Selected as one of “Our Favorite Typefaces of 2013” by Typographica.org, Dark Angel is the first completely new take in decades on the traditional “blackletter” font style. It began its journey towards the light years ago when this style was born as a sketch for a new logo for the California Angels baseball team (renamed shortly thereafter the Anaheim Angels). The Angels logo never happened, but that sketch has risen from the dead and become the basis for this brand new font design—and was also the source for the name. It’s kind of blackletter in feel, but as a display font it’s so much more. It is far more legible than most “Old English” or “Gothic Script” styles, and incorporates many features never before seen in them, such as swashes, tails and a plethora of ligatures. Dark Angel can be purchased in its regular solid form, or as Dark Angel Underlight—a handtooled font. If these two fonts are purchased together, the Family package will contain a third font—Dark Angel Highlight. With this font layered over the basic font, you can achieve two–color typesetting when the highlight and the base font are assigned two different colors. Dark Angel has enough language support to make the builders of Babel envious—its 1,163 glyphs can be used to set copy in 59 different languages. From A to Z: Afrikaans, Albanian, Basque, Bemba, Bosnian, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Malagasy, Malay, Maltese, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romansh, Sango, Shona, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Swiss German, Turkish, Welsh, and last (but not least) Zulu. PLEASE NOTE: Dark Angel is a cross-platform font which depends to some extent on certain advanced OpenType features, therefore it can be used to its full potential only with programs that support those features. ADDITIONALLY: When setting Dark Angel one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. Please see the “Read–Me–First!” file in the Gallery section.

Introducing Culoare V2.0 is the second version of the space bright color gradient font. (The first version is here - Culoare) This is a new set with completely new color combinations, bright and saturated like neon. 3 types of stylization in 9 different color gradient combinations with soft transitions. Letters seem to be backlit and it looks very original in addition to stylish minimalist glyphs. Lots of design use cases. Ideal for promotional illustrations, headlines and covers. Font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Culoare V2 Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size but different colors. - Transparency in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Guided tour available here. Port Vintage is a new typeface expanded upon the original Port typeface, released in 2013, and being an experimental Didone typeface with a modern twist, inspired by the well known forms of typography masters such as Bodoni and Didot and the exuberance and elegance of calligraphy typefaces. A lot of changes were made, the whole typeface is now softer and has less rough edges, the time it took to mature made it possible to achieve an entirelly new and distinct flavour from the original Port, giving away the rough edges from Port and giving place to the soft transitions and curved connections between the stems and serifs of Port Vintage. Port Vintage melts the straight lines and strong contrasts of the Didone typefaces with the elegant lines of calligraphy in a geometric way, resulting in exuberant characters with geometric swashes that can be combined in countless ways. The result of this experiment is Port Vintage, an unique and rich display typeface meant to be used on big sizes and it’s main perk is the amount of alternative characters it features. Port Vintage is Open-Type programmed and includes hundreds of alternates, from swashes to titling alternates, ligatures and stylistic sets with each character having a thin version of itself, giving complete freedom to all your creative needs. Port Vintage is available in 10 different styles: Port Vintage Regular, being the base version and featuring the whole base character set; Port Vintage Regular Decorated, featuring richer forms and containing more ornamentated and more extravagant characters; Port Vintage Medium and Port Vintage Medium Decorated, designed for the occasions you need a bit more thickness and the decoration variants: Port Vintage Ornaments, containing a wide set of elements meant for the creation of fillets, vignettes and fleurons, resulting in an almost infinite number of possible combinations to embellish your designs and Port Vintage Words, a set of some of the most common words used in English, Spanish, French, German, Italian and Portuguese. All styles, except Port Vintage Ornaments and Port Vintage Words, include italic styles. For a better understanding of all the uses of Port Vintage and the full character list the reading of the manual is recommended.

Cabo Soft is the 2.0 version of our original Cabo Rounded Typeface, created back in 2015. With this new version, Cabo Soft, we have brought multiple upgrades and updates compared with the original version. Some of those consist in the addition of more glyphs and accents, alternate designs for many of the glyphs (including an alternate for @, #, some of the numbers and more), and most importantly, we have done a slight update in the design of the letters, which we'll give more details in the following paragraphs. The main style and thought behind our Cabo fonts has always been the rounded corners and the soft and welcoming vibe that it gives. It's friendly and familiar, but also modern and slightly elegant, especially the Thin and Light styles. With Cabo Soft we have worked on adding an extra touch to the design of the letters by working on the termination edges of each letter. If Cabo Rounded had an exact round termination for each letter, with Cabo Soft we have developed a unique non-equally rounded shape that is applied to all types of terminations for each letter. This new design approach makes it have a more clean style, a more modern and unique look, but it also gives stylish, exclusivist and elegant vibes, while still being friendly and familiar. Thanks to it's variety in weights and styles, you can use Cabo Soft in almost any design project. It works well with headlines and paragraphs, it's a perfect match for logo design and branding, but can also do wonders in videos, signage and many other elements. The typeface covers most likely the entire Latin Alphabet, it comes with multiple design alternates for many of the letters, glyphs and numbers, with accents applied for all of the available alternates. As a finishing note, with the help of our Cabo Soft typeface you can create an friendly and welcoming designs, as well as stylish, elegant and exclusivist. It has all the necessary glyphs and accents for any Latin Alphabet projects, and you can play around with all of the alternates to create unique designs right from the start.

Introducing Echowarp is an unusual COLORED font family. Main idea of ​​this font is that a colored echo spreads and fades from minimalistic letters to the sides. Distorted letters give the effect of temporary refraction. The originality of this family is primarily suitable for a bold design. And if you add a random distortion in a graphics program to the finished heading written in this font, the inscription will turn into an absolutely unique and inimitable one. Futuristic set has 23 fonts in the family! Do not limit your imagination, because the font opens up a huge space for creative experiments. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works Letters with color echo & distortion 23 OTF SVG color fonts in the family Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

LTC Italian Old Style is not to be confused with the English Monotype font also called Italian Old Style, which is an earlier design from 1911 based on William Morris’s Golden Type that is based on Nicholas Jenson’s Roman face. Goudy went back to Jenson’s original Roman and other Renaissance Roman faces for his inspiration and the result is what many consider to be the best Renaissance face adapted for modern use. Bruce Rogers was one of the biggest admirers of Italian Old Style and designed the original specimen book for Italian Old Style in 1924 using his trademark ornament arrangement. These ornaments are now contained in the pro versions of the Roman styles—Regular Pro and Light Pro. With most digitizations of old metal typefaces, one source size is often used as reference (as was Goudy’s method for his own cuttings of his Village foundry types) so that all sizes refer to one set of original artwork. The original hot metal fonts made by Lanston Monotype (from Goudy’s drawings) and other manufacturers used two or three masters for different size ranges to have optimal relative weights—smaller type sizes would need proportionally thicker lines to not appear thin and larger sizes would require thinner lines to not appear to bulky. The variations in size ranges can also be affected by the size of the cutter head in making the master patterns. The light weights of LTC Italian Old Style were digitized from larger display sizes (14, 18, 24, 30, 36 pt) and the regular weights were digitized from smaller composition sizes (8,10,12 pt). The fitting for the regular weights is noticeably looser to allow for better setting at small sizes. Very few font revivals take this approach. Italian Old Style, originally designed by Frederic Goudy in 1924, was digitized by Paul Hunt in 2007. In 2013, it has been updated by James Grieshaber and is now offered as a Pro font. The newly expanded Pro font includes all of the original ligatures, plus small caps and expanded language coverage in all 4 Pro styles.

My goal was to make a design that might fit in anywhere,” says Jim Ford about his Quire Sans™ typeface. “I wanted it to be highly functional and sexy at the same time.” With one foot comfortably in the realm of oldstyle design and traditional book typography, and the other in evolving electronic media, the Quire Sans family does, indeed, fit in just about anywhere. As for sexy, someone once quotably wrote, “A great figure or physique is nice, but it's self-confidence that makes someone really sexy.” Yes, Quire Sans is sexy, performing confidently in virtually any setting. 2014-06-26 00:00:00.000 57.9900 F43063-S193385 42831 Neue Frutiger World Monotype https://www.myfonts.com/collections/neue-frutiger-world-font-monotype-imaging https://cdn.myfonts.net/cdn-cgi/image/width=417,height=208,fit=contain,format=auto/images/pim/10000/279026_ed8c8093fe1ac59ebe9e3ee1d9262c8e.png Neue Frutiger World is designed for global use with an impressive range of 10 weights, from Ultra Light to Extra Black, with matching italics. It embodies the same warmth and clarity as Adrian Frutiger’s original design, but allows brands to maintain their visual identity, and communicate with a consistent tone of voice, regardless of the language. Neue Frutiger World supports more than 150 languages and scripts including Latin, Greek, Cyrillic, Georgian, Armenian, Hebrew, Arabic, Thai and Vietnamese. “Before Neue Frutiger World it was not an easy task for western brands to find families in Arabic, Hebrew, Thai and Vietnamese which match with their Latin,” says Monotype type director Akira Kobayashi, who led the Neue Frutiger World project. “They may find a type with closer expression, but there was no guarantee if the bold version in the non-Latin family matches the bold in their Latin. Neue Frutiger World offers a better solution.” In addition to Neue Frutiger World’s linguistic versatility, it works hard across environments – suited to branding and corporate identity, advertising, signage, wayfinding, print, and digital environments. The Neue Frutiger World fonts can be paired with Monotype’s CJK fonts: M XiangHe Hei (Chinese), Tazugane Gothic (Japanese), Tazugane Info (Japanese), and Seol Sans (Korean). These were all designed to address brands’ needs to expand into Asian cultures and solve for global typographic challenges.

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Because you demanded it, the Aviano series is back with a variable version of the futuristic sans serif Aviano Future. Aviano Future’s strong letterforms will make you look like a rock star. Aviano Future Variable is a medium-contrast sans serif titling face that has a bold and futuristic look. It has a bowed square shape which gives it an interesting appearance that is both unique and eye-catching. Given that it has a variable axis any weight can be selected with no loss of clarity or legibility. Aviano Future's expanded forms give the letterforms heft and intensity. Aviano Future is a powerful yet adaptable title face that builds on the award-winning traits of Aviano and elevates them. Aviano Future Variable contains a ton of OpenType capabilities and comes in ten different defined weight instances with "fast" italic forms for emphasis. Want to use more traditional rounded forms? Need swash forms? Art Deco alternates? Aviano Future includes 400 alternate characters. Twelve style sets are available, two sets of art deco inspired alternates, small forms, tough swash, constructivist titling and traditional stylistic alternates. Aviano Future also includes 40 discretionary ligatures for artistic typographic compositions. Additionally, there are glyphs in this family to accommodate a variety of languages, and Cyrillic support was added in 2022. An extensive selection of sans serif typographic systems can be found in the Aviano family. The typefaces can be used alone or in combination to suit the needs of any project. The family's fonts have all been meticulously designed to assist ensure maximum impact and usability at any size. Aviano, Aviano Serif, Aviano Sans, Aviano Didone, Aviano Flare, Aviano Copper, and Aviano Slab are presently part of the Aviano collection. A skilled designer who wishes to create a technological, futuristic, or epic design should consider Aviano Future. Aviano Future Variable will make your design stand out from the competition, regardless of whether you are designing a logo, poster, flyer, website header, or banner ad. Why wait? With the exciting and versatile Aviano Future Variable at your disposal, reach new heights and create a brand that stands out from the rest.

Introducing is a fun and playful pouty Baluno font. Font has embodied the graphic trend of cartoon flat illustrations and will successfully complement modern designs. The font has 2 types of faces, which can be used both independently and together by alternating letters in one word to avoid repeating letters, creating a unique heading. Family is ideal for children's themes, because the font resembles inflated balloons. Creates a relaxed mood and has fun. Set comes in many different carefully selected colors and gradient color options. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Baluno Color" on: ld.luxfont@gmail.com Features: Free Demo font to check it works. 2 types of faces. Lots of ready-made matched colors. Gradient color variants. Kerning. IMPORTANT: - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the other fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

First, the important information…Nori is a hand-lettered typeface that contains over 1100 glyphs, 250 ligatures, 487 alternate characters, 125+ swash and titling alternates, lining and old style numerals. To make sure it is perfectly clear—Nori is the result of brush and ink on paper. The textures produced in each glyph are real and the imperfections are intentional and add to the sincerity of the letters. I say this to be as blunt as possible in order to avoid confusion and to frame what this typeface represents—calligraphic, handwritten letters captured digitally for their warmth and poetic variation for print and screen. Like my handwritten, calligraphic or brush-driven faces before it (the Baka series and the TDC2 2010 winning typeface, Fugu), Nori is a product of my analog and digital hand. To view the words and sentences formed by this typeface is to look at how my hands, yes hands, make letters. The fluidity, as well as the irregularity, is human, honest and intentional—to do so lets the brush I am holding breathe life into each letter. Once digital, any number of points and repetitive processes can’t mask its influences—and I like that. The brush, a simple instrument, my tool, my friend designed to emulate traditional Japanese sumi-e brushes... the Pilot Japan Kanji Fude brush pen. Each letter, each variation was written over and over again until I found the right combination. From there, each was scanned, digitized and optimized. Points were removed in order to ‘clean’ the glyphs up some but I did not want to compromise the integrity of the actual brush stroke. Once this base set of characters (about 350) were completed, the thoughtful manipulation of the glyphs, their gestures and forms were further expanded to solidify the embellishments used within the ligatures, alternates, swashes and additional features. This process was admittedly self-indulgent to an extent. I wanted the words created with this typeface to have the flexibility of variation and cohesiveness of movement that someone fluidly producing these letters by hand might have.  I hope you enjoy this typeface as much as I did during the six months working on it. A specimen and style guide is included with the purchased of Nori.

I love geometric sans serifs, their crispness and rationality. Le Havre taps into this style, but for a while, I've wanted to create a font recalling the printed Futura of the 1940s, which seems to have an elusive quality all its own. After seeing an old manual on a World War II ship, I developed a plan for "Le Havre Metal" but chose to shelve the project due to Le Havre's small x-height. That's where Steagal comes in. When Robbie de Villiers and I began the Chatype project in early 2012 (a project which led one publication to label me the Edward Johnston of Chattanooga!), we started closely studying the vernacular lettering of Chattanooga. During that time, I also visited Switzerland, where I saw how designers were using a new, handmade aesthetic with a geometric base. I was motivated to make a new face combining some of these same influences. The primary inspiration for the new design came from the hand-lettering of sign painters in the United States, circa 1930s through 1950s. My Chatype research turned up a poster from the Tennessee Valley Authority in Chattanooga, Tennessee, which exhibited a number of quirks from the unique hand and style of one of these sign artists. Completing the first draft of Steagal, however, I found that the face appeared somewhat European in character. I turned then to the work of Morris Fuller Benton for a distinctly American take and discovered a number of features that would help define Steagal as a "1930s American" vernacular typeface--features I later learned also inspired Morris Fuller Benton's Eagle. The overall development of Steagal was surprisingly difficult, knowing when to deliberately distort optical artifacts and when to keep them in place. Part of type design is correcting optical illusions, and I found myself absentmindedly adjusting the optical effects. In the end, though, I was able to draw inspiration from period signs, inscriptions, period posters, and architecture while retaining just enough of the naive sensibility. Steagal has softened edges, which simulate brush strokes and retain the feeling of the human hand. The standard version has unique quirks that are not too intrusive. Overshoots have almost been eliminated, and joins have minimal corrections. The rounded forms are mathematically perfect, geometric figures without optical corrections. As a variation to the standard, the “Rough” version stands as the "bad signpainter" version with plenty of character. Steagal Regular comes in five weights and is packed with OpenType features. Steagal includes three Art Deco Alternate sets, optically compensated rounded forms, a monospaced variant, and numerous other features. In all, there are over 200 alternate characters. To see these features in action, please see the informative .pdf brochure. OpenType capable applications such as Quark or the Adobe Creative suite can take full advantage of the automatically replacing ligatures and alternates. Steagal also includes support for all Western European languages. Steagal is a great way to subtly draw attention to your work. Its unique quirks grab the eye with a authority that few typefaces possess. Embrace its vernacular, hand-brushed look, and see what this geometric sans serif can do for you.

Fioritura is a floral display typeface inspired by Sandro Botticelli's "Primavera" ("Spring") and Guiseppe Arcimboldo's "The Four Seasons" paintings. Fioritura means flowering in Italian, and the character composition consists of stems, leaves, flowers, and flying pollen. Scripts: Latin, Greek, Cyrillic. Language count: 480+. Glyph count: 1103. Kerning: 936 class pairs. Hinting: Not applied. Contextual Alternates: AA BB CC DD EE FF GG LL MM NN OO PP RR SS TT ZZ aa bb cc dd ee ff gg ll mm nn oo pp rr ss tt zz. To keep the writing natural, every second of two frequently repeated letters is automatically replaced by its alternative version. Turned on by default. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: ABCDEFGLMNOPRSTZ abcdefglmnoprstz. Supported languages: Abenaki, Abron, Acheron, Achinese, Achuar-Shiwiar, Adamawa Fulfulde, Adangme, Afar, Afrikaans (Latin), Aghem, Aguaruna, Aja, Akan, Albanian, Alsatian, Amahuaca, Amarakaeri, Amis, Andaandi (Dongolawi), Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asháninka, Asturian, Asu, Atayal, Awa-Cuaiquer, Awetí, Aymara, Azerbaijani (Latin, Cyrillic), Baatonum, Bafia, Bagirmi Fulfulde, Balinese, Balkan Romani, Bambara (Latin), Baoulé, Bari, Basaa, Bashkir (Latin), Basque, Batak (Latin), Belarusian (Latin, Cyrillic), Bemba, Bena, Biali, Bikol, Bini, Bislama, Boko, Bora, Borgu Fulfulde, Bouna Kulango, Bosnian, Breton, Buginese (Latin), Bulgarian, Buryat, Bushi, Candoshi-Shapra, Cape Verdean Creole, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Chachi, Chamorro, Chavacano, Chayahuita, Chechen, Chewa (Latin), Chickasaw, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Colognian, Cornish, Corsican, Creek (Muscogee), Croatian, Czech, Dagaare, Dagbani, Danish, Dawan, Dehu, Delaware, Dendi, Dholuo, Dimli, Dinka, Ditammari, Drehu, Duala, Dutch, Dungan, Dyula, Embu, English, Erzya, Ese Ejja, Esperanto, Estonian, Ewe, Ewondo, Falam Chin, Fanti, Faroese, Fijian, Filipino, Finnish, Folkspraak, Fon, French, Friulian, Frisian, Fula, Gagauz (Latin), Galician, Ga’anda, Garifuna, Gen, Genoese, German, Gikuyu, Gilbertese, Gonja, Gooniyandi, Greek, Greenlandic (Kalaallisut), Guadeloupean Creole, Guarani, Gusii (Latin), Gwich’in, Haitian, Hakha Chin (Latin), Hän, Hani, Hausa (Latin), Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Hotcąk (Latin), Huastec, Hungarian, Icelandic, Ido, Igbo (Latin), Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Ixcatlán Mazatec, Jamaican, Javanese (Latin), Jèrriais, Jola, Kabuverdianu, Kabiyè, Kabuverdianu, Kabyle (Latin), Kaingang, Kako, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk (Cyrillic), Kamba, Kanuri, Kaonde, Kapampangan (Latin), Kaqchikel, Karachay (Cyrillic), Karakalpak (Latin), Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Khalkha (Cyrillic), Khasi, Khoekhoe, K’iche’, Kikuyu, Kimbundu, Kinyarwanda (Ruanda), Kiribati, Kirmanjki, Kirundi (Rundi), Kissi, Kituba, Klingon, Kölsch, Kongo, Konzo, Koyra Chiini, Koyraboro Senni, Kpelle, Krio, Kuanyama, Kumyk, Kurdish, Kven Finnish, Kwasio, Kyrgyz (Cyrillic), Ladin, Ladino, Lakota, Lamnso’, Langi, Latgalian, Latin, Latino sine Flexione, Latvian, Ligurian, Limba, Lingala, Lithuanian, Lobi, Lojban, Lombard, Low German, Lozi, Luba-Katanga, Luba-Lulua, Luo, Luxembourgish, Luyia, Maasai, Maasina Fulfulde, Macedonian, Machame, Madurese (Latin), Makhuwa, Makonde, Makwe, Malagasy (Latin), Malaysian Malay (Latin), Maltese, Mam, Maninkakan, Manx, Maore Comorian, Māori, Mapudungun, Marquesan, Marshallese, Masai, Matsés, Mauritian Creole, Mbelime, Megleno-Romanian, Mende, Meriam Mir, Meru, Meta’ (Latin), Metlatónoc Mixtec, Mezquital Otomi, Mi’kmaq, Minangkabau, Mirandese, Mískito, Miyobe, Mizo, Mohawk, Moksha, Moldovan, Mongolian (Cyrillic), Montagnais, Montenegrin (Latin, Cyrillic), Mossi, Mundang, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Naga Pidgin, Nagamese Creole, Nahuatl, Nama, Nateni, Navajo, Ndebele, Ndonga, Neapolitan, Ngazidja Comorian, Ngiemboon, Ngiyambaa, Ngomba, Nigerian Fulfulde, Niuean, Nobiin, Nomatsiguenga, Noongar, Norwegian (Bokmål, Nynorsk), Novial, Nuer, Nyamwezi, Nyanja, Nyankole, Nyemba, Nzima, Occidental (Interlingue), Occitan, Ojitlán Chinantec, Old Icelandic, Old Norse, Onĕipŏt, Oromo, Oroqen, Oshiwambo (Ovambo), Ossetian (Latin, Cyrillic), Otuho, Páez, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamentu, Pedi, Picard, Pichis Ashéninka, Piedmontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Prussian, Pulaar, Pular, Purepecha, Qiandong Miao, Quechua, Rarotongan, Romani, Romanian, Romansh, Rombo, Rotokas, Russian, Rusyn, Rwa, Sakha, Samburu, Sami (Inari, Lule, Northern, Southern, Pite, Skolt, Ume), Samoan, Sango, Sangu, Saramaccan, Sardinian, Scottish Gaelic, Secoya, Sena, Serbian, Seri, Seychellois Creole, Shambala, Sharanahua, Shawnee, Shilluk, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Siona, Slovak, Slovene (Slovenian), Slovio (Latin), Soga, Somali, Soninke, Sorbian (Lower, Upper), Sotho (Nothern, Southern), Spanish, Sranan, Sukuma, Sundanese (Latin), Susu, Swahili, Swazi, Swedish, Swiss German, Tachelhit (Latin), Tagalog, Tahitian, Taita, Tajik (Cyrillic), Talysh, Tasawaq, Tatar (Cyrillic, Latin), Tedim Chin, Teso, Tetum, Ticuna, Timne, Tiv, Toba, Tojolabal, Tok Pisin, Tokelauan, Tonga, Tongan, Tosk, Totontepec Mixe, Tsafiki, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin, Cyrillic), Tuvaluan, Tuvan, Twi, Tzeltal, Tzotzil, Uab Meto, Ukrainian, Ulithian, Umbundu, Urarina, Uyghur (Cyrillic), Uzbek (Latin, Cyrillic), Vai, Venda, Venetian, Veps, Vietnamese, Volapük, Võro, Vunjo, Waama, Waci Gbe, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray, Warlpiri, Wasa, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof (Latin), Xavante, Xhosa, Xwela Gbe, Yagua, Yanesha’, Yangben, Yanomamö, Yao, Yapese, Yindjibarndi, Yoruba (Latin), Yucateco, Záparo, Zapotec, Zarma, Zazaki, Zulu, Zuni. The promo images used photos of Cottonbro, Maria Lindsey from Pexels, and Andreea Popa, Wyron A from Unsplash.

ATTENTION COSTUMERS! A new version of this font was released in 2019. Take a look: Breathe Neue Reaching a total of more than 1000 glyphs, Breathe Pro is Maximiliano R. Sproviero’s gift of the year. The aim of the designer was once more to give the user the chance to play and travel from very formal and conservative letterforms to the amazing world of swashes and flourishes. Possibilities of alternating and ligating characters in this font are absolutely fantastic. After his last creation, Parfait Script, Lián wanted to make a more universal font. Delighted by typographic works of Didot and his followers of the beginnings of 1800, Maximiliano R. Sproviero started what became another obsessive project, which is now named Breathe, “cuando las letras respiran...” what could be translated as “when letters breathe”, due to the feeling that you are reading letters that are alive. Breathe comes in two styles which have a significant difference as regards to the quantity of glyphs available inside. If you want to get the most complete style, with over 1000 glyphs, (including contextual alternates, stylistic alternates, swashes, terminal forms, titling alternates, historical forms, stylistic sets, standard ligatures, stylistic ligatures, decorative ligatures and frames) then your choice should be Breathe Pro. On the other hand, if you are interested in having a less decorative font with the nice touch of Lián’s style, then your choice should be Breathe Standard, a more limited version of Breathe, including terminal forms (leaves) and frames. With Breathe Pro you will surely have fun at the same time you are designing and that is not an unimportant thing. The world of type-designers is growing each year, and the features of Open-Type are letting them think their creations as if they were truly pieces of art. At least, Breathe Pro is inspired in the Art of our predecessors, those who with a pen loaded of ink would decorate each letter, each page in such a lovely way. Yes, -lovely- is the word. We would not have the amazing lettering artists, calligraphers, typographers of nowadays if that -love for letters- had not traveled from generation to generation. Breathe Pro is an example of this love. An example of what Maximiliano R. Sproviero feels about typography and letters. Pssst... Look for more images and the User’s Guide at the gallery section to see it in use! http://origin.myfonts.com/s/aw/original/89/0/46067.pdf

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Hermanz™ Titling is inspired by the most majestic caps that Hermann Zapf ever drew. They are inscriptional caps, square caps, or “capitalis monumentalis”. These caps are some of the most beautiful letters made by one of the greatest talents of our time; so beautiful they deserve to be seen and appreciated by everyone. If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Hermanz Titling works for anything labeled "fine": fine dining, fine music, fine art (pamphlets, books, posters, cookbooks). It also fits well for religious topics: posters, events, websites, hymnals, for biblical; and ceremonies, religious or otherwise. Emotions It Can Communicate: • Importance • Timelessness • Special Event • Tradition • Reverence • Artistry • Beauty Released June 2021 on the Memorial of Hermann Zapf, as part of the California Type Foundry Memorial Series: Honoring the life and work of the great font designers. FONT STORY The Majestic Caps When I was on one of my visits to rare books rooms I found some large caps of Hermann Zapf, and I knew that I had to make a font inspired by these. I was surprised that no one had ever made them into a font. They were some of the most beautiful caps I had ever seen. These caps were surprisingly difficult to make. I thought it would take me a week or two; to get the detail and spirit right took significantly longer– but it was well worth the effort! When you print Hermanz Titling on a page, you will see what I mean. Even when printed digitally, it’s the closest thing to letterpress. You might even have some people thing it was printed by a traditional method with ink! (Note: Unless printed at very large sizes, this font is not recommended for actual letterpress, because the serifs are too thin.) If you do any work for churches, wedding, funeral, anniversary, or other ceremonies, for the fine arts, exclusive clubs, or higher education—you will love how these letters make your brochures, pamphlets and announcements look. Enjoy this breathtaking font, and may it help inspire people with your messages! –Dave Lawrence & the California Type Foundry

“Hello My Love” is a font love story. Inspired by my own long and happy marriage of 35 years, it was created to celebrate love! A classic hand-lettered script with a modern and fresh feel, it fits beautifully with current designs and yet is sure to stand the test of time. Made with invitation designers in mind, the Hello My Love Pro script font includes a total of 1985 glyphs plus a BONUS FONT, Hello My Love Ornaments! It has 91 hand illustrations including frames, florals and design elements. As a result, you will be able to create a variety of designs to highlight your special project. It’s especially well-suited for invitations for branding weddings and other special occasions! And it supports 129 languages! The font is loaded with features: Stylistic and Contextual Alternates, Swash Caps, Standard and Discretionary Ligatures, Beginning Swashes for lower case letters, Cross-less t and f that can be combined with a flourished letter to avoid clashing plus 3 ampersands, small word art "and" & "No.", Roman Numerals, Ordinals and Fractions. This font was created to make designing easy. Need to convert upper case letters into Roman numerals throughout a guest list? Just turn on contextual alternates in Open Type capable programs and presto, the caps become Roman! Want a variety of letter choices? There are 215 stylistic alternate upper cases and 259 stylistic alternate lower cases as well as 69 ligatures to give you plenty of options. You can choose from swashes in 4 different styles and 3 different lengths resulting in unique beginning lower case letters. Works for Cutting Machines! No special software is required to use Hello My Love. All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. For Microsoft Word users, you can easily access the Stylistic and Contextual Alternates and the Roman Numerals through the Typography feature. (Microsoft Word 2010 and later) For more details about how to use my fonts, check out my video tutorials on my YouTube channel: https://www.youtube.com/user/Letteringartstudio/videos

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.

Think smart. Think regal. Think SteamCourt, a new font designed specifically for the card game SteamCourt. A bit of background if you will: In early 2014, some friends from my college days banded together to form their own game company. Their first launch? A current Kickstarter they named SteamCourt. I love Kickstarter. It’s a fantastic platform, a great way for individuals to introduce the public to their visions. I've started a couple of them myself--both including fonts designed specifically for the projects. The first is Chatype, a font created exclusively for the city of Chattanooga. The second: Cabrito, a font developed as part of the children’s typeface book, The Clothes Letters Wear. It’s wonderful to work with so many others who come alongside to help you vision become reality. Naturally, hearing of my friends' project, I contacted them about adding a new face to their venture as well. I gave them carte blanche. They wanted steampunk. It was a great challenge, the result of which is now SteamCourt, an unforgettable display typeface that draws from the mix of Victorian regals, metallic and brass engineering, cogs, clocks and blackletter typography. It evokes a time of skillfully forged metalwork and an era of intrigue and excitement, filled with audacious feats of engineering and innovation and the perilous journeys of the airship. While influenced by the era of blackletter, SteamCourt is an unmistakable departure from the style of two centuries past, yet it still shines in its given display roles with a distinct regal twist. The serifs are asymmetrical, yet the characters are all specially and delicately balanced. It’s an eye-catching alternative to blackletter with modern steampunk touches. The game’s signature typeface has sizeable language support on top of 90 alternate characters as well. In addition to a generous number contextual alternates, SteamCourt features stylistic alternates that allow for buyers to customize its visual appearance for their preferences, helping to make it a superior option for packaging, branding and enormous typesetting logotypes as well as shorter textual content. Check out the game, but grab the font, too, to be a part of that crib created as a companion for the new game in court. It'll be the ace up your sleeve for many rounds of design ahead.

Introducing incredible COLOR ANAGLYPH font. Unique font family with anaglyph stereo effect - a novelty in the field of color fonts. Inspired by global trends in contemporary design with a touch of retro 90s, electric music and minimalistic purity of glyphs. Truly a reflection of modern POP culture. Font is ideal in entertainment design. Night club poster design, fashionable business card, website title, magazine illustration - there are countless options for using it. Font family has two thicknesses - bold & regular, 3 types of stereo effect, 2 font colors with stereo effect (black and white). Font consists of letters of the same height without division into uppercase and lowercase glyphs. This font family is based on the Regular & Bold fonts Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 36 OTF SVG fonts in the family 2 thicknesses: Bold, Regular 3 types of stereo anaglyph effect 6 font colors with stereo effect Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

Developed over several years by the late Otl Aicher and first released in the late 1980s, the Rotis® typeface has become a timeless classic. ROTIS II SANS HISTORY Aicher was a renowned German designer and corporate image consultant. He created the four basic designs of Rotis – sans serif, semi sans, semi seif and serif – within an extended typeface family concept, wherein all designs share a common cap height, lowercase x-height, basic stem weight and general proportions. While each version is part of the large, integrated family, each was also designed to function on its own as a distinctive typestyle. The result is that all members of the Rotis family combine smoothly with each other. Aicher, however, did not design the Rotis family with the weights and proportions normal for more contemporary releases. Rotis Sans Serif, for example, was drawn with just six weights and only two italics. Starting in 2010, Robin Nicholas, senior designer for Monotype Imaging in the UK, and freelance designer Alice Savoie collaborated to bring Rotis Sans Serif up to current standards. The result is Rotis II Sans, a completely new addition to the Rotis family. “We devised our approach together,” recalls Savoie, “deciding which weights to start with, what kind of alterations to make to the original Rotis, etc. I went to work on the typefaces, regularly submitting proofs to Robin. We would then decide in tandem on the next steps to take.” Nicholas elaborates, “We revisited the range of weights and added matching italics so that the new additions to the family offer increased versatility. We optimized the outlines, corrected the weight of several letters and re-examined overall spacing and kerning. In addition to a new set of numerals, with a height similar to the capitals, we also drew case-sensitive punctuation.” ROTIS II SANS USAGE The new Rotis II Sans suite comprises 14 typefaces: seven weights, ranging from extra light to black, each with a companion italic. The designs are available as OpenType® Pro fonts, allowing for automatic insertion of ligatures and fractions. Pro fonts also offer an extended character set supporting most Central European and many Eastern European languages. Aicher’s original Rotis designs were widely used for branding and advertising. With the addition of Rotis II Sans, the family is again poised to become a powerful communicator.

Introducing space-bright COLORED hologram font. Soft color transitions combined with minimalistic clean glyphs. Ideal for modern web and print design. Excellent readability of glyphs for both the title and the large volume of text is preserved. Multi-colored modern family with different types of coloring - a highlighted gradient border of letters or fully hologram glyphs - a large selection of 11 ready-made font styles. Originality of the font will fit well into the fashionable logo, headline in the magazine or on the website, emphasize the trend of the product in branding and complement web advertising on social media. This font family is based on the Regular font Boldini - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Free Demo font to check it works. 11 OTF SVG color fonts in the family Free Demo font to check it works. Gradient and hologram fonts Kerning IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

A very expanded sans serif font in capital letters inspired by the inscription on a bank note Old bank notes tend to have a very typical typography. Usually they carry decorative and elaborately designed markings. For one thing, they must be practically impossible to forge and for another, they should make a respectable and legitimate impression. And in the days of copper and steel engravings, that meant nothing less than creating ornate, shaded or otherwise complicated scripts. Designing the appropriate script was literally in the hands of the engraver. That’s why I noticed this bank note from 1948. It is the first 20 mark bill in the then newly created currency ”Deutsche Mark.“ All other bank notes of the 1948 series show daintier forms of typography with an obvious tendency toward modern face. The 1949 series which followed shortly thereafter reveals the more complicated script as well. For whatever reason, only this 20 mark bill displays this extremely expanded sans serif variation of the otherwise Roman form applied. This peculiarity led me in the year 2010 to create a complete font from the single word ”Banknote.“ Back to those days in the 40’s, the initial edition of DM bank notes was carried out by a special US-American printer who was under pressure of completing on time and whose engravers not only engraved but also designed. So that’s why the bank notes resemble dollars and don’t even look like European currency. That also explains some of the uniquely designed characters when looked at in detail. Especially the almost serif type form on the letters C, G, S and Z, but also L and T owe their look to the ”American touch.“ The ingoFont Banknote 1948 comprises all characters of the Latin typeface according to ISO 8859 for all European languages including Turkish and Baltic languages. In order to maintain the character of the original, the ”creation“ of lower case letters was waived. This factor doesn’t contribute to legibility, but this kind of type is not intended for long texts anyway; rather, it unfolds its entire attraction when used as a display font, for example on posters. Banknote 1948 is also very suitable for distortion and other alien techniques, without too much harm being done to the characteristic forms. With Banknote 1948 ingoFonts discloses a font like scripts which were used in advertising of the 1940’s and 50’s and were popular around the world. But even today the use of this kind of font can be expedient, especially considering how Banknote 1948, for its time of origin, impresses with amazingly modern detail.

Storehouse Font is an old fashioned typeface with a modern touch. Inspired by tradition, hardworking brewers and 1800s it come up with 10 strong, confident and powerful styles, included: Regular, Italic, Thin, Black, Outline, Shadow, Used, Wide, Soft and Stencil. The font looks great when put on signs, shirts or labels of the bottles. Also, it works perfect as font for a branding and commercial uses. What is included: Shapes: 1.Storehouse Shapes EPS – EPS file 2.Storehouse Shapes PDF – PDF file Fonts: Storehouse Regular - OpenType font file - Regular old fashioned typeface with a modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Thin - OpenType font file - Thin version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Wide - OpenType font file – Wide version, big spaces. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Black - OpenType font file - Extra, extra bold version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Outline - OpenType font file – Outline version of regular version, amazing in matching with regular version as a back shadow. full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Shadow - OpenType font file – Old fashioned shadow of regular version. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Italic - OpenType font file – Regular version with smooth edges. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Soft - OpenType font file - full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Stencil - OpenType font file – Stencil font with amazing old fashioned modern touch. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Storehouse Used- OpenType font file – Softer edges, smooth lines. Full set of uppercase letters, international support, punctuation, and a wide variety of extra characters. Multilanguage Support: English, Albanian, Danish, Dutch, Estonian, Croatian, Bosnian, Slovenian, Finnish, French, German, Icelandic, Italian, Norwegian, Portugese, Spanish, Swedish with a lot of other languages; see Full Character List. Note: To access the extra alternate letters, you will need to use the glyphs panel. Many design programs offer this ability, including Adobe Photoshop CC 2015 , Adobe Illustrator, Adobe Indesign. Works with Cricut, Silhouette, PicMonkey, Photoshop, Illustrator and many more applications!

Keep Calm is a family of fonts developed from the now famous World War 2 poster that was designed in 1939 but never issued, then rediscovered in 2000. As well as the original Keep Calm font, the medium weight of the poster, new weights are now available – Keep Calm Book (regular weight), Heavy and Light – and each weight comes with a complimentary italic. Version 2.0 (2017) is a comprehensive update which consists of numerous refinements and improvements across all weights. The family now contains a full complement of Latin Extended-A characters, Welsh diacritics and Irish dotted consonants. The four italics have been optically corrected with revised, ‘true italic’ forms of a and f. The crown motif from the top of the Keep Calm poster is located at the plus minus ± and section § keystrokes (Alt 0177 and Alt 0167 on Windows). The lowercase g follows the Gill/Johnston eyeglass model, but also included is an alternative, single-story g at the Alt G keystroke (Alt 0169 on a Windows keyboard), the normal location of the copyright symbol which has been relocated elsewhere in the fonts. An alternative lowercase t, without the curved wedge cutaway, is provided at the Alt T (dagger) keystroke (Alt 0134 on Windows). When I first saw the Keep Calm and Carry On poster, I wrongly assumed the letters to be Gill Sans. Recent research at the National Archive by Dr. Bex Lewis of Manchester Metropolitan University has revealed that the original poster was hand drawn by the illustrator and painter, Ernest Wallcousins. The Gill Sans influence is apparent, in the R particularly, the M’s perfectly pointed vertex is redolent of Johnston’s Underground, and the most anomalous character, the C, resembles the ‘basic lettering’ of engineers that provided the vernacular sources for the Gotham typeface. Developing the Keep Calm typeface has been an exercise in extrapolation; an intriguing challenge to build a whole, high quality font family based on the twelve available capitals of the Keep Calm poster, and on similar lettering from the other two posters in the original series. This has required the creation of new lowercase letters that are believably 1939; that maintain the influence of Gill and Johnston while also hinting at the functional imperative of a wartime drawing office. Wallcousins’s lettering balanced intuitive human qualities and the pure pleasure of drawing elegant contemporary characters, against an underlying geometry of ruled lines, perfect circles, 45° terminals, and a requirement for no-nonsense clarity.

Introducing the unique family of COLORED fonts "Boldini" with minimalistic clean letters of a harmonious form in the style of modern POP culture. You no longer need to adjust the gradient for each letter, letters are immediately printed in gradient! Gradient fonts is perfect for headlines for fashion websites, magazines, and print design, and the basic solid font is suitable for branding boutique signs as well as for large amounts of text, because the font is very readable in a small size. Font family has two thicknesses - bold & regular, 6 gradient directions, gradient fonts also 2 type - with transparency and without transparency, as well as 2 basic monochrome fonts. Font consists of letters of the same height without division into uppercase and lowercase glyphs. *See also these fonts, which based on this family: Culoare & Anaglyph. Which means that if necessary you can combine these families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. Features: Such color combinations in gradients are universal and very convenient for repainting. IMPORTANT: - OTF SVG fonts contain vector letters with gradients and transparency. - Multicolor OTF version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf - Don't worry about what you see all fonts in black and not in multicolor in the tab “Individual Styles” - all fonts are working and have passed technical inspection, but not displayed in multicolor they, just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic OTF | TTF fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. Try to experiment, it is so interesting and very easy! ld.luxfont@gmail.com

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Introducing the incredible, multicolored Colarino family. They are a unique family with perfect color transitions. Modern color combination was used. Letters do not just have a banal linear gradient, here the colors are randomly mixed in a different order, which resembles a watercolor paint or a complex vector mesh. Some variants resemble a sunset, others a sea wave and a cote d'azur. Color in the letters is complemented by transparency, which allows them to perfectly fit into both light and dark backgrounds - the letters take on the background color and do not look superfluous. Unique multi-colored design. Perfect for trending covers and headlines. Looks great in advertising and attracts attention. Very original and versatile family. This font family is based on the Regular font Pacardo - which means that if necessary you can combine these two families and they will be absolutely stylistically identical and complement each other. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Colarino Color" on: ld.luxfont@gmail.com Features: · Free Demo font to check it works. · Uppercase and lowercase the same size but different colors. · Transparency in letters. · Mega high-quality coloring of letters. · Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the other classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Introducing Soft Whisperings Calligraphic - A beautifully flowing modern calligraphy font. This delicate, modern script font is full of romance and elegance. It’s perfect for wedding stationery, Save The Date and special occasion cards. Soft Whisperings has a lovely handwritten feel to it so it’s also great for logos, signatures, taglines and calligraphic projects. There are plenty of alternate glyphs and ligatures! International Language Support Soft Whisperings Calligraphic supports 219 latin based languages, which are spoken in different 212 countries. Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu,  Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese,  Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog,Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan,Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. --------------------------------------------------------------------------------------------------------------------- The fonts are PUA encoded which means that you don’t need any special software to be able to use the alternates and Ligatures.  Well, that’s about it!  Enjoy! Jo

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”

Mundo Sans, by Carl Crossgrove for the Monotype Studio, is distinctive, approachable – and ready to tackle jobs both big and small. Its open counters and large x-height, which give the design a straight-forward no-nonsense mien, are softened by inviting calligraphic undertones. With 10 weights and a complementary suite of cursive italics, there is little outside the range of the Mundo Sans family. The light weights are elegant in packaging and brochure design, the medium are easy readers in digital blogs and print periodicals and the bold command attention in banners and headlines. Mundo Sans is at home in a wide range of sizes, and comfortable in everything from wayfinding to mobile apps. Mundo Sans takes on complicated branding projects with efficient grace. The family enables companies and products to express their brand seamlessly in websites, advertising, corporate messaging, packaging – virtually everywhere visible engagement is possible. A large international character set, that includes support for most Central European and many Eastern European languages, ensures ease of localization. Mundo Sans was originally released with seven weights. The family was updated with three new roman weights and their italics in 2019 that extend and diversify its range of use: a fine hairline weight, a book weight, slightly lighter than regular, and a demi that is subtly lighter than the medium. The design is also is a good mixer. It easily pairs with everything from refined Didones to stalwart slab serif designs. And if you need a more harmonious palette, look no further than Mundo Sans’ relative, Mundo Serif. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Mundo Sans’ italics are true cursive designs, with fluid strokes and obvious calligraphic overtones. The flick of the down-stroke in the ‘a,’ the descending stroke of the ‘f’ and baseline curve of the ‘z’ add grace to the design and distinguish it from more mechanistic styles. Mundo Sans is a design with deep roots. It was originally drawn to pair with classic Renaissance book typefaces like Bembo® and ITC Galliard®. With a hint of diagonal stroke contrast and gentle flaring of strokes, Mundo Sans complements these designs with warmth and grace. Crossgrove says that Mundo isn’t meant to be showy or distinctive. It is intended to follow the tradition of sans serif designs that have a wide range of uses, enabling comfortable reading and clear expression. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the text designs of Monotype’s elegant Walbaum™ revival. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

The font superfamily Vianova contains each 12 weights of Sans and Slab and 8 weights of the Serif style. The design from Jürgen Adolph dates back into the 1990s, when he studied Communication Design with Werner Schneider as a professor at the Fachhochschule Stuttgart. Adolph started his carrier 1995 at Michael Conrad & Leo Burnett. He was responsible for trade marks as Adidas, BMW, Germanwings and Merz. He has been honored as a member of the Art Directors Club (ADC) with more than 100 awards. On February 26, 2014, Jürgen Adolph wrote the following: “I was already interested in typography, even when I could not yet read. Letterforms, for instance, above storefronts downtown, had an irresistible appeal for me. Therefore, it is probably not a coincidence that, after finishing high school, I began an apprenticeship with a provider of signage and neon-advertising in Saarbrücken, and – in the late 1980s – I placed highest in my field in my state. When I continued my studies in communications design in Wiesbaden, I was introduced to the highest standards in calligraphy and type design. “Typography begins with writing” my revered teacher, Professor Werner Schneider, taught me. Indefatigably, he supported me during the development of my typeface “Vianova” – which began as part of a studies program – and accompanied me on my journey even when its more austere letterforms did not necessarily conform to his own aesthetic ideals. The completely analogue development of the types – designed entirely with ink and opaque white on cardboard – covered several academic semesters. In order to find its appropriate form, writing with a flat nib was used. Once, when I showed some intermediate designs to Günter Gerhard Lange, who occasionally honored our school with a visit, he commented in his own inimitable manner: “Not bad what you are doing there. But if you want to make a living with this, you might as well order your coffin now.” At that time, I was concentrating mainly on the serif version. But things reached a different level of complexity when, during a meeting with Günther Flake which had been arranged by Professor Schneider, he suggested that I enlarge the offering with a sans and slab version of the typeface. So – a few more months went by, but at the same time, Elsner+Flake already began with the digitilization process. In order to avoid the fate predicted by Günter Gerhard Lange, I went into “servitude” in the advertising industry (Michael Conrad & Leo Burnett) and design field (Rempen& Partner, SchömanCorporate, Claus Koch) and worked for several years as the Creative Director at KW43 in Düsseldorf concerned with corporate design development and expansion (among others for A. Lange & Söhne, Deichmann, Germanwings, Langenscheidt, Montblanc.”