Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Being inspired by early Czech type design, Maiola is clearly a contemporary typeface, that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscence, more frankly so in the Italic. Nevertheless, through its personality, it attempts to create a welcoming tension on the page, without shouting too loudly at the reader. It handles its expressive tendencies with care and in doing so increases its usability, with legibility being of great importance. Subtle irregularities of the letterforms enhance furthermore the dynamic spirit and liveliness of the typeface. With the advent of Opentype, allowing for bigger character-sets and better language support, as a natural consequence, Maiola Multiscript covers Latin A, Cyrillic and Greek. Although basically independent from each other, they are, however, designed in the same spirit as the Latin, and harmonize well in multilingual text settings. The update to this beautiful font family includes the addition of over 240 glyphs featuring new ornaments, stylistic alternates, ligatures, superior letters, fractions and more. Furthermore, several glyphs were significantly improved and the kerning was fine tuned for better performance. Originally released in 2005, Maiola was an immediate success. It won the renowned TDC competition in 2004 where it was also recognized as a “judge’s choice”, was part of the touring exhibition e-a-t, and was selected in the Creative Review design competition in 2005.

النبض - the Pulse Pulse JP ME is a constructivist text and display font that differs from comparable fonts due to its special sharpness and harmonious balance. Its technical and constructed form creates a somewhat artificial impression of particular appeal. It is ideal for display on the screen and can be used in many projects. Pulse JP ME is a super family consisting of 48 fonts from compressed to expanded in six weights each. This opens up a wide designspace with the possibility of combining typefaces of the same character in a wide variety of variants and being able to adapt them to very different conditions. The details of the individual fonts are coordinated with each other with great precision and perfectly implemented in terms of craftsmanship. In all variants, this leads to a very balanced design with particular sharpness. The very extensive character set supports 120 Latin + 7 Arabic languages + Hebrew. The Arabic characters were designed in close collaboration with the Iranian designer Prof. Raafat Negarandeh. Here the constructivist approach is repeated within Arabic proportions. This leads to a very reduced and clear design with high legibility. Additional typographical adjustments can be made in the variable font, which is also available. There all variants are stored in a single font and can be continuously fine-tuned between them.

Since 2010 I started my research and experimentation in layered fonts, and I immediately understood that the future of creative graphic fonts is precisely the exploration of it. Over the years I have tried different expressions on the use of the layered system ... but I realized that my propensity to use colors in the font led me to the creation of BILYA. The real creative cue of BILYA is the wonderful childhood memories where nostalgia for them generated the creation of it, which I dedicate to all lovers of glass marbles classic game and beyond. BILYA Base, Outline, Color One, Two, Three, Four, Five and Color Six is a 8 font system that can be layered in different ways to create infinite title effects used commonly in poster and logo design, in flat gradient color style for spectacular 3D emboss styles or realistic 3D logos design projects. BILYA’s layer combinations give you complete control in producing styles like, modern, 3D, beveled. It can be used alone and/or in layered and allows you adjust leading and kerning. Each font contains the similar metrics, so when your title is set, copy and paste in same position to create different layers styles combinations to build out your desired effect. BILYA works great in any graphics application that allows you to utilize layers or 3D graphics effects.

Brinca is an intrepid ‘full spectrum’ typeface with emotional range and a dynamic heart. Morphing sharp tight pleats that relax into office ready neutral sans, then plump into joyful bouncy letters with mesmerizing fluency, Brinca is ready to adapt to a wide variety of expressive needs. Named after its jumping extremes of the type’s styles; from coiled spring to stuffed and bouncy, Brinca is also a leap into new possibilities for display type design. Because of its chameleon-like range of styles, Brinca is a versatile workhorse. It’s a great choice for brand identities ready to embrace expressive range, and it’s perfect for fine-tuned packaging, events promotions, merch, product lines, and much more. WIth its very wide spectrum of options, It’s a single typeface that can be used to design a library’s worth of book covers. (We put it to the test!) About Brinca was designed by Alexander Wright and Rodrigo Fuenzalida with Michu Benaim Steiner for In-House Int’l foundry, the type foundry of brand consultancy In-House International. It was developed by Rodrigo Fuenzalida at FragType, and available through YouWorkForThem. In-House foundry offers bold, fearless, and expressive, display typefaces that tell a story. Its previous releases have been featured on Design Milk, DesignBoom, Slanted, PAGE. They’ve also been used to create standout work by designers around the world, and even won some awards.

Lumina combines a fluid, informal look with an upright, fairly formal character structure. The font is reminiscent of leaded or stained glass, suggesting a trying to-be-solid outline with flowing inner spaces. Characters are softened by the use of staggered heights and slightly irregular widths, creating the impression of hand-crafted, ink-drawn shapes. Lumina is unusual in that it gives a medieval treatment to a modern character outline. The outline has been given an irregular, slightly hand-crafted look that is at variance with its modern character and hints at both the informality of a grunge font and the carefully hand-drawn quality of medieval illuminated scripts (hence its name). It is one of the few informal, compressed fonts that retains a high degree of legibility. Use it when you want your text to be both relaxed and readable, and yet take up very little space on the page. Lumina Regular is not an outline font in the usual sense, since it contains one or more rounded hollows or lacunae within its outline. Use Lumina for: —Ecclesiastical book headings and illustrations —Church posters —Book covers —Greeting card design —Advertisements —The "fine print" The font contains a full 256 character set (upper and lower case, punctuation, diacritical characters, special symbols and numerals), in which all characters have been fully kerned and letter-spaced.

Double Porter - an elegant font collection. Double Porter includes following: • 6 fonts - a clean and textured version of each. • Ornaments • Catchwords • Ending swash ornaments for the script Double Porter is a clean cut script font with five strong sans fonts. All the fonts are designed to work nice together. Here’s a short introduction to the fonts: • Double Porter 1 -Clean connected script with Swash Alternates for caps and lowercase letters with ascender or descender. The Script also has Contextual Alternates that add variation & make the flow smooth. Contextual Alternates are automatically on. • Double Porter 2 -Wide Sans Serif font. • Double Porter 3 -Bold version of Double Porter 2 • Double Porter 4 -Semi condensed Sans Serif • Double Porter 5 -Condensed Bold Sans Serif • Double Porter 6 -Serif version of Double Porter 5 • Double Porter 7 -Set of 60 icons and ornaments • Double Porter 8 -Set of 68 Catchwords • Double Porter 9 -Set of 62 Ending Swashes and Strokes designed to go with Double Porter 1 - the script. In addition there is a “Printed” version of every Double Porter font. Printed versions are named Double Porter P x. Printed versions are exactly the same but the shapes have rugged outlines and a worn-out texture. Double Porter has wide language support including West European, Central European, Baltic, Turkish and Romanian character sets.

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains Escher-like tessellations of birds. A number of years ago I decided to see how many of the 28 Heesch types of tessellations I could use to make birds standing on the backs of other birds. I found standing bird patterns for all 17 of the types that had either translated or glided edges. The TessieStandingBirds typefaces contain the standing-bird shapes that I discovered. At first glance they seem to be quite similar, but small differences matter in how they fit together. Most of the patterns require more than one character. The sample file here shows how pieces fit together to give tessellating patterns. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Everything your head should not be or would rather not do is here. A complete collection of 225 illustrations (plus bonus shadows) in three fonts. The illustrations collected in the Capsbats keep the free-flowing lines of the ink-on-paper sketches. As a dingbat, or pictorial typeface, the Capsbats are very versatile: you can use them immediately in any application. The vectorial format of the font file means they are scalable with no loss of quality. And you can customize them in no time in your favourite graphics program. They can be used out of the box, as accents or spot illustration, or enlarged, combined, coloured, textured... to achieve an infinite variety of results easily. With Capsbats you have an incredible resource for your concept illustration needs: enlarge them and you can create a high impact page layout, posters, magazine covers and book jackets, advertising... The Capsbats Shadows are bonus silhouettes that you can use in very different situations. Use these shadows to fill them with your own patterns, or use them as a mask or clipping path, to paste the images you want inside them. The possibilities are endless. We didn't limit our imagination in drawing them, so why would you when using them? The book 1000 Heads is a compendium of the drawings featured in the Capsbats and Entestats and it gives a glimpse of the limitless applications of this collection.

Schnorr is a family of three fonts drawn by a German designer, Peter Schnorr. Schnorr Dekorativ is one of the less frequently seen of the alphabets he designed and one of the few for which he designed as lower case. Like many of the alphabets of the period, Schnorr Dekorativ is a delicate design. To provide a little more presence, we have added a DEMIBOLD version. Included in both Schnorr Dekorativ and Schnorr Demibold are an ornament of Schnorr’s design, seven T-ligatures and an alternate lower case t. 123=Ta, 125=Te, 135=Th, 137=Ornament, 167=Ti, 172=To, 188=Tr, 190=Tu and 177=alternate t. Schnorr’s design for the lower case t is unusual and not readily recognized. The alternate may be used to improve readability. Schnorr Initialen was designed as an upper case only design and as such is quite popular. It is often seen under the name of Odessa. Our font is a fresh scan and is paired with our Schnorr Demibold to provide a compatible lower case, along with all the rest of the auxiliary characters. Schnorr Initialen includes all the extras supplied with Schnorr Dekorativ and Schnorr Demibold: 123=Ta, 125=Te, 135=Th, 137=Ornament, 167=Ti, 172=To, 188=Tr, 190=Tu and 177=alternate t. In addition, Schnorr Initialen also includes an alternate uppercase I (172) and five lotus ornaments (123, 125, 167, 188 and 190).

It can be a tough challenge to find a visually best font for your project as an inappropriate font may ruin the project and make it seem unprofessional and careless. Therefore, Stay Love, through which your project will be outstanding, is here for your perfect font to show lovely nuances and displays leaving the best impressions to your project. Stay Love designs are beautifully crafted to look as similar as the artistic humans’ handwritings for unique, interesting displays. The letters, which connect to each other to create continuity and consistency, have high contrasts to show clear differences between the thick and the thin parts of the letters for stronger and more legible writings. Moreover, the swinging letter ends can add feminine touches and elegant beauty to your designs, which you can use in big text sizes for a legibility reason. In addition, you may indeed enjoy the available features here. Features: Alternates Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Stay Love fits best for any design projects requiring artistic, elegant displays such as wedding invitations, greeting cards, merchandise designs, and more. For such artistic and elegant displays, this script font is also applicable for logo designs, posters, and packaging. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Archiva Regular - Archiva Italic - Archiva Bold - Archiva Bold Rounded - Archiva Wide Rounded - Archiva Dropline - Archiva Stencil - Archiva Worn - Archiva Outline is the eighth font family created by American Graphic Designer Tom Nikosey. Tom specializes in lettering, typographic design & illustration for branding and trademarks. New from CozyFonts Foundry. Archiva was designed to maximize limited horizontal space reserved for text, type, or headlines, titles and label wording. The Archiva Family is perfect for Labels, headlines, ads and especially signage. The 9 members of the Archiva Font Family maintain a consistency and likeness to each other in form and dynamics but yet each member of the family has it’s own individual personality. Archiva derived from the word archival or place where records are kept. Archiva is the Greek word for Archive. The x-height and organized glyph consistency enables the user to keep files organized and clean much like an archive. Caps and numbers work extremely well together also. There are over 300 glyphs contained in each of the 9 variations of Archiva© by CozyFonts and they work in over 70 Languages. Please visit my website or Google Tom Nikosey for more info on his illustrious career. CozyFonts is Tom's intro into the world of font design.

Say hello to Odds - a versatile, chunky casual sans with lots of personality! It’s fresh, friendly and easy to read. It is also a great mix of boldness and cuteness, so it definitely captures attention. The Odds family comes in five distinct fonts styles : - Odds - an artistic handwritten-style sans - Odds Sans - a typical neat and clean sans (caps and small caps which you can mix & match) - Odds Narrow - a cute handwritten narrow sans (uppercase and lowercase), and two awesome sets of goodies: - Odds Extras - borders, arrows, speech bubbles, etc. - Odds Symbols - palm leaves, plants, fruits and other useful objects. Odds works great on a variety of mediums from web to print, but you can find it particularly useful if you're designing food packaging (actually any packaging) and clothes. Other awesome usages include posters, signage, ads, printed and personalized cards, t-shirts, sale banners, everything kids related - merchandise, toys, you name it. Its quirky character and fat letters make up for bold and friendly presentation while the slender letters of the Odds Sans and Odds Narrow are perfect for plain text. And yes, all fonts have Cyrillic! They also have some neat ligatures and alternates to spice up your designs and create more interest!

Sudtipos is proud to announce the release of Clockmaker, an 8-weight family that takes initial inspiration from typography around the turn of the twentieth century. Clockmaker takes aesthetic references from Victorian, Art Nouveau and Art Deco advertising and typography, taking special influence from John F. Cummings’ all-caps – and never digitized – type design Elandkay.  Clockmaker is a robust multi-weight family that includes an array of ligatures as well as alternate characters and support for all latin languages. The design process began with developing and modernizing the uppercase letterforms, followed by designing the lowercase and additional weights. Creating a diverse and playful set of uppercase ligatures was an almost endlessly enjoyable task; they are one of Clockmaker’s most charming features. Clockmaker is an impeccable choice for designs requiring a vintage flair such as a luxury liquor labels, restaurant identities, lavish hotels and many other applications where elegance and grace are needed.   In addition to its historical references, Clockmaker is an homage to my grandfather who was a master craftsman, repairing antique clocks and fine watches with great skill and mathematical precision. Watching him work was fascinating and it has been a joy to remember those quiet and curious moments from my childhood while designing this font.

Introducing Kunhety, a groovy retro font display perfect for bringing a vintage touch to your designs. This font features bold and quirky letters that will make your projects stand out and evoke a feeling of nostalgia. Whether you’re working on a poster, or an album cover, or want to add some retro vibes to your latest project, Kunhety is the perfect font for you. With a range of alternative characters and multilingual support, this font is versatile and ready to add some groovy flavor to your work. Don’t miss out on the opportunity to elevate your designs with Kunhety. Furthermore, Kunhety is user-friendly and easy to use. Making it compatible with a wide range of software and devices. And with its clear and distinct letterforms, it’s sure to grab the attention of your audience and leave a lasting impression. So, add a touch of retro cool to your next project with Kunhety today! What’s Included : - File font - 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

Find the perfect balance between classic and modern with the Bakruv font collection. Coming with a classic serif theme, this font is the ideal solution for projects that require a touch of classic modernism. Each letter is carefully designed, combining beauty and elegance in one package. With ligature and alternate features, Bakruv provides flexibility in creating a unique and attractive appearance. The richness of characters offered allows you to express your creativity more freely. Also, this font supports multilingualism, allowing you to convey your message fluently in multiple languages. Get an unforgettable design experience with Bakruv. Each letter exudes strength and courage, bringing a standout look to your project. Enjoy the high quality of every detail of this font, ensuring an impressive and professional end result. Explore the Bakruv collection now and add an irreplaceable touch of classic modernism to your designs. Make an unforgettable impression with this high-quality font. What’s Included : File font 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

A complete figurative alphabet was published by one Peter Flotner (ca. 1485-1546) in 1534. In Flotner’s alphabet, naked or nearly-naked figures are posed singly or disposed in pairs to form the various letters. Unlike de Grassi’s alphabet, we find only human figures here, no other animals. And unlike Tory’s illustrations, these letters seem an end in themselves, rather than the means of demonstrating a design strategy. Flotner’s alphabet was imitated by other engravers. The letters G and N are reproduced from an alphabet published by one Martin Weygel in Bavaria in 1560. Peter Flötner , c.1485-1546, German medalist and artisan, possibly Swiss by birth. He was active in decorative sculpture, wood carving, and other crafts, making medals and plaques and furnishing designs of classical motifs for silversmiths. He was in Nuremberg by 1522 and did most of his work there, although he made two trips to Italy. Flötner is now regarded as a pioneer of the German Renaissance. His Kunstbuch was published in 1549. In the Metropolitan Museum are five of his bronze plaques illustrating biblical episodes. A stylistical tip : Use this caps with SchneiderBuchDeutsch, as shown in the banners above, to create a perfect historiated layout.

Kareth Classic Serif font is the epitome of timeless elegance. With its classic and refined design, this font is perfect for any project that requires a touch of sophistication. The font features elegant serifs and clean lines that exude an air of classic sophistication. The font is also enriched with stylistic alternates and ligatures that add a touch of artistic flair to your designs. Kareth font is a versatile font that is suitable for a wide range of projects. It is ideal for creating logos, branding materials, and any design project that requires a classic and refined look. With its multilingual support, the font can be used for projects that require text in different languages. Whether you are working on a branding project, a wedding invitation, or any design project that requires a classic touch, Kareth font is a perfect choice. With its timeless design and stylistic alternates and ligatures, this font is sure to elevate any design project and make it stand out. What’s Included : - File font - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Mr Orange is a typeface based on our handwritten letters which we used in some of our books H.O.U.S.E, D.E.S.I.G.N and Who Eats Whom. It has up to three alternate glyphs for each character, even for every diacritic letter. We do use our fonts in our books so we know that switching alternate glyphs can be a pain in the ass. Thats why we’ve created a very cool Contextual Alternates feature. It automatically sets alternate glyphs depending on frequency of appearance of the same character. The script doesn’t throw random glyphs. It’s checks if lets say letter “A” appears more then once in a sequence of characters. For example in the word “ANAKONDA”, the third “A” and the second “N” would be changed to glyphs from first stylistic set, the second “A” would also be changed but to glyph from second stylistic set. We’ve designed different rules for basic characters and different for diacritics and punctation. It really works great but of course you can always fine tune it by hand. This option has one obvious advantage for web fonts. Browsers that support OpenType calt feature will be able to display alternate characters. And since you can’t put by hand alternate glyphs on your website this is the only way to use them.

FF Sizmo™ is available in two flavors. One is an honest, industrial strength, somewhat condensed, sans serif family. The other builds on the first, and is a display design with horizontally connecting baseline strokes. The five weights of basic the FF Sizmo typefaces are ideal for print and digital projects. Character spacing is generous, counters are open and apertures are wide and clear. Banners, navigational links, sub heads, and short blocks of contextual copy are natural on-screen uses for the design. Print projects from branding to way-finding also fall easily into FF Sizmo’s range of applications. The “line” versions of FF Sizmo can be arresting stand-alone typefaces – or distinctive complements to the basic roman and italic designs. In either instance, the line designs make powerful statements in headlines, subheads, posters and cover art. OpenType® fonts automatically insert beginning, middle or ending line element characters into the copy. Drawn by Verena Gerlach, both designs were inspired by the same source, a commercial signage system that enabled quick and easy copy changes. “The idea for the typeface,” explains Gerlach, “is a housing complex index board, on which movable white plastic capital letters were fixed by a thick line to the wooden board. This line is an important part of the font’s appearance.”

With the publication of the “Today Sans Now” Elsner+Flake extends its offering of the “Today Sans Serif” type family, developed in 1988 by Volker Küster for Scangraphic, by another cut so that the gradation of the stroke width can now be more finely calibrated. The type complement is available for 72 Latin-based languages as well as Cyrillic. Where available, small caps were integrated, and mathematical symbols as well as fractions were included. In order to make the symbols for text applications in regard to headlines more flexible, the insertions which were formerly added, for technical reasons in order to sharpen the corners, were eliminated, and the optical size adjustments of the vertical and diagonal stem endings (I, v, H, V) to the horizontal bars (z, Z) were scaled back. Already since the end of 1984, Volker Küster experimented with broad sticks of chalk and a broad felt pen in order to develop a new sans serif typeface which, in the interest of easy legibility, would be built on the basic structures and proportions of the Renaissance-Antiqua. Using a normal angle of writing, his experiments lead to the form structure of the characters: a small contrast between bold and light weights, serif-like beginning and end strokes in some of the lower-case characters, and the typical, left-leaning slant of all round lower-case letters and the typical left-leaning axis of all round letter forms. In this way, a rhythmization of a line of type was achieved which created a lively image without being “noisy”. With this concept, Volker Küster has enlarged the Sans Serif by a distinctive, trend-setting form variation.

One of the most widely used typefaces in the world is actually a legacy of 18th century aesthetics, representing the spirit of late Baroque design, architecture, fashion and society. It has been created and printed for millions of readers around the world for more than two and a half centuries. It influenced many modern typographers. It shaped culture, education, entertainment and science, but also the development of typography itself. As a calligrapher and technical innovator, Baskerville invented new design, papermaking and printing methods, and his typography is very natural and legible to this day. Graphic design today calls for clean and minimalistic solutions, where the use of historical typefaces can achieve a vivid contrast with contemporary elements on the page or screen. Baskerville is undoubtedly the best choice for any kind of publishing house. In keeping with the original inventor’s spirit of excellence, we hereby offer its most advanced digital version. This is not a precise remake of rare Baskerville prints or a restoration of the original punches cut by John Handy, but rather our ideal essence of transitional typography. The old masters were limited by the technology of the time, but today we can dare to have very fine lines, unlimited ligatures, size variations and sophisticated OpenType functions. Drawing, programming, proofing and testing took us many years of development and brought thousands of new letters and dozens of language options. We are convinced that your readers will enjoy this font mainly for reading extensive works, but also for creating corporate identity, orientation systems and cultural posters. Baskerville is perfectly modern in its antiquity, striking in its modesty and timeless in its transiency.

The typeface Rough Stamp Times is designed from 2016–2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original rubber stamps from flea market. The font started from 50+ stamps (analog) and was finally digitalize and extended to 600+ glyphs (digital). 4 font-styles (Rough, Clean, Misprint, Impact) with 601 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (9 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Rough Stamp Times ■ Font Styles: 4 (Rough, Clean, Misprint, Impact) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 601 glyphs incl. extras like icons (decorative extras like arrows, dingbats, emojis, symbols) ■ Design Date: 2016–2022 ■ Type Desi­gner: Manuel Viergutz

The typeface Hand Stamp Wood is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on original old wood letter, stamps, DIY and is inspired in the past and present. 4 font-styles (Rough, Mix, Circle, CircleMix) with 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols, geometric shapes, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Stamp Wood ■ Font Weights: 4 (Rough, Mix, Circle, CircleMix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 370 glyphs (Adobe Latin 1) incl. decorative extras like arrows, dingbats, emojis, symbols ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

The typeface Brush Hand Marker is designed from 2020 for the font foundry Typo Graphic Design by Manuel Viergutz. The rough sans-serif display typeface with 4 font styles (Italic, Invert, Shadow, 3d) is inspired by handwriting. 348 glyphs incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (2 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-Font (with reduced glyph-set) for FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Brush Hand Marker ■ Font Weights: Italic, Invert, Shadow, 3d + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 348 glyphs ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture. Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz

The typeface Klein Rough & Gemein(e) is designed from 2020 for the font foundry Typo Graphic Design by Inga Luft and Manuel Viergutz. The display font based on original old german rubber stamps and is inspired in the past and present. 4 font-styles (Rough, Rougher, Roughest, Rough Mix) + 1 icon-style with 432 glyphs (Adobe Latin 2) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (7 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Klein Rough & Gemein(e) ■ Font Weights: 4 + 1 (Icons) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 432 glyphs (Adobe Latin 2) incl. 100+ decorative extras like dingbats ■ Design Date: 2020 ■ Type Desi­gner: Manuel Viergutz und Inga Luft

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

Introducing "Morvifun" - a captivating font that combines the elegance of Victorian aesthetics with ornamental details. This classic serif typeface showcases the timeless charm of Gothic styles, resulting in a visually stunning and versatile product. With a total of 717 meticulously crafted glyphs, Morvifun offers an extensive character set that enables you to express your creativity and bring your designs to life. From uppercase and lowercase letters to numerals, punctuation marks, and special symbols, this font provides a comprehensive range of options to suit your design needs. The Morvifun font's classic serif style adds a touch of sophistication and refinement to any project. The carefully designed letterforms exude an air of elegance, making it ideal for invitations, formal correspondence, branding materials, book covers, signage, and more. Whether you're aiming for a vintage-inspired design or a contemporary piece with a hint of nostalgia, Morvifun is a reliable choice. Unlock the enchanting world of Victorian aesthetics with Morvifun. Its fusion of ornamental intricacy, extensive glyph set, PUA Unicode support, and classic serif style make it a versatile font that captures the essence of Gothic beauty. Let Morvifun elevate your designs and transport viewers to a bygone era of grace and allure. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

In the typedesign industry the terms ‘nova’, ‘neue’, ‘next’, ‘new’ are often used to refer to a typeface that has been modified in different ways: redesign, technical readjustments, greater number of characters, etc. At Latinotype we are now starting to use the word ‘niu’ to refer to these kinds of typefaces. Niu is an adaptation of the original word ‘new’, i.e., we have adapted this English word to the phonology and spelling of our own language but keeping the original meaning. Race mixing, diversity, change and adaptation are part of the essence of Latin American culture and, at Latinotype, we are all constantly expressing these elements in everything we do. Latin Power! Hernández Niu was designed by César Araya and Daniel Hernández. The font is based on the design of Hernández Bold: the thickest weight has been adapted to fit small text better. Five new styles have been added, ranging from neutral to more expressive fonts. Hernández Niu is a display slab serif font of thickened serifs, functional expressive ink-traps and true italics. Detailed forms and counterforms allow this typeface to be used in very large sizes. Hernández Niu is well-suited for publishing, small text and headlines. A wide variety of weights make the font a perfect choice for hierarchical type-setting, branding, logotypes, magazines, etc. This font consists of 6 weights, ranging from Extra Light to Heavy, each with matching true italics. Hernández Niu comes with a set of 397 characters, making it possible to use the font in 212 different languages.

NONLOCAL, has a firm personality and clearly produces a sturdy and consistent font, making it very easy to read that is suitable for everyday use. All caps fonts. USE NONLOCAL works great in branding, logos, Quotes, headlines, high fashion, Landing Page and Magazine. Have 2 Style give you full to explore for your project. FEATURES 2 Style / Numbers & Punctuation / Extensive Language Support Thanks for checking out NONLOCAL. I really hope you enjoy using it! please kindly send us a message for any question about our product. DLetters.Std