Octavian font was designed by Will Carter and David Kindersley for the Monotype Corporation in 1961. Mr. Carter writes: While the ultimate authority is the ancient inscriptional pattern, the physical characteristics of the present rendering are manifest in the economic proportions of the shapes and the modified relations of the strokes. Thus, the letters are narrower than the classical forms and their weight heavier." Octavian is a fine book font and works well for other text settings that are less demanding, such as magazines and brochures."

"Shinobu" is an elegant psychedelic display font that combines characteristics of Art Nouveau and Modren San serif types. The name "Shinobu" comes from the anime character " Shinobu Kocho" from an anime called "Demon Slayer". Like "Shinobu's" characteristics, This exudes elegance and poshness while still having that quirkiness. This display font is intended to be used in big-scale designs such as headlines, posters, flyers, apparel, quotes, greeting cards, product packaging, album covers, movies, and more. *This font includes letters, numbers, alternates, and all essential marks needed.

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Circolino is calligraphic script typeface set that is inspired by the letterforms taught in Italian schools. Each letter combination is designed to tie in perfectly within the word. In this regard, many contextual alternatives and letter variants have been designed, especially to make a more calligraphic feel. The Circolino character set consists of two families: Circolino Classic and Circolino Sport. The Classic Family has an almost vertical tilt axis, while Sport Family has a much more pronounced tilt axis that gives it more dynamism and movement.

Fermata is an original calligraphic textface inspired by humanist serif typefaces from the 16th century, characterized by the translation contrast of a handwritten pen stroke, monumental Roman capitals, and true italics. Fermata has been modernized for 21st century textual requirements, with clean lines, moderated contrast, and a seamless blending of italics and lining characters into the text form, while still retaining the warmth and subtle idiosyncracies of the handwritten origins of old style serifs. The font was developed with invaluable advice and mentorship from Hannes Famira.

Can noise be a beautiful sound? Well, I guess...because the other day when I was playing the good old Bleach album by Nirvana (which I consider lovely grunge music!) my wife yelled "Could you stop that noise?!" - and I answered "What noise?!" - ha-ha-ha! Anyway, I finished this font while listening to that particular lovely noise, and I knew that this crunchy, grungy, handmade and full of contextual alternates and multilingual font had to be named something with the word "noise" in it!

Introducing Seven Moon: A Retro-Inspired Font with Bold and Cheerful Charm. Seven Moon's cheerful charm shines through every character, evoking a sense of nostalgia and excitement. Its bold strokes and unique shape give it a strong presence, while its playful nature adds a touch of warmth and approachability. This font is designed to command attention and leave a lasting impression. Its distinct style ensures that your message will be conveyed with impact, making it an excellent choice for branding, advertising, social media graphics, and more.

Roundkey Is the font sans serif family for branding and text. Comes with two basic characters, namely "sharp" and "soft", each character consists of 6 weight with matching oblique. A total of 24 fonts with basic condensed shapes and unique curves. the soft version has a different degree of softness. medium and bold have wider curves because they are suitable for displays, while thin to regular have smaller curves for easier reading. With these sharp and soft version make it can be applied more widely

Aluniea is a classic modern serif typeface that effortlessly marries timeless elegance with contemporary design sensibilities. With its balanced letterforms, graceful strokes, and refined details, Aluniea exudes sophistication and versatility, making it a quintessential choice for a wide range of design applications. The typeface’s subtly flared serifs and harmonious proportions lend it a sense of balance and readability, while its clean lines and distinct character variations provide a distinctive, yet approachable, aesthetic that is perfect for conveying a sense of tradition and refinement in a modern context.

A hand-drawn font inspired by the menu from a tearoom in York. York Handwriting is simple but with accentuated features, creating an effect that is decorative and distinct while still being clear. Giving the look of chalk or wet-wipe pens, this font will provide you with texture to make your work stand out, almost literally. With York Handwriting, any design can be granted the humble, homely look of a small, side-alley tearoom, especially with the emphasised x-height helping the text to stand out.

The inspiration source for MFC Sansome Monogram is a decorative serif lettering style that comes from the book Henderson's Sign Painter from 1906. Known as "Rustic Roman" and originally designed by John F. Irwin, this fantastic typeface has been digitally revived and expanded for monogram designs. While the original lettering did not include numerals and was never originally intended for monograms, its ornate nature lends itself so wonderfully to the craft. A PDF guidebook for MFC Sansome Monogram is available under the Gallery tab.

Bad Girl was designed to appeal to the young consumer and the young-at-heart. While clearly feminine, it manages to combine a charming naïveté with in-your-face rebelliousness. The awkward, rather self-involved character shapes have a definite gauche appeal. Bad Girl has a gamine-like insouciance with a touch of wickedness. In contrast to its naive appearance, Bad Girl has been carefully crafted, letterspaced and kerned and contains a full character set of 237 characters. The font comes in two styles, regular and light.

JollyGood Sans Condensed is another member of the JollyGood family. This is a narrower comic font that allows you to fit a lot of text, while still being fun & legible. It is a complete complete family with 4 weights in regular and italic (8 fonts in total). It has an amazing character set, with support for most european languages, as well as alternates and ligatures. JollyGood Sans Condensed is suitable for packaging, children’s books, greeting cards or wherever you need a fun touch in your text.

Caria (/ˈkɛəriə/; from Greek: Καρία, Karia, Turkish: Karya) was a region of western Anatolia extending along the coast from mid-Ionia (Mycale) south to Lycia and east to Phrygia. The Ionian and Dorian Greeks colonized the west of it and joined the Carian population in forming Greek-dominated states there. Carians were described by Herodotus as being of Minoan descent, while he reports that the Carians themselves maintained that they were Anatolian mainlanders intensely engaged in seafaring and were akin to the Mysians and the Lydians

TAN - THE LAUNDRY ROOM is a fun display serif. Wonky yet composed and retains the legibility. *the italic font used in the display is TAN - ANGLETON (italic) — Our fonts are supported by most design software, please make sure it can read the OpenType fonts to be able to access all ligatures. Please be informed that while our font works well in Canva, but Canva itself doesn’t support advance opentype features such as special characters. For support, please don’t hesitate to contact us at tantypeco@gmail.com.

Brakoda is a delightful sans-serif typeface that effortlessly combines playfulness with a clean and modern aesthetic. Its lively and quirky letterforms exude a sense of fun, making it a perfect choice for projects that aim to capture a youthful and dynamic spirit. With a balanced blend of rounded curves and straight lines, Brakoda maintains readability while infusing a sense of whimsy, making it a versatile choice for a wide range of design applications, from branding and headlines to digital interfaces and creative marketing materials.

Inspired by a wide range of sources and styles, Ahsing is a single weight typeface that aims to explore new design solutions. With a bold form, a strong contrast and pronounced diagonal axis, this design hints both at past typeface styles while being unique and original in its appearance. Thanks a large range of OpenType features and an expanded character set, this single font provides a versatile and distinctive solution for setting titles or any large text that need to catch your viewers attention.

Heartfilia, this font is as elegant as its name. It’s unique look makes it incredibly authentic serif font. The font gives off an elegant and classic feel, while still appearing modern and in line with the current design trends. Orchestra is a well- suited font for a high-end design, makes it more eye-catching. Orchestra will make your designs, such as invitations, posters, product package design, and many more, looks more exclusive and luxurious. Enhance your design by the elegant yet classic appearance of Orchestra.

Hillona is a beautiful monoline script font. It is a beautiful combination of timeless elegance and authentic calligraphy. It features an incredibly classic style, while still keeping a friendly feel. Hillona is the perfect font for making original and outstanding designs. It will also look amazing in branding projects, social media posts, magazines, book covers and more! This font is PUA encoded which means you can access all of the glyphs Alternate and Swashes with ease! It features a varying baseline, gorgeous glyphs, and stunning alternates.

A beautiful geometric font for writing titles and sentences that are comfortable to see while reading, unique, simple, and elegant, making this font suitable for you to use in various needs of your design projects. flexible in its use, there are 3 options according to your needs This font is very suitable as text with displays for various kinds of branding, advertisements, posters, banners, packaging, news headlines, magazines, websites, logo design, banners, social media design and of course you can use a lot more.

Subroyal was inspired by the official logo of the City of Montreal. The idea came to us while reading an article about a revised version of this logo that didn't have any original typography. We realized it was our civic duty to bring the City logo to life, and the result is a fairly romantic font that reminds us of the many parks around the island, its fragile snowflakes, and its electronic music scene. Voilà! Montreal has its first custom-made (non-official) font package.

Our Marcellus Pro was inspired by classic Roman inscription letterforms. Clarity and beauty are embodied in the standard lowercase, while this historically influenced typeface also nods to the powerful presence of the Trajan titling style with its SmallCaps set. When combined together, Marcellus is a gorgeous flare-serif typeface, rich with presence and usability. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Introducing, Carllosta, a Victorian style font. Carllosta is a layered typeface which is inspired by vintage lettering sign and art. While this font has a victorian touch, it still looks bold and solid. Very suitable for for headline, logotype, apparel, invitation, branding, packaging, advertising etc. This typeface contains with beautiful decorative ornaments that ready to use to create a vintage lettering in sec. It also comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual and already PUA encoded.

Rasputin is a sharp, curvy and versatile modern slab serif typeface with 4 weights. These are complemented by unique discretionary ligatures that pay attention to detail to make this font stand out and stand out in all its shapes and weights. Its sharp uniqueness, for example in the letter "A R K" provides a great personality type in the title and body text while maintaining optimized readability. Characters that are well-suited for a wide variety of applications from editorial design to branding, advertising, publicity and digital.

Like traditional athletic block typefaces, Crafton is built with chiseled corners and a rigid skeleton. However, an underlying formula of fervor and functionality emerges in execution. The typeface features traditional block tendencies that are challenged by expressive angles and deviations in line weight that harken to penmanship. Uniquely tapered terminals seen in letters like a, c, and s demonstrate a strong visual energy while increasing legibility. The legs of angled letterforms like the A, v, and y are cropped in a way that further reinforces this motif.

Change is An Arabic text typeface for desktop applications. Change is freestyle Ruqah and a winner in Horouf Bilingual Typefaces Design Competition. The design is open, calligraphic, and very dynamic. This makes it suitable for large display sizes, especially in the area of advertising, while still functioning well as a text face. The font includes a matching Latin design and support for Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Change typeface comes with many opentype features.

Introducing Sekarmaya, a geometric font that captivates with its high contrast and distinctive design. What sets Sekarmaya apart is its unique feature—certain letters highlight only the core characters while elegantly covering the rest, adding an intriguing touch to your typography. This font is a perfect choice for posters and graphic designs that crave a personal and distinctive flair. Sekarmaya's geometric precision combined with its artistic detailing provides a harmonious balance, making it ideal for projects where you want to convey both structure and individuality.

Kaffemoster is a Swedish slang word for a lady, usually a bit older, who likes to drink coffee and gossip while she’s drinking it. I have decided to study a bit of Swedish, so I downloaded an app and I am practising my Swedish vocabulary every night! Det går långsamt, men jag klarar det! Kaffemoster is a nice, handmade pencil font. It comes with extensive language support (including Swedish) and a nice set of alternates for the lower case letters. Kaffemoster är ett riktigt bra typsnitt!

Introducing Better Times, a handmade brush font! This bold, free-flowing and confident brush font is designed to be easily customisable with 2 sets of each letter and a bonus set of 20 swashes! Oh, and not to mention it looks great in both all-caps as well as lowercase - all of this together providing you with a huge range of layout options. Better Times is a brush font which you can use and enjoy again and again, for anything from promotional material and handwritten quotes, to product packaging, merchandise and branding projects. The Better Times family consists of 3 fonts; 1. Better Times • A handwritten brush font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Better Times Alt • This is a second version of Better Times, with a completely new set of lowercase and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Better Times Swash • A set of 20 hand-drawn swashes, the perfect finishing touch to underline your Better Times text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay

Lens Grotesk is a Neo-grotesque type family of 16 fonts born as a result of a very conscious research in the field of the neutral Swiss aesthetic. There's a reason for all the prominent examples of this design like Helvetica and Univers to be used on a daily basis for more than 70 years and it's a simple one - they just work. The closed terminals, the low contrast, uniform widths and proportions makes the Neo-grotesques feel just right. Although very often branded as stiff, the neutral Neo grotesques are here to stay and Lens Grotesk is our own reading of the popular style. Lens Grotesk takes the Neo-grotesk model one step further adding a pinch of Geometric sans-serif to the mix thus creating a way more modern and contemporary looking design. Characterized with more generous oval proportions and slightly more open terminals, Lens Grotesk keeps the modulation and rhythm needed for a slightly longer texts while visibly keeping everything in order. Zooming in you'll find traces of the Geometric aesthetic - the robust almost right angled approach of the arches and tails (look t, f, j, y) and the way more circular rounded shapes. Like all our fonts, Lens Grotesk is equipped with a range of OpenType features, stylistic alternatives and of course Cyrillic support. It comes in a pack of 16 fonts with 8 styles and their matching italics or one variable font file available with all full family purchases. Live Tester | Download Demo Fonts | Subscribe

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Japanese Pro family has 6 fonts in total. It spans four weights from ultra light to bold, and has two condensed weights to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability, combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects — pose no stumbling blocks to the family’s typographic dexterity.

Gentlemen’s Script is a dynamic hand-written script in which the sharpness and speed of writing harmoniously coexist with elegance and a serious attitude. The script allows you to simulate fast inscriptions made by hand while keeping them elegant and classy. Working on the project, we wanted to develop a script that would harmoniously complement serifs or traditional sans-serifs and perfectly match them. Gentlemen’s Script is like an accessory in a gentleman’s wardrobe. It dilutes font traditions and adds brightness and dynamics to them. Despite the fact that the script was designed to be used as a complementary font, it has all the prerequisites to become the main character of your design story. It does not matter how you use it—Gentlemen’s Script easily adapts to reality and always works at the maximum level of efficiency. To make the script more harmonious and natural, we have drawn more than 60 ligatures. In order for the ligatures to be substituted automatically, we recommend always keeping the standard ligatures OpenType feature turned on! In addition, there are several alternative characters in the font that are programmed on the OpenType feature contextual alternates and which are used when the letter meets the service characters. To use the script to its maximum power, we recommend that you always keep the standard ligatures and contextual alternates OpenType features turned on. If you do not have access to applications that support OpenType features, it does not matter—even without these features you can use and enjoy our font!

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Dolsáb was designed from scratch with uniqueness in mind. The subtle movement from thick to thin and the variants of sharp to rounded make this cutting edge san serif a must have. The inspiration for Dolsab was a simple pairing of a rhombus and calligraphy. While neither of those two elements can be seen in their entirety in any instance, the influence of both is strong. The rhombus can be notice on most ascenders like on the lowercase t & l, for example. And the calligraphy inspiration is most easily captured on the descenders such as the lowercase y & g. The most beautiful characteristics of Dolsab is definitely the calligraphy-influenced movement. These features really stand out on the lowercase a & e. It's almost amusing to let your eye follow the contours of those two letter forms as they travel from thick to thin, sharp to rounded and back again. Users are welcomed to try all font styles of Dolsab in any applique of their choosing. However, it will be quickly noticeable that only Dolsab Air & Demi (the thiner of the styles) will be best suited for body copy. Personally I like to see these letterforms as large as they can be to really showcase the subtle movement, especially in Dolsab Heavy where these movements become much more dramatic. You'll never know what really works best unless you experiment. Dolsab surely isn't the answer to all projects, but it's certainly worth trying. No other typeface moves quite like Dolsáb.

The ideal typeface for cartography The Swiss designer/typographer Felix Arnold designed Cisalpin during the late 1990s, after he had challenged himself to create a contemporary typeface that could be used for cartographic uses. Arnold came to the subject of cartographic typefaces after analyzing many maps and atlases, and discovering that there was no standard typeface for these types of documents. Like any good cartographic type, Cisalpin is very legible at small sizes. While he was drawing this typeface on his computer, Arnold used a reduction glass to refine his design, making it work in these situations. Cisalpin is a linear sans serif face, with slight resemblance to renaissance serif types. The various weights are all clearly differentiated from one another. And because space is often a premium on maps, Cisalpin runs narrow. Words close in around themselves to help them become more identifiable. The letterforms in Cisalpin are durable, and can maintain their readability when placed over complex backgrounds. They have open interior forms, flattened curves, tall x-heights, and a capital height that almost reaches the tops of the ascenders. Cisalpin also has pronounced Italics, with a very clear angle of inclination. Each letterform in the family has been optimized so that they cannot be easily mistaken for another. This again helps minimize the misunderstandings that often occur because of illegibility. Although Cisalpin was developed for use in cartography, it may be used for countless other purposes; any font that can work well in small sizes on a map could be used almost anywhere else!

MyCRFT was designed as a custom heading typeface for Drew Maughan's IhNohMinecraft project. ABOUT THE PROJECT Beginning life in 2015 under the name Mascoteers, the project was an ensemble of small-scale characters built from LEGO elements. The challenge was in creating the different figures with the restrictions of existing LEGO elements, while being recognisable as individual characters. The project was initially well received within the LEGO community and with the general public, but was eventually ignored and even ridiculed in favour of LEGO's own BrickHeadz theme, launched in late 2016. It was rebranded IhNohMinecraft as a response to the deliberate cries of "Ih dih Minecraft?" since BrickHeadz' launch. The project has no relation to the popular game. ABOUT THE TYPEFACE The motivation to create MyCRFT was as part of establishing IhNohMinecraft as its own project, by giving it a new visual identity. The typeface could be described as a cross between the ones used for Gears Of War and Overwatch. I liked the boldness of the former, and the italicized straight edges of the latter. MyCRFT was intended to be used in its Black Italic form from the beginning, and was designed around the letters from the word MINECRAFT. Where I couldn't decide on specific characters, I've included the designs as alternative glyphs. I've also included the old "square" Mascoteers logo and the newer "head" IhNohMinecraft logo. MyCRFT is paired with Kanit on the official IhNohMinecraft web site. Let me know if you discover a better pairing! PROJECT LINKS View the IhNohMinecraft "reveal" playlist on YouTube. The official Mascoteers/IhNohMinecraft web site.

Stencil Package JNL has its design roots in the brand name hand-lettered on the paper sleeves for the short-lived Stencil-It line of lettering guides produced in 1955 as a direct competitor to Stenso Lettering Guides. Formed by Bernie Aronson [a relative of the Libauers who owned the Stenso Lettering Company and who once worked for them] along with a financial partner (noted artist) Sidney Levyne, the company was soon put out of existence by a court action. It re-emerged in 1956 as the E-Z Letter Stencil Company and existed until the 1990s. Stencil Package JNL is available in both regular and oblique versions.

Finding fonts that work together to capture the aesthetic of an era is one of the biggest challenges designers face. Boucherie captures the lively essence of 19th-century French advertising typography with a collection of original designs. Use Boucherie to create typographic compositions that are at once fresh and familiar. Boucherie provides four distinct display fonts – plus ornaments, catchwords, and frames – that beautifully complement each other. See what’s included! http://bit.ly/2dqI1Ov *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/

Once I set on the concept for this ‘Origami’ inspired font, I used an imaginary strip of folded paper as the basis for each character, the folded effect being realized fully by incorporating an incised line. Of course the folded paper aspect is just a two dimensional illusion but subconsciously, will automatically be interpreted three dimensionally. There are numerous options for creating alternative characters following this logic, as the centuries-old Origami tradition itself illustrates quite clearly, but I wanted to maintain an ordered sense of style and balance throughout the full character set, so avoided any unnecessary flourishes, staying true to the Japanese ethos and spirit.

Antwerp On a visit to Belgium and the Netherlands while still an MA student at Reading University, Eleni Beveratou made some important discoveries. First, there was the letter ‘g’ from the Didot family seen at Plantin Moretus Museum in Antwerp, which seemed “almost like a mistake”. Then there were strange details such as the serifs on the “l”, “h”, “k”, “b” 
and “d” in Egmont Cursive and other typefaces by Sjoerk Hendrik de Roos, found in volumes of poetry she picked up from a chaotic bookshop in Amsterdam. These were characters that stood out from the text but seemed to blend harmoniously with the rest 
of the letters. “And there it was, the spark. 
I decided to design a typeface that would capture the details of the process of writing.” A guiding hand Eleni shared her initial thoughts with Phil Garnham and Jason Smith. They liked what they saw in her tentative first sketches, and gave her the chance to develop her ideas further. Phil, in particular, provided valuable input as FS Olivia took shape. Eleni’s main influence – the handwritten – would give the font its character. “When creating a typeface,” says Eleni, “it’s fair to say that it reflects some of the designer’s personality. And that’s certainly the case with 
FS Olivia. “Although technology is part of my everyday life. I am a great admirer of traditional graphic design where you can touch and feel paper and ink.” Irregular “What I particularly like,” says Eleni, “is that a printed item can develop its own personality sometimes as a result of imperfections in the print. “FS Olivia has some of 
these characteristics as it’s inspired by handwriting, 
and yet it also includes some 
very modern features.” Feminine and fascinating, FS Olivia captures the expressive twists and turns of (the poet’s?) pen on paper, with low junctions, 
deep top serifs and semi-rounded edges. Round outstrokes contrast with 
the rough corners of the instroke, while strong diagonals and inclined serifs create a richly textured pattern. Polytonic It’s only fitting that there should be a version of this poetic font for one of the birthplaces of poetry and song. Eleni, who hails from Athens, developed an extensive range of glyphs that could be used for the Greek language, in both modern and ancient texts. For the latter, there is a version of Olivia for displaying polytonic Greek (a system that utilises a range of accents and “breathings”), which brings the 21st century technology of OpenType to the presentation of poetic texts from Ancient Greece. Just think what Homer could have done with that.