Get ready for a font revolution with the Bllum SVG script color font family. This is a unique calligraphic color font. Writing immediately with 3D realistic letters is now real. Create a stunning visual effect. Features: - Real Plastic effect - Extras & ligatures - Alternates characters - Kerning IMPORTANT: - Check the glyphs in the font before buying! - SVG fonts contain raster letters. - Check it www.colorfonts.wtf - Try a FREE DEMO version before buying. ld.luxfont@gmail.com

An unusual handlettered alphabet from the 1922 chapbook Modern Show Card Writing, by Joseph Bertram Jowitt, provided the pattern for this whimsical face. Its letterforms, as well as its name, conjure up visions of faraway places, and is sure to add a unique charm to your next project. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

Ansichtkaart is dutch for postcard. People rarely send postcards these days, they send emails. But, if you really, really, really want to send a postcard, then write it by hand. Otherwise, send a greeting via email using cute graphics and a cute font. Use Ansichtkaart! The receiver will love it! Comes with astonoshing 8 different versions of each letter, using contextual alternates. Besides that, the font is loaded with foreign characters!

Introducing Chalk and Friend Typeface Chalk and Friend Typeface is a font inspired by writing on a blackboard. This font is very cool and can be mixed and matched with any ornament you like. Chalk and Friend has 4 unique and expressive font families, very easy to use and combine according to your wishes. Chalk and Friend Typeface is suitable for blackboard menu design, book menus, sign boards and so on.

Magelove a handlettering font is a natural & beautyful handwritten font to get natural and natural writing. I'ts Perfect for logo, invitation, stationery, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, special events or anything INCLUDED FEATURE: - Stylistic Sets (SS01-SS08) & Ligature - PUA Encoded open - Support for MAC or PC - Simple installation for Adobe Illustrator, Corel Draw, Photoshop, or Procreate (New Updated) Thanks and Regards Garisman Studio

Meet Kidsnote, where each letter is like a letter in the margins of the page, written with a ballpoint pen. This dissimilar family of different fonts is framed by the atmosphere of handwritten notes. From block and cursive letters to underlining and mini-doodles, every typeface captures the feeling of writing with a real pen. Like the pages of a notebook, written in small handwriting. Features: - Extras - Kerning

Valibuk is a compact clean typeface for headlines and short text. No details are small and it’s a bunch of details that make Valibuk as it is. It’s a heavy, condensed face with a high x-height and tight spacing and that’s why Valibuk can write loud. The quality of the spacing and kerning is ensured by Igino Marini. Lomidrevo is a grunge stencil family derived from Valibuk.

If you are a graphic designer, magazine editor, fashion stylist, industrial designer, publisher, printer or have a creative business, this font is for you, I believe it is a font that should be in your font folder for all your work.. Make awesome logotypes; When you write any word, it almost gives a logotype effect, I enjoyed working on it very much, I'm sure you will like it too...

This font works beautiful for headers and signature looks. There are plenty of alternate letters to fine tune your creations. If required - there is an extra number of initial/end swashes which give that beautiful flowy look to your wording. Also please note that some of the short swashes if placed together make beautiful ornaments as well. Nistiver can write in other languages if such is your demand :)

ReTyper is a typewriter font. ReTyper is a family of decorative fonts designed aspecially to make your texts look like authentic typewritten text. Designed for use in advertising, branding, packaging. It is also suitable for use in online activities. ReTyper is also great for your personal purposes, like romantic letters, poetry writing, and making vintage vibes. ReTyper contains Latin, Cyrillic and Greek glyphs. There is also a crossed out stylistic set.

Huraira - Arabic Font, a captivating digital typeface that beautifully captures the essence of Arabic calligraphy. With a design that closely resembles traditional Arabic letters, this font features the intricate inclusion of dots on select characters, mirroring the visual elegance of classic Arabic writing. Huraira brings an air of authenticity and cultural richness to your designs, making it a versatile and impactful choice across a spectrum of design applications.

This unique type treatment was born after working in a mixture between a pixel based font and a retro logo. With lot of details it looks great a bigger sizes, but you can also apply it to write long sentences or even as body text! This font was chose as the official online font of our favorite band Foo Fighters some time ago, when it was just a work in progress.

Bestari is the perfect font for all your classical and minimalism designs. The main font file is equipped with ordinary characters. Everything is made with the natural handdrawing. So you can be sure they will work well together! It is suitable for you to use in making t-shirt design, quote, label, packaging, logo type, or long writing. Because we have compiled kerning and matrices that are tailored to your needs.

Cirth was invented by John Ronald Reuel Tolkien for use in his novels. It is modelled on the Anglo-Saxon Runic alphabet, and is used to write the language of the Dwarves (Khuzdul) in The Hobbit and The Lord of the Rings in inscriptions in wood and stone. It is also used as a alternative alphabet for English. The fonts here are both the hobbit version and the version for English.

Know that love can be expressed without words? yes true love can be expressed through visual font must therefore called Rosallia GT was born to express your feelings and visualized according to the needs. Rosallia GT also comes with a swash to add a nice finishing touch This font is suitable for needs such as signature, decorating, writing in blogging website, up to poster poster to increase your sales

It's cool to be square. Among the many strange attempts to conceal writing, these two systems allegedly used by the Masons have a wonderful simplicity and relative ease of use. Both systems, the Rosicrucian and Free Mason, (also called the Pigpen cypher) as simple replacement ciphers never offered very great cryptographic security, but certainly would ensure that the casual observer would not be able to read documents written in such scripts.

A sequel to my own Herakles font, with multiple faces, and more to come, so the name refers to his second labor, slaying the Hydra. The straight lines and sharp angles make it suitable for evoking the feel of many ancient civilizations where writing was cut into stone. Whether your heroic deeds include slaying mythical monsters, or making the best spanakopita in the city, this font is for you.

Containing over 100 ligatures, Epistula is a loosely written font, resembling my own natural way of writing. It has a nice flow and the pointy tail-ends give it a certain speed. Creating Epistula has been a long process, but returning to the drawing board a few times has – in my humble opinion – paid off. This font comes in two weights: regular and medium. Because sometimes one flavour just isn’t enough…

Gettalk is a simple but unique brush font, there are standard ligatures and various lines that you can use for your design purposes, just by writing a__ (a underscore underscore) to n__ (n underscore underscore). Gettalk is perfect for Headlines, social media, invitations, business cards, photography, quotes, and any other needs you want. Because Gettalk is a font that is easy to pair with other fonts or stand alone.

Southern is a solid brush font that is made manually with brush strokes on paper. Unique in character and gives a prominent impression, it is suitable for your various design needs. With good kerning this font can also be used for paragraph writing, creating a character and bold design, this will give a huge impact to your advertising media needs. Thank you for purchasing our products, Have a great day! Letteratom

Wamelo, a work that is purely a result of handwriting and writing by using a liquid ink pen, has a natural characteristic. This is perfect for invitations, signatures, blogs, social media, business cards, product brands. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. They can also be accessed through the character map.

Majestic Wisteria is a a sweet handwritten font that is made with great care in order to produce the expected outcomes. This font can be used for writing various kinds of products according to their respective needs. It will add a luxury spark to any design project that you wish to create! This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Abdo Text is an Arabic Naskh font for books and magazines discriminate accurately design and clarity of reading, it comes in one weight. Will later add mor weights and a copy of it to write the Koran Ottoman drawing. This is an OpenType Font supporting Arabic,and compatible with the various operation systems and modern software. This font also contains many of Stylistic Sets, Ligatures and Justification Alternatives - 775 glyphs.

Comenia was developed as typographic system for use on all levels of schools and universities. It introduces new aesthetic standards aimed at improving reading and writing skills and the perception of texts for pupils, students, teachers, office and IT staff at schools. It offers a clear, intelligible and universal graphic tool for layout of primers, textbooks, educational texts and materials, for electronic typography and for the information systems.

Odell is a fun, whimsical, yet elegant handwritten font that was created in a light-hearted manner for use in things like menus, invitations, bed and breakfast collateral and whatever else you can dream up. Odell features extra thin letters and it is designed to be creative, a little fancy, and very legible. There are tons of foreign characters to choose from so you can write in other languages as well.

Flood was designed by Joachim M�ller-Lanc� and is not just another handwritten face. At smaller point sizes it exhibits the natural, dynamic, and spontaneous flow of felt tip marker writing. At larger sizes Flood is immediate, urgent, and provocative in its stylized detailing, without being overly dramatic. Flood�s energetic rhythm is well suited for informal menus, logos, and brief ad copy, as well as personal correspondence.

Albion Signature is a value packed font of exceptional character, with lots of old world charm to make your next project personal and special. Containing over 2,200 glyphs, it’s large enough to handle any demanding project, big or small. It also contains over 400 flourishes in three sections (dingbats, geometric shapes, and misc. geometric shapes) in numerous styles, that can be used in endless combinations. It’s like several fonts in one. Everything you need to do a stellar project is included. A script font that lines up perfectly with a few extra endings and hidden treasures spread throughout. It also contains a complete easy to use PDF index, so you will be able to find exactly the glyph you are looking for fast. This font can only enhance the fonts that you already own, making them more versatile and useful. On its own, it is a very elegant calligraphy script, that will make every project you create look great. The capital letters overlap and intertwine just like in days gone by, for a unique style. Also included are tools that can give you very precise spacing, right inside a word processor. Usage: Photoshop styles, InDesign, personal promotion logos, monograms & signatures.... That’s where it shines, yet it’s still great for art, cards, fancy documents, really fancy labels & even notes to Mom. Imagine, most people used to write letters like these at one time. Now you too can have documents that look like the work of a studied penman.

Lydia Sans™ is an elegant geometric sans serif with a charming profile and organic flow. Inspired by the clean typography of the 1920s, it's character and legibility make it suitable for any kind of text applications, from brand design to extensive text layouts. Lydia Sans™ has 22 styles, variable font technology and its weight range spreads from hairline to ultra bold forms. Flexible and adaptable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1300 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localised forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. As a workhorse type system, Lydia Sans™ is a sans serif for everyday use and a great choice for a wide range of applications. • Suggested uses: perfect for brand design, editorial design, web design and packaging design; • 22 styles: 11 weights + 11 italics. • 2 variable fonts; • 1315 glyphs in each weight; • OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive forms, Glyph Composition, Discretionary Ligatures, Denominators, Fractions, Standard Ligatures, Lining Figures, Localised forms, Numerators, Oldstyle Figures, Scientific Inferiors, Small Capitals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets).

Monotalic was created as a fun experiment, exploring better solutions for the monospaced type design. Most monospaced (fixed-width) typefaces have the same main design problem regarding the lowercase – filling the empty space around l, f, i, j and r. That usually brings the addition of slab serifs to those narrow characters, causing many monospaced fonts to look and feel alike. Monotalic solves that problem by adopting the handwritten (or cursive) form for those problematic characters, which allows them to be defined in more strokes, thus getting a better distribution of form in that fixed-width space. On the other hand, cursive writing usually lacks the legibility of a Roman (Regular upright) style, so Monotalic was created to be a hybrid, taking the best of both worlds. Monospaced fonts today are mostly used for coding. Modern code editors use colored text in order to differentiate between different kinds of code. So, in that environment there’s actually no need for traditional text styling by adding Italics, Bold or other styles, because the code lines are overstated as it is. That is why Monotalic focuses on one style only, in three widths and four weights. The weights allow users to choose the perfect contrast of text on screen, depending on their monitor resolution and background color in the editor. Movie scripts are almost exclusively set in 12pt Courier. It became the industry standard because when set in the specific “screenplay format" it helps with the breakdown of the schedule and budgeting process of the film production. Although it looks completely different, text set in Monotalic (Normal width) will take the same amount of space as Courier.

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

Wavely JNL is a font that could have been made by a child or a nervous writer. Squiggly, handmade lines form the characters and this font can also be used for spooky or horror-oriented themes.

Rufina was as tall and thin as a reed. Elegant but with that distance that well-defined forms seem to impose. Her voice, however, was sweeter, closer, and when she spoke her name, like a slow whisper, one felt like what she had come to say could be read in her image. Rufina’s story can only be told through a detour because her origin does not coincide with her birth. Rufina was born on a Sunday afternoon while her father was drawing black letters on a white background, and her mother was trying to join those same letters to form words that could tell a story. But her origin goes much further back, and that is why she is pierced by a story that precedes her, even though it is not her own. Maybe her origin can be traced back to that autumn night in which that tall man with that distant demeanor ran into that woman with that sweet smile and elegant aspect. He looked at her in such a way that he was trapped by that gaze, even though they found no words to say to each other, and they stayed in silence. Somehow, some words leaked into that gaze because since that moment they were never apart again. Later, after they started talking, projects started coming up and then coexistence and arguments, routines and mismatches. But in that chaos of crossed words in their life together, something was stable through the silence of the gazes. In those gazes, the silent words sustained that indescribable love that they didn’t even try to understand. And in one of those silences, Rufina appeared, when that man told that woman that he needed a text to try out his new font, and she saw him look at her with that same fascination of the first time, and she started to write something with those forms that he was giving her as a gift. Rufina was as tall and thin as a reed, wrote her mother when Rufina was born. Photo (Fragilité): Karin Topolanski / Post: Raw (www.raw.com.uy) - María Pérez Gutiérrez

Burlesk Queen JNL was inspired by the hand lettered title “Gypsy” on the sheet music for "Everything's Coming Up Roses" from the movie musical based on the autobiography of famed stripper Gypsy Rose Lee. With just four basic letters to work with [G,Y,P and S], a full character set was drawn from scratch. The design features bold spur serif characters on individual ‘marquees’ bordered with lights. Burlesk Queen One JNL is the original version with white characters on black panels, while Burlesk Queen Two JNL has those panels stripped away to provide black letters on a white background.

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising. ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design."