Matthew fonts from RtCreative

Matthew fonts from RtCreative - (jlesd)

Matthew is another lovely modern calligraphy typefaces, which is combining the style of classic calligraphy with an modern style. combines from copperplate to contemporary typeface with a dancing baseline, modern and elegant touch. including initial and terminal letters, alternates, ligatures and multiple language support..

The Features of this fonts is;

* Standart ligatures

* Discretionary ligatures

* Stylistic Alternates

* Stylistic sets

* PUA Unicode (Private Use Areas)

File font Matthew Include ;

* Matthew OTF

* Matthew TTF

* Matthew EOT, SVG, WOFF

Programs that support in this font is a Adobe Photo Shop, Adobe Illustrator, Adobe Indesign, Corel Draw and Microsoft Office.

Languages supported: Breton, Catalan, Czech, Danish, Estonian,French, German, Hungarian, Icelandic, Italian, Romanian, Scottish Gaelic, Slovak, Latvian, Lithuanian, Norwegian, English, Finnish, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Welsh. Basically, all european languages that are based on latin alphabet

Can be used for various purposes.such as headings, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc. To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7

THANK YOU
Price:$17

Matthew

Clarks fonts from PintassilgoPrints - (hogdw)

Designed by Ricardo Marcin and Erica Jung, Clarks is a display and novelty font published by PintassilgoPrints . Download Now Server 1 Download Now Server 3 Download Now Server 2 Clarks is a modular typeface built from a work by Lygia Clark, one of the giants of Brazilian postwar art. Packed in a font equipped with clever OpenType programming, there are at least 7 different designs for each letter, thus allowing, or rather, proposing, boldly unconventional compositions. The font is programmed to cycle all these different lettershapes, avoiding repetition. The user can also manually pick up preferred forms in a glyph palette. There are choices to both keep and to defy readability and it’s almost hypnotic, to play with these. Lygia Clark used to invite viewers to touch her works and so we did with her ‘Planes in Modulated Surface no. 4’, from 1957: we fragment it and turned and inverted and recombined it. Now we return it as audacious typography and invite you...

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Hughie Devine

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