materials, wedding sign, wedding website card, farmhouse signs, sign bridal, shirts, pantry labels, sign bridal shower, business cards, greeting cards, wall decor, social media, planner prints and websites. • This font works with any application Microsoft Word, Adobe Photoshop, Microsoft Paint, Corel, Adobe Illustrator, Cricut Design Space, and many others! If you have any question please do not hesitate to contact me. Thank You!

Lil’Baby Script Font is a romantic, modern calligraphy typeface, which supports Extended Latin and Greek characters. This font does not only contain a complete set of lower and uppercase letters, punctuation, numbers, but also a set of ligatures. Equally important is the fact that the font has diacritics for multilingual support. Of course, with this typeface, you have access to a complete Greek set of characters, with diacritics and Greek ligatures. Lil’Baby Script is a high-quality calligraphy font that can infuse any project with romantic vibes. Lil’ Baby Script is the perfect wedding font if you want to achieve a dreamy style on your wedding invitation. For a soft, elegant style, you can pair the font with a pastel color palette and creamy papers. Of course, this modern script font is perfect for your graphic design needs like social media quotes, blog headers, posters, stationery, and why not branding, packaging, and logotypes. In addition, this calligraphy font is ideal for the fashion and apparel industry, if you want to achieve a classic chic, yet modern style.

Say hello to new serif font, Rangen! Rangen is a serif font that incorporates boldness and uniqueness in each letter. With bold, bold characters, Rangen exudes classic serif elegance while still blending with refreshing modern and retro touches. Rangen is the ideal choice for a variety of design projects. This font is suitable for use in headlines, logos, branding, marketing materials, posters, and more. With modern and retro nuances presented in harmony, Rangen gives you the flexibility to create a look that suits your design vision. Let the Rangen letters speak with boldness and beauty, creating impressive and inspiring works. Here's what you get: Rangen Regular All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu) Follow my shop for upcoming updates, and for more of my work, Thank you! shakirastudio.com

Mandevilla is a semi-serif that is ideal for titling, display, and logos. Enrich your design with the expansive selection of 210 swashes and alternates. Create with Mandevilla’s decorative default uppercase set or explore the unadorned and non-stylized titling set. Mandevilla includes a 3/4 size capital letters set, listed as small caps. Used with capitals letters, they maintain a sense of a word shape as they are smaller and less ornamented than the initial cap and are serif-free. Thirty-eight complementing ornaments complete the package. See what’s included! http://bit.ly/2bGS00B *NOTE* Basic versions DO NOT include swashes, alternates or ornaments These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

After Letrista Script, Calderón Estudio returns with a new contemporary and adaptable typeface. Tulipán Lovely Script is a font with three variations resulting in a subtle design that can be smooth as the fresh tulips that inspired it, markedly delineated as a tulip in full bloom, or rough as crocodile skin. Tulipán evokes the soul of vintage brush lettering. See our samples here. Features include: Tulipan Display: Stylistics alternatives, contextual alternates, swash, discretionary ligatures, standard ligatures, oldstyle figures, language support, titling alternates and 59 ornaments. Tulipan Broken: Broken effect, Stylistics alternatives, contextual alternates, swash, discretionary ligatures, standard ligatures, oldstyle figures, language support, titling alternates, small caps and 59 ornaments. Tulipan Rough: Rough effect, Stylistics alternatives, contextual alternates, discretionary ligatures, language support, cath words, 77 ornaments and free samples patterns! You will love it!

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.

Slowglass is a geometric semi-serif accompanied by geohumanist italics. Softly rounded edges lend it a friendly tone. The typeface includes two categories of stylistic alternates, available as font features as well as complementary font subfamilies. Text forms for increased legibility (Slowglass Text) and uncial-inspired unicase variants (Slowglass Alt). At over 1500 glyphs per weight, the fonts support 80+ Latin-based languages (incl. Vietnamese), 14 Cyrillic-based languages and polytonic Greek. OpenType features: Six sets of figures: proportional / tabular × oldstyle / lining / petite (ss20) Superscript and subscript figures Fractions, numerators, denominators Optional slashed zero Case-sensitive forms Glyph composition/decomposition (support for Navajo and Greek) Localization (Dutch, Marshallese, Bulgarian) Stylistic Sets: ss01 Roman: Two-story a, loopy α / Italic: Loopy α ss02 Roman: Simple g / Italic: Simple k ss03 Unicase r ss04 Alt f t г п т γ ss05 Descending η χ ss06 Unicase β ζ θ ξ ss07 Alt в г д ж з к п т ю ss08 Latinized ς, cursive и й ss09 Round Δ Λ Д д Л л Љ љ ss10 Full-stem a q ss11 Seriffed I ss12 Unicase A ss13 Unicase E Ω ss14 Descending F T Г П ss15 Descending G P Q Y ss16 Unicase M N И H Y ss17 Extending Φ Ψ ss20 Petite figures

The typeface Coffee Beans Time is designed from 2018–2022 for the font foundry Typo Graphic Design by Manuel Viergutz and Annelena Grascht as a graphic design and photography project. The display font based on the original coffee beans and create a dingbat pattern. 3 font-styles (Dingbats, Mix, Coffee Ground) with 304 glyphs (Adobe Latin 2) incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Coffee Beans Time ■ Font Styles: 3 (Dingbats, Mix, Ground) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 304 glyphs (Adobe Latin 2) incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ 93 languages: 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 Manx Morisyen 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 Welsh Western Frisian Zulu ■ Design Date: 2018–2022 ■ Type Desi­gner: Manuel Viergutz und Annelena Grascht

Originally released in 1987, Charter incorporates three important features: compact set width to give economical copyfit; generous x-height to give readability at small point sizes; and sturdy open letterforms to give reliable reproduction at both typesetter and laser printer resolutions. The design brings a clarity and freshness to everyday documents, such as newsletters, textbooks, directories and technical manuals, where the reader’s concentration must not be interrupted by unfamiliar letterforms but where typographic dullness can itself impair comprehension. The Italic has cursive letterforms - so is instantly distinguishable, while being readable enough in its own right for continuous text. The Charter BT Pro Pack features 6 fonts: roman, italic, bold, bold italic, black, and black italic. The fonts include characters originally developed for expert sets, such as ligatures, ornaments, old style figures, small caps, and superiors. The Pro Pack fonts support Western, Central European, and Eastern European languages. OpenType fonts are a cross-platform font format. The same OpenType font can be installed on Mac OS X, Windows, Linux, and Unix systems. Mac OS X and Windows 2000, XP, and Vista have built-in support for OpenType. OpenType fonts also work on Linux, Unix, and earlier versions of Windows, where they are recognized as TrueType fonts. OpenType includes many more features than the standard TrueType and PostScript formats, including the ability to install the same font on different platforms, crucial for document portability. OpenType fonts boost productivity because graphic designers and business professionals do not have to wrestle with many different fonts. With OpenType, customers have larger character sets to work with and fewer font files to deal with.

With Hearty Font is an exquisite and delicate handwritten script font that exudes elegance. It features captivating letter alternatives and enchanting tails at the beginning and end of each stroke. The font's distinctive attribute lies in its heart-shaped connecting tail, which adds a touch of romance and charm. With its graceful design, With Hearty Font is sure to captivate and inspire. To use alternates, heart connector, beginning and ending swashes, you don't need to use software that supports opentype, because we have made it separately so it's very easy to use.

This font is a clean, modern sans serif bold. Named after “De Rotterdam”* this huge and super cool building (read the story below). Great for headlines, Posters, Flyers but also well legible at small size in large texts. Contains All European language accents and characters. --- The Story --- *This complex is located in the Kop Van Zuid district of Rotterdam, on Wilhelminapier. I was lucky to see this building from the beginning (2009) growing up (2013) That time when I was working and living here. I was always amazed by the design and how huge it is every time I took a look at it while driving or walking on the Erasmus Bridge. When I was going to work or just hiking around the city. It has a special meaning and message for me: I started creating fonts in my free time in 2010 when I came to this city to work. I was factory worker, dishwasher etc. I grew together with this amazing construction from brick to brick, step by step. By the time its construction finished, I was able to quit my day job and become a full time freelance designer.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Yamatoshi is a handwritten script font inspired by Japanese calligraphy culture. Suitable to energized your design with free spirit vibe. Seems like it was written effortlessly that makes Yamatoshi stands out for its natural charm.

Introducing Gleaming Christmas, a handcrafted font that exudes sweetness and friendliness. Its natural and one-of-a-kind style is a perfect match for a wide variety of design projects, letting your imagination run free.

Phinney Jenson ML is a font with deep historical roots firmly planted in the fertile soil of the Italian Renaissance. Twenty years after Lorenzo Ghiberti finished his famous East Doors, the Gates of Paradise, of Santa Maria del Fiore in Florence and about fifteen years before Sandro Botticelli painted his “Birth of Venus,” a French printer by the name of Nicolas Jenson set up a small print shop in the powerful city-state of Venice. The fifteenth century marked the end of the plague and the rise of Venetian power, as the merchants of Venice controlled the lucrative trade of the eastern Mediterranean and sent their ships as far as London and even the Baltic. In 1470, Jenson introduced his Roman type with the printing of De Praeparatio Evangelica by Eusebuis. He continued to use his type for over 150 editions until he died in 1480. In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jenson’s Roman and drew his own somewhat darker version called GOLDEN, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinney’s version of Morris' version of Nicolas Jenson’s Roman. We selected a view of the Piazza San Marco in Venice for our gallery illustration of Phinney Jenson ML because most of the principal buildings on the Piazza were already standing when Jenson arrived in Vienna in 1470. The original Campanile was completed in 1173 (the 1912 replacement is partially visible on the left). The Basilica di San Marco was substantially complete by 1300. The Doge’s Palace (not in the photo, but next to the Basilica) was substantially complete by 1450. Even the Torre dell'Orologio (Clock Tower) may have been completed by 1470—certainly by 1500. Phinney Jenson ML has a "rough-and-ready" strength, suitable for headlines and short blocks of text. We have sought to preserve some of the crudeness of the nineteenth-century original. For comparison, see the more refined Centaur, Bruce Rogers's interpretation of Jenson Roman. Phinney Jenson ML has a strong presence that will help your documents stand out from the Times New Roman blizzard that threatens to cover us all. Phinney Jenson ML Features: 1. Glyphs for the 1252 Western Europe, 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Accented glyphs for Cornish and Old Gaelic. Total of 393 glyphs. 400 kerning pairs. 2. OpenType GSUB layout features: onum, pnum, salt, liga, dlig, hisy and ornm. 3. Tabular (std), proportional (opt) & old-style numbers (opt). 5. CcNnOoSsZz-kreska available (salt).

Now, more than ever, the world needs BenderHead. Why? – Because... it just does. Don't ask why, just take our word for it. BenderHead has its thicks and thins all mixed up. For you typographic aficionados, stroke weights and hairline weights aren't consistent, and many rules of typographic design were broken to make this font. We're sure there's a use for it... we've used it on CD covers and posters - and have seen it on a poster for the Zelda video game at Babbages. It's offered here for the first time through Altered Ego Fonts. I don't think we need to explain its history, its inspiration, or its historical reference to you... (we're not certain there is any.) Just accept it as it is, and use it profusely. Benderhead AEF features a full character set, including the Euro. It supports the following codepages: -Latin 1 -Latin 2 (Eastern Europe) -Western Baltic -Turkish AEF highly recommends the OpenType version for compatibility with future Macintosh and Windows operating systems. Not to mention they work better in Adobe InDesign.

Welcome to the world of Luckywish Sans-Serif Handmade Font, a special offering born from hands full of creativity and love. Combining the art of handwriting with the simplicity of a sans-serif, Luckywish font offers a magical script that fulfills all your wishes. Luckywish is a symbol of hope that shines through every stroke found in each character. Crafted with heartfelt dedication, this font showcases the natural beauty of handwriting, bringing warmth and joy to every design composition. Armed with a pen and imagination, Luckywish exudes a unique charm. Its relaxed and delicately intertwined style brings a friendly and inviting ambiance to every formed sentence. When used, this font will infuse happiness and a fresh spirit into every project you undertake. Luckywish is more than just a font; it's a loyal partner to designers, writers, and creators alike. With its sans-serif characteristics, this font is easy to use and suitable for a variety of creative projects, from logo designs to posters, from wedding invitations to company branding. In the palm of your hand, Luckywish offers a perfect balance between boldness and delightful gentleness. Each character is meticulously crafted to provide unparalleled harmony in every usage. It's time to let your hopes and imagination flourish with Luckywish. Let this font bring joy and inspiration into your design world. Get ready to witness your words and messages transform into mesmerizing works of art that capture hearts. Be part of this magical journey with Luckywish. Get the font now and enjoy limitless creativity with an unmatched personal touch.

The bushy weed commonly known as foxtail provides the inspiration for this set of ornaments, and reveals its connection to the prairies. The appearance has an affinity to cowboy themed work and would combine well with wood type decorative text.

Flavery is a vintage slab serif font that is perfect for creating a rustic and rugged aesthetic with its hand-drawn slab serif style. This font is ideal for evoking the old-fashioned cowboy era or the classic vintage vibes era and is great for display purposes. Flavery features alternate glyphs and supports multilingual Latin characters to enhance your designs with a touch of old-world charm. Its bold and distinctive style will make your designs stand out and give them a unique character. Whether you're working on a poster, packaging, or branding project, Flavery will add a touch of vintage authenticity to your work.

Introducing Betriciya Signature An elegant, graceful, yet simplistic cursive font. Inspire your audience, clients, or guests with this stylish, handwritten font that can be used for almost every platform such as websites, social media, pinterest, printed cards and many more! Aesthetically pleasing handwritten cursive font, just for beautiful you! Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Introducing Letterose - A Calligraphy Font Letterose Calligraphy font is designed and carefully handcrafted elegantly and gracefully for your website, for your social media branding, Pinterest banners, printed invitations, and more! Letterose Calligraphy font will never go wrong for your audience, clients, guests or anyone around you! What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

Looking for a fresh signature font that will transform your logos, letterheads, and social media posts? Introducing Berllista - A Modern Signature Font. Online or offline, Berllista makes sure all eyes are on you. Give it a try and feel the impact a great font makes. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office Keynote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom-created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

MMC Insignia, is an Iconic & Emblematic Neogothic Geometric Capitals Display… Assembled by Trivial Squares and Diagonals Symbols Pattern from a puzzled grid Aftermath!! Includes Stylistic Alternates!! +Extra Monospaced Figures. In 22 styles, with Obliques, both for single display and layer Typesetting, plus OpenType Features & Bonus Blocks Fonts! MMC Insignia is a Small Caps Typeface, which default lowercases character set is included in the Pro family, its cursive version, apart from it, has also Exclusive Stylistic Alternates… Its atmosphere stands by on both Corporative to Decorative, Modern, Fashion, Federalist, Bohemian, Romantic, Ludic, Treasured Look, Etc. This Display font-family is the result of the repeated applications of this unique infamous Icon or Symbol, of two counterpointed triangles, implicit as hourglasses, in order to compose an innovative and unprecedented typographic pattern and modulation concept through the letterforms, in an extremely Geometric style. The Graphic Sign used throughout this type, is a remarkable trend used already in Logos of different businesses, whose most famous case refers to a famous International Bank, which doesn’t need to be mentioned, as it is instantly associated! This characteristic innovation was the main motivation while creating this type. Usage Suggestions: Type Fancy Titling texts, Display Remarkable Logos, Branding Projects, Labels, Emblems, Fashion Patterns, or in everything Noble and designed for Excellence as a type of Insignia, or distinguished marks and attributes of Royalty and Power!! That’s also forwardly, the reason why it was named MMC Insignia… TIPS: 1-Combine styles into innumerous possibilities of Chromatic Typesetting, by ‘central pasting’ layers… You may dislocate layers for improvisations! 2-USE BLOCK “FREE-STYLES” 1 & 2 also to add default 3D! Change 3D directions by switching Block 1 to Block 2, that way you can Zig-Zag words and lines. *Also shift the block layer up to bottom limit, it makes the 3D direction turn upside down. Greetings! André, MMC-TypEngine.

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

Tall, thin and elegant, Marian Churchland’s fonts are very much like her.. and now available from those awfully nice chaps at Comicraft to allow you to pretend that you are too! Marian Churchland was born in Canada in 1982, and was raised on a strict diet of fine literature and epic fantasy video games. She has a BA in Interdisciplinary Studies (English Literature and Visual Arts) from the University of British Columbia, and has been doing professional illustration work, including book covers and magazine articles, since she was 17. Last year, she became the first woman to solo-illustrate a CONAN story, and this year she’s illustrating three issues of ELEPHANTMEN for Image Comics. Artwork by Marian Churchland from Elephantmen #20. See the families related to Marian Churchland Journal: Marian Churchland .