The capital alphabet Charlemagne was designed in 1989 by Carol Twombly. The basic forms are modelled on those used in classical Roman engravings. They are distinguished by pointed serifs which sometimes extend beyond the bounds of the forms, for instance on the E, F and S. These serif forms have made other historial appearances, for example, in handwritten rectangular capitals of the 9th century. The serifs lend the typeface a light ornamental touch. Charlemagne is a typical titling typeface and is best used in large and very large point sizes to emphasize its classical elegance.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J, Q, g , &). Each font contains a full set of small caps and many alternative characters for complex typesetting.

Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular --> Bold, Medium --> Black). Every weight has a companion Italic style as well. Preto Sans OT Std The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J, Q, g, &) gives more variability for different languages.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

The unmistakable hand of Angel Koziupa and the technical expertise of Alejandro Paul brings us once more the kind of calligraphy that reads softly yet commands attention. This time around, Angel's statement adds a slightly coarse and rusty aura to the usual elegance, which makes Oxida an indispensable typeface for use at large sizes, particularly in poster design, book covers and culinary packaging.

Several years ago I was faced with a project that required very small type to be used in a directory. In general, there was a need for a lot of 'fine print'. Faced with this, all of the tests I was making with existing faces were producing too much bleed of the individual glyphs...Cynapse was born. It evolved into this pseduo-techy looking type that standardized and glorified the ink trap (the small, tiny allowances of white space that reduces the amount of ink hitting the page, and in effect, reducing the appearance of bleed). The results was promising. The new OT version contains additional OpenType features that include expanded ligature sets, fractions, 5 sets of numerals as well as small caps and Central European diacritics.

Amorinda is a connected script that manages to be wild and disciplined at the same time. It can scream wildly within a design or smoothly blend in to make it more human. With its versatile character and a complete set of alternates, Amorinda is the perfect display face for everything from product branding to signage. This 2007 version of Amorinda is now available in OpenType format to expand possibilities of use with lots of alternates when used with OpenType-aware applications such as Adobe Creative Suite.

Emporia OT Roman and Italic, a classic, elegant font with upper and lower case, swash alternatives lining and old style figures, ligatures and small caps. Includes more than 500 glyphs supporting more than 80 latin-based languages. Suitable for both display and text settings it will enhance and preserve Roman history with sheer elegance, grace and style.

FineArt OT is a casual typeface, created by brush, as an emulation of a conventional typography, however, comes with alternative FineArt Opentype OT for exploring other radical forms of expression. Thus FineArt offers 4 styles in a single font.

Reverie is a cheerful band of letters that bounce across the page and get together to create words in four weights. Generous spacing and a modest x-height project an airy typeface that's open but not frail. Quirky without being too whimsical. Use the regular weight for surprisingly readable text or put the light and heavy weights to use for decorative headlines and titles. Reverie OT is the follow-up to the popular Reverie. This version comes loaded with new features: ligatures, small caps, swash caps, a larger numeral set, more language glyphs, and a fourth, heavy weight. This all adds up to a vastly more functional and flexible family of fonts.

Areaman OT is a fun chunky ALL CAPS display font. I wanted it to look blocky and loud, So it can scream from Posters and Headlines. It has over 300 glyphs, several variations on the standard alphabet and all those extra pesky foreign features. It also has various letter pairing with extra ligatures and flourishes available through OpenType or your Glyphs palette. This upgraded version is now coded with OpenType features to create a randomised bespoke look and feel to your copy.

OT Puppy is a decorative and fun brush font. Include Latin 2 and Cyrillic 1 language set. Good for postcards, packaging and posters.

First designed in 1999 Large now becomes LargeOT and it's available in Regular, Extra and Italic. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

Replica seamlessly blends organic and geometric elements to create a captivating geometric grotesque font that draws its creative essence from the principles and design philosophy of organic architecture. Replica's journey towards this harmonious equilibrium begins with a deep exploration of organic architecture, a design philosophy that celebrates the integration of the built environment with the natural world. Drawing inspiration from the works of architects like Frank Lloyd Wright and Antoni Gaudí, Replica seeks to capture the essence of flowing lines, biomorphic shapes, and the seamless fusion of structure and surroundings. At the heart of Replica's design process lies a commitment to translating these organic principles into a typographic form that resonates with viewers in a way that is both visually captivating and functionally versatile.

Originally designed in 2003, Titan now becomes TitanOT and it's available in Regular, Italic, Bold and Bold Italic. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

OT Minima is a carefully crafted display font that looks incredible. You can use it for a variety of design projects like posters, business cards, wedding invitations, games, covers, social media posts, quote photos, branding, editorials, and much more. --- Language Support: Afrikaans • Albanian • Asu • Azerbaijani • Basque • Belarusian • Bemba • Bena • Bosnian • Bulgarian • Catalan • Cebuano • Chiga • Colognian • Cornish • Corsican • Croatian • Czech • Danish • Dutch • Embu • English • Erzya • Esperanto • Estonian • Faroese • Filipino • Finnish • French • Friulian • Galician • German • Gusii • Hungarian • Icelandic • Ido • Indonesian • Interlingua • Irish • Italian • Javanese • Jju • Kabuverdianu • Kalaallisut • Kalenjin • Kamba • Kikuyu • Kinyarwanda • Kurdish • Latvian • Lithuanian • Lojban • Low German • Lower Sorbian • Luo • Luxembourgish • Luyia • Machame • Makhuwa-Meetto • Makonde • Malagasy • Malay • Maltese • Manx • Māori • Meru • Morisyen • North Ndebele • Northern Sotho • Norwegian Bokmål • Norwegian Nynorsk • Nyanja • Nyankole • Occitan • Oromo • Polish • Portuguese • Romanian • Romansh • Rombo • Rundi • Russian • Rwa • Samburu • Sango • Sangu • Sardinian • Scottish Gaelic • Sena • Shambala • Shona • Sicilian • Slovak • Slovenian • Soga • Somali • South Ndebele • Southern Sotho • Spanish • Sundanese • Swahili • Swati • Swedish • Swiss German • Taita • Taroko • Teso • Tsonga • Tswana • Turkish • Turkmen • Upper Sorbian • Vunjo • Walloon • Walser • Welsh • Western Frisian • Xhosa • Zulu - Thank you!

Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007

Supernova is a new family that combines the spontaneity of a script typeface with the versatility of multiple weights and cuts. The development of script typefaces has largely been limited to variations in shape and proportion (and with the advent of OpenType technology, the addition of alternate letterforms). Their application has continued to be primarily linked to their emotional attributes, while roman types predominate in body texts. Supernova takes a step in a different direction and was conceived as a script typeface family comprised of several weights and cuts, including a versatile, eye-catching display version and a highly legible body-text version with five weights.

A Venetian serif in 6 styles The Apolline typeface family was created by Jean François Porchez as a means to study the transition from Renaissance writing into the first printing types. Rather than sticking to the method commonly used these days for the creation of revivals of Jenson or Bembo types, it seemed more interesting to try and get in the same mindset as those exceptional designers during this pivotal period in the history of typography. Thus Apolline is an exploration of the design methods used by people like Nicolas Jenson and his contemporaries for adapting handwriting with its multiple occurrences (a, a, a, b, b, b…) into single, unique signs (a, b…). Initially Jean François made drawings modelled after his own calligraphy. They were done at a very small size on tracing paper (2 cm high for the capitals) to preserve the irregularity of human handwriting. Besides emphasising the horizontal parts of the letter forms, the serifs were designed asymmetrically to reinforce the rhythm of the writing. The final drawings were produced at a large size (10 cm high for the capitals) to allow for subtle optimisation of specific details. The very narrow and fluid Apolline italic Influenced by various concepts for an ideal italic by Van Krimpen, Gill, etc. Apolline italic was designed at 8° degrees. Although the structure of the letterforms were informed by chancery scripts, the italic has full serifs like the roman. Very narrow and fluid, its unique design creates a good contrast when used in combination with its upright counterparts. Thanks to the presence of the serifs similar to roman typefaces it sets very neatly in large sizes. The next step was digitising the drawings with Ikarus (the pre-Bézier-curves era) to create the final roman and italic fonts. Two years later, when the family was expanded to six series the same method was used, this time with Fontographer. This was necessary for correcting a few problems caused by the conversion to Bézier outlines, and to add intermediate weights. Before the advent of feature-rich OpenType, quality type families consisted of several separate fonts for each weight to provide users with various sets of numerals, an extended ligature set and alternates, ornaments, and so on. Introducing Apolline Morisawa Awards 1993

Technology in mind in 12 fonts Allumi is a different font. Different from anything Jean François Porchez has designed in the past. Allumi is a sleek typeface designed with technology in mind. It’s a perfect font family for any communication concerning design, robotics, or functionality. Pushed to its extreme limits, the Allumi shapes are neither perfectly round or geometrically square. It’s a human design with a high tech touch. Allumi can be described as the Eurostyle (designed by Aldo Novarese in 1964) of the new century, mixed with Frutiger. Allumi is a serious typeface because of the unique design and sturdy form. The pure shapes can create a global presence today with an eye on the world of tomorrow. Two widths The Allumi family has been built around two series of widths, standard and extended. Italics have been carefully designed as slanted roman with all necessary optical and human corrections to create a perfect and neat italic. I Love Typography 2009

Mariné STD is a geometric sans but with the softness of humanistic strokes. It’s mild contrast and multiple different styles allow Mariné to work well as both a text and display font. Mariné STD is a selected version of Mariné Family. - Ideal for print and identity works. - Works well for text or display uses. - Designed for web and apps. - Look serious or look casual.

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

Full of life Hispanic Didot in 2 optical sizes Retiro is a daring interpretation of Spanish typography. Severe, austere and yet, full of life, Retiro is a vernacular version of Castilian and Andalusian in a typical Didot. Named after a lovely park in Madrid, Retiro started life as a a bespoke typeface designed to give a unique voice to the magazine Madriz. In 2006, the founder of Madriz was looking for a Didot for his new magazine. The Didot is the archetypal typeface used in high-end magazines. Retiro is a synthesis of these high contrast styles mixed with an Hispanic mind. Result is then, after 2-3 years of work, a typeface with countless variations to establish typographic shades adapted to different sections and pages of the Madriz. In 2014, it was necessary to further revise the typeface before its launch at Typofonderie. In order to keep its originality, the unique weight was retained, but complemented with optical size variants to set highly contrasted headlines into various sizes, visually balanced. How to use Retiro optical sizes? Each font provided in Retiro family is named according to the scale of body size: 24 pt and 64 pt. Of course, these names are referring to the body sizes used in typographic design. In the “glorious old days,” the letterpress period, it was customary to cut punches directly to the size at which typefaces would be used. The punchcutter had to visually adapt his design to the engraving size. The aim was to optimize the best contrast and general weight, but also to respect both design’s and reader’s needs. In Retiro’s case, intended for large titling sizes, it’s an adaptation of this ancient practice for our contemporary uses. Although each font is named by a typographic point size, do not feel obliged to use this font at this precise size, but why not, in larger or smaller. It’s rather the concept of gradients that must be preserved in layouts, rather than strictly size numbers. It’s up to the designer to select the right font size for his own designs. Granshan Awards 2012 Creative Review Type Annual 2011 Designpreis 2011 Club des directeurs artistiques, 41e palmarès Type Directors Club 2010 Certificate of Type design Excellence

Shearman STD has a simple design, based on industrial fonts, in particular at the typewriters fonts. It's a geometric font with curves elimination, noting in particular the O and Q letters. It has smooth angles and clean forms which combine in a font with modern appearance. It include five weights with two italics and an extended European character set.

A unique sans serif typeface created from geometric shapes like perfect circles and straight stems with half-rounded endcaps. Simple, yet complex, this typeface is akin to other classics, like Avant Garde and Bauhaus, in that it can be used in modern, friendly or futurist designs. Whether your intent is serious or playful, the versatility of Robox has you covered.

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

Chevin is a contemporary rounded type family in 6 weights which was designed with functionality and legibility in mind. With its open counters and slightly condensed style Chevin can be used for text and is particularly suited to signage. Erik Spiekermann is a fan, noting that Chevin “is charming without being cute, and very legible even in small sizes because of its restrained shapes and simple construction.” Chevin is named after a hill on the outskirts of Otley in West Yorkshire. Since 2007 the type family has been highly prominent in the UK as Royal Mail’s corporate font and the typeface that adorns every Post Office in the country. The Chevin Pro set includes additional Greek and Cyrillic layouts.

An exquisite Didot font in 18 series Ambroise is a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original forms of g, y, &; and to a lesser extent, k. These unique glyphs are found in Gras Vibert, cut by Michel Vibert. Vibert was the appointed punchcutter of the Didot family during this period. It is the Heavy, whom sources were surest that Jean François Porchez has been used as the basis for the design of the typeface family. In the second half of the 19th century, it was usual to find fat Didots in several widths in the catalogs of French type foundries. These same typefaces continued to be offered until the demise of the big French foundries in the 1960s. Ambroise attempts to reproduce more of what we see printed on paper in the 19th century; a more accurate representation of Didot punches. So, the unbracketed serifs are not truly square straight-line forms but use tiny transitional curves instead. The result on the page appears softer and less straight, particularly in larger sizes. The illustrious Didot family of type founders and printers Every variation of the typeface carries a name in homage to a member of the illustrious Didot family of type founders and printers. The condensed variant is called Ambroise Firmin. The extra-condensed is called Ambroise François. Ambroise Pro brought back to life: fifteen years in the making! Club des directeurs artistiques, 48e palmarès Bukva:raz 2001

Designed between italic and script styles Airco is a typeface designed between italic and script styles. The letterform finish is rounded. Designed ultra slanted (27°), the shapes evoke a fast and assertive movement. The result is a human typeface, dynamic, that will visually work well in technology and sport, without ever being dry, rigid or dehumanized. The structure of the letters is influenced by Renaissance italics, at the difference that in the case of Airco, the lowercases and capitals are visually homogeneous thanks to the giants lowercases. In fact, the default numerals can be used in capital as well lowercases settings.

DSType proudly presents Diversa Std, the same system as Diversa, but with separate styles: Serif, Serif Stencil, Inline, Soft Serif, Sans, Sans Stencil, Slab, Slab Stencil and Baroque. Diversa Std: Because uniformity still sucks!

Between geometry & shapes inspired by nature, in 4 fonts Audace was born as a response to a simple brief: how to visually express human interaction and technology with abstract forms? The starting point is a humanistic sanserif, to which are added external references: design pieces, furniture, buildings. Architects shape our world with the intention to reconnect nature, human and address a perfect functionality. Not so far to typeface design which combines a personal vision and ensures good legibility in a certain context. Audace — like the works of those artists, designers, architects — is clearly influenced by the tension of the line, the play with negative space, the dynamics, the surprise, the nature that will influence the shapes of the letters. So if a v is asymmetrical, and the y based on similar asymmetry but in reverse, these two shapes help to distinguish from one to the other. This is a consequence of the influence of forms from design and art in the design of the Audace. And this small example illustrates the confrontations of the designer’s influences: the search for the most unique shapes, but without compromising on function: to be read, to be legible, even at very small size in the worst conditions. Audace, between geometry and shapes inspired by nature

A straightforward sanserif in 20 fonts, 4 widths Ardoise met the needs of publications. By extension, it met the needs of a newpapers typeface featuring a low contrast, straightforward forms, as Franklin Gothic. The verticals metrics and proportions of Ardoise are calibrated to match perfectly others Typofonderie families. Four widths to answer all situations Ardoise, inspired by the needs of today’s fine newspapers offers simple and tense shapes designed to renew and revitalize. Ardoise could be considered as an homage to Antique Olive, but quite indirectly and as an organic result of the designer’s longstanding admiration of the work of Roger Excoffon. Ardoise shares a purity and dynamics with Excoffon’s designs giving it a unique elegance and excellent readability. Its sturdiness means it is virtually immune it to distortion. In addition, a few alternates glyphs (a, c, g) can be used to alter the overall tone of a text setting.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

Mixink Std is a serif font features amazing swashes. It has a vintage feel and look that makes it perfect for any retro and nostalgic project.