Download Adroit Font Family
family of 6 fonts from URW++
family of 1 font from Typodermic
Inspired by an old radiator, the small cap Adriator is both glyphic and bizarre.
family of 1 font from Typodermic
Inspired by an old radiator, the small cap Adriator is both glyphic and bizarre.
family of 1 font from Typefolio
Adriane Lux is the decorative, “inline” or “openface” titling companion to Marconi Lima’s acclaimed Adriane Text family.
family of 1 font from Typefolio
Adriane Lux is the decorative, “inline” or “openface” titling companion to Marconi Lima’s acclaimed Adriane Text family.
Adria Slab is a stylish slab serif typeface that comes in seven weights and charming upright italics. Try combine it with its super friendly family member Adria Grotesk.
Enjoy making great typography with the vast choice of lining, tabular and old style figures, numerators, denominators, tabular figures, fractions, ligatures, some sweet symbols and even alternate arrows.
font family
Adria Grotesk is a friendly and sunny typeface that comes in 7 carefully crafted weights and charming upright italics.
You will find a fine choice of lining, tabular and old style figures, numerators, denominators, tabular figures, fractions, ligatures, some sweet symbols and even alternate arrows.
font family
Adria Grotesk is a friendly and sunny typeface that comes in 7 carefully crafted weights and charming upright italics.
You will find a fine choice of lining, tabular and old style figures, numerators, denominators, tabular figures, fractions, ligatures, some sweet symbols and even alternate arrows.
Adrenaline is a hand-drawn font by La Goupil Paris. Nervous but smooth. Fast but tight. This font is available in three weights.
Adrenaline is a hand-drawn font by La Goupil Paris. Nervous but smooth. Fast but tight. This font is available in three weights.
A unique and stylish Victorian period display font. Has an unusual weighted look.
A unique and stylish Victorian period display font. Has an unusual weighted look.
What can be more lovely than a wedding, an intimate invitation, a gift from the heart? One whose presentation uses the warm and welcoming family of typefaces, Adorn. With a modern and sometimes quirky twist on the staid, almost corporate look of formal invitations, this family of lettering typefaces arms designers with a breathtakingly large number of faces that work harmoniously, despite the distinctiveness of each. Even larger and more multilayered than Worthingtons award-winning Charcuterie collection, Adorn offers seven display fonts, four script designs, monograms, ornaments, illustrations, banners, frames, and catchwords. More…
Anyone in the business of helping others celebrate lifeflorists, menu designers, landscapers, caterers, tailors, event plannerswill find fitting fonts in the Adorn collection. DIYers and designers will enjoy Adorn, too, for use in prints and drawings, quotes, invitations for gatherings, greeting cards, baby showers, gift cards, even wine bottles.
MONOGRAMS
The jewel in the crown of this collection may be the three monogram design styles: Adorn Solo for one letter, Adorn Duo for a pair, and Adorn Trio for the classic three-letter monogram. Simply type in the lowercase letters and your monogram is finished.
Solo is fresh and airy; Duo is more calligraphic, blossoming before your eyes; Trio is denser, with the center letter carrying a hint of art nouveau. Graphic designers will have their own uses for these; DIYers will see a takeoff point for jewelry, cards, invitations, rubber stampsan endless source for personalizing and elevating the everyday, the special gathering, or a handmade creation.
CATCHWORDS, BANNERS, FRAMES, AND ORNAMENTS
Adorn offers four noteworthy extra fonts, though the creative professional will find them anything but superfluous: catchwords, banners, frames, and ornaments.
Twenty Adorn Catchwords, all custom hand-lettered using a fountain pen calligraphic technique, provide a stunning way to display frequently used words to connect factual information or simply to bridge the gap between a lavish script and a hard-working display font.
Twenty Adorn Banners, each with a mirrored image left and right element, are available, with a customized center that can be expanded to encapsulate a message or heading of any width.
Adorn Frames is a highly customizable set of elements offering a multitude of approaches to creating frames of any width, height, and style. Use it for corner elements, borders, or to make an actual frame. Adorn Frames features twenty corner elements and nine sets of top, bottom, and side pieces.
In keeping with the spirit of the collection, Adorn Ornaments gift the designer with 130 unique ornamental illustrations. From works inspired by nature, to stunning wreaths, embellishments, rules, and iconic wedding symbols, Adorn Ornaments are meant to accompany the scripts, rather than restricting them to a theme.
SCRIPT TYPEFACES
Adorns script typefaces, using modern lettering with a cursive impression, are Coronet, Pomander, Garland, and Bouquet. Their common originsthe fountain pen and a singular design aestheticgive them a cohesive look, one that carries the warmth of the human hand.
Adorn Coronets script face exemplifies the Adorn spirit of both modernizing and personalizing typefaces. Its crisp, angular, and straightforward; it adds a snappy yet subtle edginess, even a slight sense of masculinity, to a design. With 268 swashes and alternates.
The script face, Adorn Pomander, is a whimsical butterfly of a font: light and airy. The uppercase letters, especially, break the rules of traditional classic calligraphy. With 390 swashes and alternates.
Adorn Garland is a script face that runs along a different, and somewhat vintage direction. Rather than deriving its strength from a heavy skeleton or structure, it uses its sense of contrast, its light touch upon the page, and its elongation to provide a visual break it can function as a long string, rule, or dividing line. With 166 swashes.
At the other end of the spectrum is the naivet and giddiness of Adorn Bouquetintentionally irregular, created with a practiced hand to communicate joyuncontrolled and informal. With 240 swashes.
ADORN SANS DISPLAY FONTS
Of all the fonts in the Adorn Collection, Adorn Sans Condensed may be the most easily identified as bucking the template-derived wedding trend, given its modernity and informality. Brimming with whimsy and the eccentricities of the human touch, Condensed Sans also has contextual alternates with ambicase lettersa distinctive feature not usually found in display fonts.
Like its sister font, Adorn Sans Expanded is a display font with warmth and hand wrought charm that works as an elegant replacement for formal type. Use Sans Expanded in a very small font, loosely tracked, and its personality sings.
ADORN SERIF DISPLAY FONTS
Adorn Copperplate has the sturdiness of the classic copperplates, and continues their rich traditional sense of practicality and familiarityyet with a more modern take. Trendy on wedding invitations, they are all too often heavy-handed. Adorn Copperplate is pretty and structural at once, with tiny surprises poking out: a delicate leg here, a slim stroke there.
Adorn Engraved and Adorn Engraved Expanded are strongly reminiscent of formal invitations popular in the past. Still, the sweet tail of the Q and the irregular qualities of the lines bring it into the twenty-first century. Adorn Engraved Expanded, especially, accentuates the decorative look of the engraved font; the incisions within the stems and serifs allow the designer to use color to enliven them.
Adorn Slab Serif is available in Regular and Bold weights. Though these display fonts can also be used for body text, their uppercase mode shines, adding texture and style to a message. They are perhaps more masculine in style than many of the other typefaces, with a touch of retro,an historic reference with a contemporary spin.
ADORN ROMAN
Adorn Roman is both a display and text typeface marked by its traditional calligraphic hand. It was created with a chisel-edged calligraphy pen, and even digitized it has the look of what a designer might create with a calligraphic tool.
While each font in the carefully orchestrated Adorn collection can stand alone, the particular combination of contrasting scripts, display fonts, romans, and the multitude of stylized fonts in Adorns extraordinary toolkit makes each designers creation one of a kind.
family of 2 fonts from Canada Type
In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer.
family of 2 fonts from Wordshape
Walter Tracy’s AdSans has been enjoying a resurgence in popularity over the past decade, in no small part from the digital revivals employed by Dutch designer Karel Martens. Adora is a revival of Tracy’s design, but with more attention paid to spacing and kerning for smooth text setting. It has a large x-height and reads well at small point sizes. A range of ligatures have been created for smooth text-setting and detailed display work. Two modular pattern characters are included, custom-spaced so that designers can create seamless patterns to accompany typography using Adora, or to be used as a standalone design feature.
family of 2 fonts from Wordshape
Walter Tracy’s AdSans has been enjoying a resurgence in popularity over the past decade, in no small part from the digital revivals employed by Dutch designer Karel Martens. Adora is a revival of Tracy’s design, but with more attention paid to spacing and kerning for smooth text setting. It has a large x-height and reads well at small point sizes. A range of ligatures have been created for smooth text-setting and detailed display work. Two modular pattern characters are included, custom-spaced so that designers can create seamless patterns to accompany typography using Adora, or to be used as a standalone design feature.
Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930.
Capital letters show an occasional hint of ornamentation and lowercase letters are of the linking variety.
The original set of exquisite alternate characters (A,B,G,T,V, W, o, s) has been included in this digital version.
Adonis Old Style is ideal where a 1920s or 30s script-like lettering look is required.
More…
Adonis Old Style with Alternates is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7.
Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.
Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930.
Capital letters show an occasional hint of ornamentation and lowercase letters are of the linking variety.
The original set of exquisite alternate characters (A,B,G,T,V, W, o, s) has been included in this digital version.
Adonis Old Style is ideal where a 1920s or 30s script-like lettering look is required.
More…
Adonis Old Style with Alternates is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7.
Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.
family of 4 fonts from ParaType
PT Adonis was designed by Natalia Vasilyeva and licensed by ParaType in 2002. An original typeface, its characters have slightly oblong proportions, with rounded serifs and generally soft letterforms. The face is both space-saving and quite legible in small sizes. For use in text and display typography.
family of 4 fonts from ParaType
PT Adonis was designed by Natalia Vasilyeva and licensed by ParaType in 2002. An original typeface, its characters have slightly oblong proportions, with rounded serifs and generally soft letterforms. The face is both space-saving and quite legible in small sizes. For use in text and display typography.
William Caslon released his first typefaces in 1722. Caslons types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslons designs met with instant success. Caslons types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon.
For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType Pro version merges formerly separate fonts (expert, swash, small caps, etc.), and adds both central European language support and several additional ligatures. More…
Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications.
family of 1 font from profonts
Advertising and Marketing often calls for the use of neutral typestyles; conveying a quiet but clear message with little stress and an even color on the page.
Admarks' roman weights have simple slab serifs contrasting with generously rounded features. Italics provide a sharp emphasis, still keeping the delicate use of stress combined with contrast.
Advertising and Marketing often calls for the use of neutral typestyles; conveying a quiet but clear message with little stress and an even color on the page.
Admarks' roman weights have simple slab serifs contrasting with generously rounded features. Italics provide a sharp emphasis, still keeping the delicate use of stress combined with contrast.
family of 1 font from Simeon out West
Adis Ababa is a font based on an ancient Ge'ez script.
family of 1 font from Simeon out West
Adis Ababa is a font based on an ancient Ge'ez script.
The Adinkra name, by legend, comes from the King who was conquered by the Ashante people of Ghana. The king, Adinkra, wore wonderful patterned fabrics. Adinkra means goodbye, and the symbols were reserved for funeral garments. Today the symbols are part of the Ghana popular culture and around the world. You will find the symbols on everything from housing, clothing, to tattoos. These 100 symbols are accompanied by the Ghana name, a loose translation and what the symbol has come to represent. The meanings and symbols are by no means the complete list and some people do not use the exact same translations and meaning as you will find here. These are for casual use and not historical or anthropologically completely accurate.
With a strong basis in tradition and ancient iconography, the Adinkra Pro family brings a fresh perspective to the time-honored symbols of West Africa.
Not only is the Pro family a brand new Adinkra symbol font, but it is a comprehensive typeface family with adjustments to all 66 original symbols. The addition of patterns for backgrounds and borders as well as the programming power of OpenType gives you limitless design options at the click of a mouse. More…
The rough imperfections of Adinkra Pro Calabash pay homage to the handmade qualities of West African art and also give a nod to the hand carved calabash gourds used to apply these symbols directly to cloth.
More symmetrically balanced and refined, Adinkra Pro FineFine gets its name and subsequent look from the West African Pidgin English term for anything that is very sharp, classy and elegant.
On the opposite end of the spectrum, Adinkra Pro WantaWanta draws inspiration from the wax prints and batik fabrics of the various open air marketplaces of West Africa.
And as the newest member of the Adinkra Pro family, Adinkra Pro GodouhGodouh (pronounced Go-dough Go-dough) incorporates all of the symbols, patterns and backgrounds of Adinkra Pro Calabash, FineFine and WantaWanta.
With a strong basis in tradition and ancient iconography, the Adinkra Pro family brings a fresh perspective to the time-honored symbols of West Africa.
Not only is the Pro family a brand new Adinkra symbol font, but it is a comprehensive typeface family with adjustments to all 66 original symbols. The addition of patterns for backgrounds and borders as well as the programming power of OpenType gives you limitless design options at the click of a mouse. More…
The rough imperfections of Adinkra Pro Calabash pay homage to the handmade qualities of West African art and also give a nod to the hand carved calabash gourds used to apply these symbols directly to cloth.
More symmetrically balanced and refined, Adinkra Pro FineFine gets its name and subsequent look from the West African Pidgin English term for anything that is very sharp, classy and elegant.
On the opposite end of the spectrum, Adinkra Pro WantaWanta draws inspiration from the wax prints and batik fabrics of the various open air marketplaces of West Africa.
And as the newest member of the Adinkra Pro family, Adinkra Pro GodouhGodouh (pronounced Go-dough Go-dough) incorporates all of the symbols, patterns and backgrounds of Adinkra Pro Calabash, FineFine and WantaWanta.