“Corinthiago” feels equally charming and elegant. This stunning handwritten font is a stylish homage to classic calligraphy. It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Alternates to help enrich your designs: 1. Titling (titl) alternates, are accents for initial letters. is the first stroke that is long and and slightly curved according to the letters, both lowercase and uppercase. 2. Swash (swsh) alternates, is an accent at the end of a letter, is an additional stroke to end writing. 3. Stylistic alternate (Salt), is an alternative glyph to add style emphasis. 4. Stylistic set (SS), some additional glyphs for design alternatives. If you use a combination of two lowercase with a combination of tilt and swsh it will produce a harmonic letter that you can use for a logo, no problem also for a logo consisting of more than two letters, all you have to make sure is starts with a titl and ends with swsh. All glyph alternates (titl, swsh, Salt and SS) are also supported by multiple languages. Another OpenType that is also very important is Ligature (league), this font consists of 51 Ligatures including: Abe, Ade, Ale, Ab, Ad, Af, Aj, Ak, Al, Am, An, Ao, Ap, As, Ax, Ay, Az, aa, ar, be, cc, da, de, di, do, du, dy, ee, er, ii, ir, is, le, ll, lt, om, on, oo, op, or, ov, ow, ox, oy, oz, ss, st, th, tl, tt, ur and uu. We continue to see the possibility to update ligatures in the future. This font is the right choice for a modern design, can be applied to invitations, writing messages in the form of quotes, book and magazine covers, and of course for your brand logo text.

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.

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. Parma was designed by the monotype Design Team 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 original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Kari Display is the product of a long standing idea I had to give the well-received Positype typeface, Kari, plastic surgery. Just referring to giving a typeface plastic surgery, or letter lipo, stuck in the back of my head until I was able to pick the project up. The ultimate objective was to refine Kari Display to a point where each glyph was expressed as simple as possible... and in that simplicity a sexiness would appear. Kari is a beautiful script, but it is very 'controlled' and orderly and I wanted Kari Display to break that mold with much more movement, curviness, greater modulation and a more elegant feel on the page. I did not want to take it too far, limiting the use of the typeface, but rather opted for a delicate balance of thick and thin against the added movement of the glyphs. The wealth of sketches and proposed variants during the concepting phase was encouraging and I really pushed to add as many alternate characters, ligatures, swashes (and more) as I possibly could. Just about every character has at least one or more alternates AND the complete offering of alternates completely covers a wide range of Latin-based language groups including Central European diacritics. If you are using any type of OpenType enabled application, then the Kari Display Pro typefaces are the way to go. They include everything found in the 3 separate variants for each style as well as entirely expanding offering of additional swash and ligature sets.

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

FF Signa Rounded is a natural complement to the rest of the FF Signa super family – and can stand on its own in a variety of print and on-screen applications. The design is Ole Søndergaard’s rounded branch in his FF Signa family three. In it, he took the distinctive shapes and proportions of FF Signa Sans and created a warm, inviting design for text and display copy. Like its parent design, FF Signa Round is not a humanistic sans, nor is it based on 19th-century grotesques. Its characters are minimalist interpretations of letterforms – distinctive, yet easy to read. Thanks to FF Signa Round’s large x-height, open counters and simple character shapes, the design does not overpower the message – and draws the reader in. At substantial sizes, especially in the bolder weights, the design communicates with amiable conviction. At text sizes, FF Signa Round remains inviting and legible. It can be used as a companion to the rest of the FF Signa family, providing depth of style and breadth of reach. The collection of designs can also be used on their own for brand, brochure, publication, and way-finding design in digital and hard copy environments. Like the rest of the FF Signa family, OpenType® Pro fonts of FF Signa Round provide for the automatic insertion of ligatures and alternate characters, and also offer an extended character set supporting over 100 languages, including most Central European and many Eastern European – in addition to Cyrillic and Greek.

Babylon was a civilisation that stretched from Bagdad to the Persian Gulf. There is an Old and new Babylonia, the era of Babylon civilization and the biblical Babylon. The oldest scriptures to be found since the rise of civilisation are Babylonic. The Christian, the Jewish and the Arabic culture find its origin in the Middle East. And share more or less the same history, the same roots and DNA. One people, but in reality a melting pot of close related cultures whom could not be more far apart, hostile and suspicious towards each other. An eye for an eye, tooth for a tooth. One could say this disagreement is still alive today and has deeply infected all of our systems. Beyond Babylon is sculpted after Hebrew, Arabic character style elements in a European writing. It questions what happened after the great Babylonic confusion. Did the words finally come across? Did they realize the distant and gap was maybe smaller than expected. This typeface is related to my former character Eurabia. As an artist I like to play with contradictions. Use opposite elements and mould them in to one understandable piece and in addition a thought to chew on. Otherwise the experimental ore shape lovin' typeface user could be very happy with an addition feature to the existing characters. One option more to express your selves in writing. Also this typeface is really suitable for theme writing or advertising. ----------- Babylon war eine Zivilisation die sich von Bagdad bis zum Persischen Golf erstreckte. Es gibt das alte und das neue Babylon, die Ära der Babylon Zivilisation und das biblische Babylon. Die ältesten Schriften, welche seit dem Aufstieg der Zivilisation gefunden wurden, sind babylonisch. Die Christen, die Juden und die arabische Kultur finden ihren Ursprung im Mittleren Osten. Sie teilen mehr oder weniger die gleiche Geschichte, die gleichen Wurzeln und DNA: Ein Volk. Aber in Wirklichkeit waren sie ein Schmelztiegel aus eng verwandten Kulturen, welche sich nicht ferner sein könnten: feindselig und misstrauisch zueinander. Auge um Auge, Zahn um Zahn. Man könnte behaupten, diese Unstimmigkeit bestehe noch heute und hätte all unsere Systeme stark infiziert. Beyond Babylon ist eine europäische Schrift, geformt nach hebräischen und arabischen Stilelementen der Zeichen. Sie hinterfragt die Geschehnisse nach der der Babylonischen Sprachverwirrung. Kamen die Worte endlich an? Haben sie realisiert, dass die Weite des Spalts zwischen ihnen vielleicht geringer war als erwartet. Diese Schrift ist verwandt mit meinen vorigen Zeichen der Eurabia. Als Künstlerin mag ich es mit Widersprüchen zu spielen, gegensätzliche Elemente zu einem vernehmbaren Ganzen zu verschmelzen und einen kniffligen Gedanken zu erzeugen. Andererseits könnte der experimentelle oder formenverliebte Nutzer sehr glücklich über eine zusätzliche Funktion der bestehenden Zeichen sein. Eine weite Möglichkeit sich im Schreiben auszudrücken. Diese Schrift ist auch für Werbung sehr geeignet.

As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel. Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture. All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible. The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable. With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background. Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess. Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.

This font family was inspired by a visit to the Duxford Air Museum just outside of Cambridge, UK, where the whole history of aviation is represented in a series of exhibits ranging from early prop planes to supersonic jetliners. A common feature is the clipped, blockletter painted on the wing or fuselage of each aircraft, my interpretation of which I present here. To add an original touch each letter incorporates its designation in the NATO phonetic alphabet. In response to popular demand this font is now available in 'Scotch' and 'Irish' versions. If you take your whiskey with an 'e' choose Oscar Bravo Whiskey. If you prefer it neat, choose Oscar Bravo. And no, I am not going to bring out an Oscar Bravo Bourbon version! For variations on this font family see also Alma Mater.

Waypointer is a font of arrows. These can be used to indicate direction or emphasis in documents, signage, or websites. The arrow sizes match the standard cap height of most fonts making it simple to use within text. The arrows are accessed with the standard keyboard keys. Make your own arrow of any length with the 1 to 9 keys. Use uppercase (A to Z) and lowercase (a to z) for pre-made arrows that point right, left, up, or down. Those who use OpenType will find useful features, such as stylistic sets for changing arrow directions in 360 degree angles and stylistic alternates for quick changes between pointing right and left. It has a few extras such as a map pin, anchor, and lightning bolt. These are included and accessed with the comma, period, and zero key.

Piano Keybuild is a small font designed for creating piano keyboard layouts. It was inspired by my Yamaha CLP-840, a wonderful digital piano. The face consists entirely of keyboard keys that can be combined to form realistic keyboards. These keys come in four styles: basic outlined keys, filler keys (for adding a second color inside the outlines), keys with note names, and pre-made sets of keys. Keys of a given kind will kern with one another, but only in the order that they would naturally occur on a keyboard. (This makes it easier to spot incorrect key sequences.) It also includes digits 0 through 9 inspired by numerals used in traditional music notation. The user guide (PDF under Gallery tab) demonstrates the locations of all the glyphs as well as how to use them together effectively.

One of the more popular pupils in the Comicraft Academy of Lettering Arts, Dash Decent, has been working on his penmanship, thanks to a grant from those lovely learning specialists at Brainzy and Education.com. Developing learning games for Pre K, K and 1st grade, Brainzy requested a font that was fun and clean to help children learn to print. Dash to School is an all new revision and expansion of the Dash Decent family and features fun bold/heavy/outline and drop shadow weights for display, guidelines and dashed lines to assist learning and understanding and a healthy dose of decency! Dash Decent has graduated 1st Grade and with Dash to School’s help, so can you! See the families related to Dash To School: Dash Decent Features: Nine fonts (Regular, Bold, Heavy, Outline, Shadow, Guides, GuidesDashed & GuidesSolid) with upper and lowercase alphabets.

The typeface is inspired by our love of old hand-painted signs in butchers, and based on some very quick sketches using a brush pen to find what shapes worked. There is quite a quirky element to the type, as we tried to create the original sketches by rotating the brush pen to reflect the strokes of a paint brush. This lead to a horizontal stressing, which is most noticeable in letters like C, G, S and J. Sidestroke comes in 2 styles, both a standard solid version, and a pre-shadowed outline version. This can be outlined and divided in Illustrator to quickly create an alternate coloured fill for your letters. The lowercase letters have been designed to automatically horizontally align with any uppercase letters, which is a great shortcut when creating logos or other unique type layouts.

The old Norse legend of Thorben Odinson is a cautionary tale. And this typeface, like the nebulous kingdom he ruled, is something of a cloudy concoction. Thorben the typeface is something of an inspiration-hybrid, pulling aspects from multiple sources and combining them into a typeface that strangely seems to work (or not – depending on your point of view). What started as a redrawing of some old carvings (on a castle wall in deepest, darkest Suffolk), is now something entirely different. Part Nouveau curves and Celtic script, topped with a few sprinkles of modernism, darkness and some quirky ideas – Thorben absorbs it all, creating a display face that feels antiquated and current at the same time. Each style also comes pre-loaded with a handful of pictograms and icons perfect for adorning your designs with extra Thorben-ness.

Audens - Sans Serif Font Family - Multilingual supports - 6 Styles Audens is a modern geometric sans serif font. Consisting of 6 styles designed for strong headlines, this font is suitable for use in different areas, from banners and posters, newspapers and magazines, logos and brand identities, to movie and game titles. If you are looking for a modern - geometric sans serif style that can be effective in branding, you can easily use this font. Whit these features, it will be effective in creating alternatives in your projects Ideal for posters, newspaper, movie title and magazines, magazine covers, editorials, headlines, websites, logos, branding, advertising and more. You can create your unique designs with this font. If you have a question, please contact me. Have a good time.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Jemgonza is a Sans-serif font started on January 26, 2022. This font with hyper-extended character sets allow for usage for billboard signs, logos, and even professional documents and essays. It contains localized forms for certain languages that write them differently. For example: Л and л shaped like upside-down V's, д shaped like a lowercase g, и shaped like a lowercase u, and more for Bulgarian; б shaped like the Greek lowercase letter delta for Macedonian and Serbian. There are two non-standard variation sequences for the light and dark shades for when they are used vertically. If it bothers you, you can add Variation Selector-14 after each one of those This font also contains 256 braille patterns for the blind people. Note that each pattern is not tied to any specific letter since multiple scripts have a braille system

If you have a dream to create an awesome designs or projects? Whatever your project it is-then we've got what you want. Really Gold, the gold combination between script and uppercase display font. The display font is fun, playful, readable and has a youthful touch that make it up to date while the script shows the simple but yet elegant style. As extras you will get 15 illustrations to maximize your design. Features: Ligatures Stylistic Sets Swashes Multilingual Supports Uppercase and lowercase PUA Encoded Numerals and Punctuation It is best to be apply on your branding, logos, social media quotes, stickers, posters, wall art, merchandise, social media, and many more. Get more inspiration about how to use it by seeing the font preview. Thank you for purchasing our fonts. If you have any further questions, don't hesitate to contact us. Happy Designing.

Dwight is a Serif font family, which has a strong and bold character with eight variants, Dwight gives a clear and elegant look to logos, quotes, advertisements and more. Dwight is a versatile typography filled with the character you want, Dwight has standard styles, Stylistic Alternates and ligatures. and includes upper and lower case letters, numbers and punctuation marks. Multilingual support for various languages including: French, German, Spanish, Portuguese, Italian, Dutch, Finnish, Swedish, and more. Dwight works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project. OpenType features can be accessed by using OpenType smart programs such as Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office. can also be accessed through the character map.

Montarsi is a typeface designed by Jeremy Dooley, inspired by Arabic calligraphy and contemporary design trends. The letters are fluid and graceful, inspired by the curves and swirls of Arabic script. Montarsi is a bold, contemporary calligraphic face with broad strokes and high contrast. It has a variety of styles and weights to give you an extensive range of design options. This font family, which includes eight weights, is ideal for producing brief texts for editorial, fashion, branding, magazine, television, window displays, and other media applications. Small caps, old-style figures, and width variations are also included. It's ideal for writing brief sentences because of the increased x-height. Montarsi is a classic spirit reinvented in a modern language, influenced by the delicate curves of letters and the way ink glides across paper. We especially thank Lucas Azevedo and ikern.

The legendary retro-futuristic typeface returns, now in digital format! While there may be copycats of varying quality, none of them have taken the time and care to revive, reproduce, and expand the original Roc Mitchell “Corporate” typeface like Corporatus has. Made directly from scans of the original type specimens and expanded to include the full WGL4, Corporatus is YOUR solution for your retro, futuristic, and corporate design needs. Descended from Microgramma and originally designed to be the American competition to distant cousin Eurostile, Corporate and subsequently Corporatus is best known for being the typeface used by video game developer and publisher Nintendo for many NES-related media in the West, including its controllers, and by Colecovision for its logo. With the original Latin character set as well as Greek and Cyrillic lettering available, now you're playing with TYPOPOWER!

Enthra Centro script is an elegant combination of a script . It is slender, feminine and classy, while still maintaining a friendly feel. Enthra Centro script is versatile and will work perfectly for e-commerce brands, wedding boutiques, initial name cards or any business that wants to appear upscale and chic. With its many varian stylistic character Enthra Centro script is perfect for creating original and functional designs. It has extensive language support and alternates, stylistic sets that add visual interest to every letter. You can use the Enthra Centro script for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

Kewl is the result of being caught in the afterimage of one design project while conceptualizing another one. Just before finishing the final tests on Mrs Blackfort, the first of what became a long series of Charles Bluemlein fonts, some of the letters began morphing differently in my mind. The idea was to go on the heavier and more playful side, but with a South American sign letterer’s twist, rather than just good handwriting. I did some sketching, took some notes, then got busy with other projects. Some of that stuff eventually seeped into Candy Script and, to a lesser extent, the Whomp font. But it was only a matter of time before I got back to the original concept and finished it. Kewl is ideal for food packaging, book and music covers, magazines, and window splashes. Illustrations by Catriel Martinez.

M Ling Wai is a humanistic script based on a real handwritten style. It has a feminine, urban and lively character filled with literate finesse. M Ling Wai was written with a thin ball pen by a young woman in a unique, personal, running writing style, such that it is real, natural and feminine. Contrast of strokes is low and the text is visible and eye-catching. Its light to medium stems (豎) make it suitable for small text and subheading with little conglutination. All strokes are highly irregular, inconsistent, irregularly oriented and tightly coupled or connected. Spatial distribution, positioning, size and relative proportion of radicals fully reflect a natural and personal favor. It is one of the first proportional width font in a full scale. It is best suited for casual lively text, illustrations, set upright (non-slanted), non-condensed.

Majora is a slab serif typeface which derives its name from a Portuguese historical toy manufacturer. The font comes in 8 styles, ranging from a delicate Thin to a robust Black, with matching italics and an upright version of stencil fonts, resulting in a total of 24 weights. Majora is well-suited to a wide range of design projects which include packaging, editorial design, screen use, etc. Its humanistic features and moderate contrast between thick and thin strokes make it also suitable for long block of texts while having a high degree of legibility. The font includes a set of alternate glyphs which help give your compositions a different and unique look. The Stencil version was specially designed for use in signage, packaging, titles and headings. Majora contains a set of 520 characters that support over 200 Latin-based languages.

Introducing our newest font Kaboore, a retro condensed themed font, is a clean and modern typeface that gives off a strong, unique, and clean impression. Its thick, sturdy appearance is perfect for creating attention-grabbing titles and headlines. it is slightly compressed so it works well in medium or large font sizes while maintaining legibility. This Kaboore font is designed with 2 styles in the form of the slab and sans, also enriched with optional ligatures, so use this font immediately to get your project extraordinary. What’s Included : - All glyphs Iso Latin 1 - Alternate, Ligature - Simple installations - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Soul Silver is an elegant. It is slender, feminine and classy, while still maintaining a friendly feel. Soul Silver is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its many varian stylistic character Soul Silver Script is perfect for creating original and functional designs. It has extensive language support and ligatures, alternates, stylistic sets that add visual interest to every letter. You can use the Soul Silver script for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, book covers, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

Gutter Pigeon is not your every-day Ransom-kind-of-font! The prices of making it was really simple: I only used my phone and computer. I took pictures of letter from newspapers, magazines, bookcovers, candybars, movieposters, roadsigns, etc. In the beginning, It was easy to find new letters. But as I had the initial letters, it became quite a search for the missing letters. Not a hard job, you may think - but this font has 8 different versions of each letter! That's 26 lowercase glyphs and 26 uppercase glyphs...8 times! That's more than 400 glyphs! And on top of that comes numbers and punctuation! Go crazy with Gutter Pigeon! Actually, that is not very hard, because the font automatically cycles through the 8 different versions of each letter while you type! Upper- and lowercase in a wild mix!

"País" is a contemporary and modern grotesque sans serif, inspired by the grotesques of the early 20th century, but more geometric and with a wider x-height than its referents; making it ideal for the current times. "País" comes in 2 versions, each with 9 weights, from thin to black, and matching italics, for a total of 36 fonts. The standard sans serif version is fresh, clean, and more ideally neutral. It's a perfect choice for editorial design, branding, headlines, or any other piece of graphic design. The "País Alt" version has more expressive and modern characters, with some giving it a much more playful image. It is ideal for logos, packaging, web and television use. País contains a total of 682 characters that make it possible to write in more than 200 Latin languages ​​and basic Cyrillic.

Linotype Belle is a casual script face. Created in 1999 by the Swiss designer Isabelle Stutz, the letters in this design have a light, informal nature, and appear as if they were written out quickly, using a writing instrument similar to a ballpoint pen. Linotype Belle has two fonts to offer: Linotype Belle Plain and Linotype Belle Bonus. Linotype Belle Bonus contains more extravagant, swash-like capitals than Linotype Belle Plain's characters; when used together, these two fonts can create a varied, lively impression. Linotype Belle was a prizewinner in Linotype's Third International Type Design Contest. Additionally, the design is part of the innovative Take Type Library, and can be purchased as part of the Take Type 3.1 CD collection. The typeface works excellently when used to set magazine or newsletter headlines, and as text for greeting cards."

Ready to make your branding spark? If you need to create a big, bold logo for your business, work on a poster for an event, or whatever your project may be-then this is the perfect font for you. Dracolas-A Vintage Font Dracolas is a captive font designed with strong outlines and fat strokes to bring your branding to life and add a touch of retro vibes. This font features thick letters all in uppercase that easy on the eyes and nice to look while it’s also easy to read. Dracolas becomes more special with best bonus. Perfect to create amazing headings, logos, menus, social media graphics, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Alternates Bonus Ornament PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Nathatype

Hot Dogs, Apple Pie, Baseball and great TYPOGRAPHY are deeply rooted in American culture. American Auto is a Type Family that embodies that culture visually. It joins a robust workhorse sans with a playful script that brings you back to 70+ years ago, while at the same time remaining as contemporary as any new 2019 design. This unique pair work together in harmony to create wonderful designs for a variety of uses. From book covers to posters, web sites to apps, American Auto is an excellent choice to create striking designs that stand out from the crowd! American Auto also features many Opentype Features such as: Alternate Characters, Initial & Final Forms, Contextual Alternates, Old Style Figures, Lining Figures, Numerators & Denominators, Fractions, and more! This typeface has really been designed to meet any challenge that a designer can throw at it!

Monk is a multi-language geometric harmoniously balanced font in Arabic and Latin. The font family has its origins in Benedictine and Franciscan writing. Both Arabic and Latin work seamlessly together having shared counters, stem thickness, and curved forms. Monk is a type family that seeks a balance between the openness and legibility of humanist sans serifs. Letterforms have a distinct direction of the ductus, a wide overall stance, large open counters that help in its legibility. The typeface is versatile and can be successfully used in magazines, posters, branding, websites, headlines, large-format prints, brand identities, social media, advertising, editorial design, posters. The family contains over 40 alternative glyphs and over 50 ligatures in each style and comes in 10 styles with their corespondent italics. The family Latin supports Western, Central, South Eastern, South American, Oceanian, Pan African, Vietnamese, Sámi & Arabic

Tipperary was designed by Steve Matteson and named for a favorite 'single track' bike trail, Tipperary is a monoline Humanist Sans Serif typeface. The clear, open, letter forms curve abruptly in an almost squarish geometry much like the sharp turns on the Tipperary trail. The clear, austere forms offer exceptional legibility for both interface designs and extended reading. Small size package labels and crisp branding programs benefit from Tipperary's emphasis on clean, readable design. eText typefaces are designed to meet the challenges of extended reading in digital environments such as mobile devices or desktop screens. Their forerunners are among the world's most popular and important book typefaces for print media. These classic designs were reinterpreted to conform to technological constraints of LCD and e-Paper while retaining the properties of proportion and form which made them favorites for print.

From A to B, or not to Z: that is the question mark: whether 'tis nobler in the mind to kern with the left and right arrows of outrageous keyboards, or to take arms against a sea of ' thought bubbles,' and by opposing, burst them? To sigh, with those little fireflies: to sleep; No more; and by sleep that is to say we end each line of dialogue with 'zzzzz;' The heart-shapes and the thousand drops of sweat popping off my forehead that sight of flesh is sure to produce, 'tis a consummation devoutly to be letter'd. To die with still at least five balloons of dialogue, to sleep; perchance to flashback to a scene in a previous issue while a picture of my head floats in the corner of each panel: ay, there's the rub; 'Nuff Said.