In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

Pétala Pro took its first steps almost ten years ago. Since then, the quest for perfection has forced several interruptions. It was necessary recalculate the route, tread other ways, discover new maps, and make easy curves. In the end, a new milestone on typeface design was reached. Pétala Pro combines readability with a gentle but strong personality. The smooth and balanced forms shares space with expressive ink traps. The 18 styles of the family – from Thin to Black – allow the flexibility needed to complex design briefs. When designing the different weights, rather than automated solutions, ​​subtle adjustments were made to value the optical qualities of each style. Such care makes all the difference under extreme conditions. The wide variety of alternates makes Pétala Pro even more versatile. All the styles come with a lot of advanced OpenType features such as stylistics sets, localized forms, contextual alternates, ligatures, small caps, numbers, fractions and more. Pétala Pro brings your message with efficiency and personality for a multi-language environment and in any medium or support, such as video, mobile and computers screens. Pétala Pro is the ideal choice for editorial, advertising, branding and corporate identity.

Innova. A new grotesque for the 21st century. More open. More squarish. More legible. After the many grotesques which have been designed over the years, is it still possible to improve this genre? Innova is a new design — a contribution to the tradition of grotesque typefaces. It is an attempt to improve both this genre’s legibility and versatility. Innova consists of two families: Innova and Innova Alt. The Innova family has rectangular dots. The Innova Alt family has round dots — making its personality a little friendlier. Innova is well suited for both text and display use — for graphic design, corporate identity design, magazines, newspapers, books, reports, editorials, web, advertising, signage, etc. Innova includes 16 uprights and 16 matching italics. It includes small caps, arbitrary fractions, and extensive language support. It includes nine numerical styles: lining and oldstyle figures (proportional and tabular), small cap figures, superiors, inferiors, numerators, and denominators. Innova embodies the renewal needed for the traditional grotesques. It is a grotesque which is fit for the 21st century. In order to see whether you agree with this, please try the free Innova Alt Demi. For more information about Innova, download the PDF Specimen Manual.

Meaning of Tinkuy. Tinkuy is a Quechua word that means a meeting of opposing forces that complement each other. A meeting of opposites and differences. A meeting point where different thoughts, interests, feelings and aspirations confront and converge, providing the resurgence of new ways of thinking and that are embodied in confrontational actions, in mobilizations that seek change. Tinkuy patterns is born from the analysis of different archaeological pieces of native cultures of the Andes, where the visual signs that are recorded on them are related to the concept of encounter. It is part of the research project Crónicas Visuales del Abya Yala by designer Vanessa A. Zúñiga Tinizaray. — The Tinkuy Patterns. The Tinkuy Patterns system is divided into six files containing a total of more than 2650 modules that can be combined together creating an infinite range of possibilities. The digitization of the typeface family has been carried out by Ale Paul, through the Sudtipos foundry. An infinite number of possible combinations can be accessed by using the letters on the keyboard. Although a certain shape predominates in each set, they can be combined with each other.​​​​​​​

Serifora is a versatile and elegant typeface that offers serif, sans serif, narrow, and script versions, along with italics. With support for 87 languages, it caters to a wide range of design needs. Its classic serifs, modern sans serif, condensed narrow style, and artistic script variant provide options for various design styles and projects. Serifora's italic versions add emphasis and visual interest. It is a go-to choice for both print and digital media, ensuring clear communication and captivating typography. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Mock ups and backgrounds used are not included. Thank you! Enjoy!

There is something straight-forward and no-nonsense about slab serifed typefaces. Calligraphic designs, on the other hand, evoke a sense of humanity and immediacy - even intimacy. ITC Napoleone Slab combines both slab serif and calligraphic design traits into a single typeface design. Heady stuff. The result is unlike almost any other slab serif typeface. According to designer Silvio Napoleone, “The concept developed from my explorations as a student in an independent lettering class. I sketched many historical letterforms by brush. I continued experimenting for several years after, sketching by hand and on the computer. Eventually, I chose the slab serif for production because of its distinctive design quality.” ITC Napoleone Slab is exceptionally versatile. The family is economical in width and contains true italic designs, oldstyle numbers and a suite of special ligatures. According to Silvio, “Napoleone Slab was designed to work well at all sizes, and in on-screen applications.” Silvio currently lives in Toronto, where he works for a “young, enthusiastic interactive firm.” His designs have been exhibited nationally and internationally, and his work was also part of a traveling exhibit for the American Institute of Graphic Arts.

Introducing Radian Horizon Handwritten Script - Latin and Cyrillic Radiant Horizon is modern and minimal script loaded with 95 languages support, alternate and ligature glyphs. Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs alternate glyphs Cyrillic support Multilingual support - 95 languages No special software is required to type out the standard characters of the Typeface. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Cíclope is a typeface family designed by Carlos Fabián Camargo in 2012 and used to write the headlines. Its idea is based on an army of stone soldiers that with their size and strength cause earthquakes. Under this concept he obtained stencil and sans serif letters with monstrous shapes and torn counterforms. Its usefulness as well as readability consists in imitate rocks with scars and cracks. For that reason, Cíclope family has three sizes, each with their respective italics distributed at different levels of corrosion. In addition, each file contains 260 glyphs useful for designing words and phrases with systematically eroded treatments for advertisement material. Thus Cíclope works as a raw material in the exploration of new graphic design. Finally, Cíclope concept has grotesque, geometric and humanistics letters roots that seem disastrous but each and every detail has been planned with high definition drawing. Most importantly, it expresses a big amount of grunge style with cracked edges and medium contrast between thin and thick strokes. In that sense, the writing seems impaired and special for design of logos, posters, flyers, brochures and worn, crusty or demolished graphic design.

Decora Arabic is a new creation of Naghi Naghashian. Decora Arabic's design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Decora Arabic's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Decora Arabic was developed for multiple languages and writing conventions. Decora Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Edita is a gentle typeface, humanistic in concept yet with a contemporary feel, where softness and fluidity play a very important role. This can be seen especially in its italics, which are loosely based on handwriting. This book typeface family is intended to be used in books where text is set together with photographs and other graphic elements. However, Edita is a general book typeface, versatile enough to be used in many other contexts, from novels to promotion material. Edita’s large character set, covering most languages which use Latin script, and styles give the designer the possibility to work with a big typographic palette, allowing complex typesetting with several levels of information. This is further enhanced by the two optically corrected weights Edita Small and Small Italic. They have been particularly designed for their use in very small type sizes, such as in captions and notes. They differ in having a slightly bigger x-height, heavier stems, reduced contrast, and carefully drawn ink-traps to ensure legibility at sizes as small as 5 pt. Additionally, their extenders are shorter to save space which allows text to be set with tighter leading.

As if gliding in on the tide, ITC Kahana floats across the page with the pulse and sway of the sacred Hawaiian hula dance. The original drawings for this display typeface were created while designer Teri Kahan lived in the Aloha State, and its bold verticals symbolically convey the power and strength of the Polynesian people. Kahan has spent most of her life working with letters. She discovered Speedball lettering pens in her teens, opened a design studio that specialized in the lettering and calligraphic arts while in her early twenties, and grew her business in California and Hawaii. Today, she embraces new design challenges and digital technology, but letters are still at the core of her work. In ITC Kahana, Kahan created a design that is both distinctive and versatile. Menus, posters, display headlines, packaging and brochures fall easily within this typeface's range. And the word “kahana” is more than just a namesake: in Hawaiian, “kaha” means “to mark, draw, place, turn or surf,” and “na” means “belonging to.” ITC Kahana also includes an enchanting decorated alphabet in the lowercase position that expands this typeface's usefulness to the designer.

Introducing Kalissa script - Latin and Cyrillic Kalissa is lovely and organic script loaded with alternate and ligature glyphs, swashes and 95 languages support Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, lowercase, numeral, punctuation & Symbol ligature glyphs alternate glyphs Cyrillic support Multilingual support - 95 languages 26 swashes No special software is required to type out the standard characters of the Typeface. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Where most typefaces are designed by just one individual, quite a few people have been involved in perfecting Cheltenham over the times. In 1896, the architect Bertram Grosvenor Goodhue created the initial design for Ingalls Kimball at the Cheltenham Press. Just a few years later, Morris Fuller Benton devised a full family of Cheltenhams for ATF. This is the basis of the design we have today. In 1975, Tony Stan revived this classic typeface and did what was customary at the time: increase the x-height and make the Cheltenham family more regular. SoftMaker updated the design yet again in 2012. The result is Cheltenham Pro, a typeface that is exceptionally readable and holds up even in adverse printing conditions. SoftMaker’s Cheltenham Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be "neutral" or "transparent." Like many of Barnbrook's typeface designs, Priori is based on his interest in British typography of the early 20th century. It is inspired by the work of famous British typographers, such as Eric Gill and Edward Johnston. But it also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his London neighborhood. This mixing of native influences with a contemporary pop culture intent is what gives Barnbrook's types a distinct and unique flavor. Like its creator, Priori is a one of a kind.

Every designer has a favorite geometric sans serif. For a century, they've been a staple for text that needs to be clear, strong, architectural, and objective. Mimolette offers a sans serif family that's great for text and display alike—the panache of Neutraface, the readability of Avenir, the sleekness of Avant Garde, the strength of Mark, the architecture of Gotham, and the classic lines of Futura—but she's entirely her own creature, and she's designed to offer maximum versatility and beauty at an affordable price. And she's got some nifty features, too! Her italic is a true italic, not just an oblique. Are the uberpointy diagonals (AMVW) not working in a particular context? Activate Stylistic Set 01, and they become flat-topped! Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k. She's got true small caps in all styles! She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths. Best of all, perhaps, Mimolette was made with love, as always, by yer pals in the Ampersand Forest.

Biwa is a new straight-sided family of formally nuanced grotesk typefaces. Biwa’s lighter weights feel subdued, cool in tone, and neutral, while the heavier weights are more robust and full of personality. Developed over the past few years by Ian Lynam and James Todd, the 14-member Biwa family and the accompanying 14-member Biwa Display family are paeans to the immediate moment when phototype arrived on the global scene — partially smooth and partially machined. Biwa and Biwa Display are neutral in tone, have enlarged x-heights, and look amazing on-screen and in print. Each weight is designed to be highly readable in print and on-screen. The italic variations are true italics, having a single-storied italic a and have been designed for smooth, fluid reading and text-setting. Lovingly spaced and kerned, the Biwa family works equally well for text typesetting and for display design work. Languages supported include Western European, Central, and South European as well as Vietnamese. The entire family is comprised of a range of weights and a matching display family that features rounded terminals for large-scale display work. An agate version of Biwa Black is provided for free.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Parvin is a new creation of Naghi Naghashian. Parvin design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used, and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parvin's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Parvin was developed for multiple languages and writing conventions. Parvin supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Nassim is a contemporary typeface for multilingual text-setting. With its lively texture and balanced rhythm, Nassim is a proven workhorse for a vast array of applications, from literature to the sciences, scholarly publications to contemporary news. Nassim Latin is stout in colour and resolute in its construction, standing up to the demands of long-form reading. But the heartiness that keeps it going is balanced with lively details: the asymmetric serifs and calligraphic modulation allude just enough to broad-nib flourishes to keep the reader alert and looking for what comes next. Nassim has always been ahead of the curve, bridging the distinct typographic traditions of Arabic and Latin without forcing the typographer into compromise. Nassim Latin offers upright and true italic styles across five weights, supporting more than 110 languages, and designed to pair harmoniously in multi-script settings with Nassim Arabic. Beyond that, it is equipped with smart OpenType features like small caps, case-sensitive punctuation, and a full palette of ranging numerals, fractions, and superior and inferior figures ensure that Nassim Latin is up to any task, be it print publications or delivering late-breaking online news.

Pliego is a textface designed to offer a comfortable continuous reading, with humanist proportions, an even texture, and informal calligraphic details noticeable only at big sizes, that gives it a contemporary feeling. Pliego has been named after Pliegos de Cordel, the Spanish word for the popular books that were common during the XVI, XVII and XVIII centuries. These were rough, cheap books that basically consisted in a folded sheet attached to a string, hence the name. Their content was varied, from popular tales to ballads and songs, but also crimes and mysteries. They were cheaply made, roughly printed and bound. The name Pliego evokes the idea of a rough look, angular edges, informal taste, but classical look. To cover today’s needs, Pliego includes five weights with matching italics. Designed and engineered for continuous reading, the Book, Regular and Medium weights will perform at their best under 14 points. However, don’t be scared to use for headlines and titles: because of its quirky details and calligraphic flavour, Pliego’s personality is accentuated when enlarged. With an extensive Latin character set, Pliego covers a wide amount of Latin-based languages, including Latin Plus encoding and Vietnamese support.

Rot is clunky, clumsy, and utilitarian. It comes straight from a second rate oracle’s prognostications of a not-so-distant dystopian future. A place where film noir meets twenty first century computer cards; and rainy melancholy nights meet global warming. It speaks of a world that welcomes everyone; provided that they are romantically inclined to living life at the short end of the stick. Metaphorically, Rot is a shot of hard liquor served in a dirty glass. Rot has a glyph count of 388 and supports the following languages Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

The Vondelpark is the famous Amsterdam city park, 47 hectares stretching out from Leidseplein to the Amstelveenseweg. It was founded in 1864 when a group of well-to-do Amsterdam citizens got together and bought land at the (then) edge of the city centre in order to create a park ‘for riding and strolling’. Designed by architect J.D. Zocher, it opened officially in 1865. The park received its name two years later when a statue of Dutch writer Joost van den Vondel was placed in the park. In the 1960s and 1970s the Vondelpark became a symbol and epicenter of the hippie flower power era. The park was declared a state monument in 1996. Donald DBXL was intrigued by the handmade iron nameplate lettering on the park’s entrance gates, and decided to design VLNL Vondelpark in its glory. The somewhat clumsy iron letters were not revived as is but optimized to turn it into a useful typeface. The all-caps serif with a deliberate constructed feel, contains a Positional Open Type feature that places half circles on the vertical stems, at the beginning and end of a word, to enliven the rhythm.

From the realm of insigne, a new family has risen. By name, Mandrel. Courtly in character and elegant in appearance, the face finds great favor among those with whom it seeks audience. With confident air, Mandrel carries itself gracefully before each pair of eyes, never faltering or stumbling in its refined step. But while dressed with gentility, this elegant family is not faint of heart when challenged. Crafted well for high-impact resistance, Mandrel steps boldly and prominently into the arena of the reader’s eye, boasting its tall x-heights, high contrast, confident bends, and sharp serifs. Skillfully, it wields its sharp serif endings, cutting swiftly through opponents’ crude clutter, which fights for the reader’s attention. From Thin to Black, nine weights and their matching italics make up this noble family. Mandrel furthermore includes an abundant treasury of OpenType variables to adorn your text. Ligatures, old-style figures, and stylistic sets are available to accompany the family’s 500 glyphs and its support for more than 70 languages. Raise your cup to this new Mandrel! With strong serifs and high contrast, you’ll find this champion ready to take up your challenge in many a test ahead.

When the original Aaux was introduced in 2002, I intended to go back and expand the family to offer more versatility. Years went by before I was willing to pick it up again and invest the proper time into building a viable and useful recut. Just putting a new designation and tweaking a few glyphs here and there would not do the designer or the typeface justice; instead, I chose to redraw each glyph's skeleton from scratch for the four main subsets of the super family along with their italics. Each glyph across the super family is 'connected at the hip' with each style—each character carries the no frills, simple architecture that endeared so many users to it. The new recut expands the family to an enormous 72 typefaces! The original has spawned Compressed, Condensed and Wide subsets—all with corresponding weights—for complete flexibility. Additionally, all of the original weight variants have all been incorporated within the OpenType shell: Small Caps and Old Style Figures are there along with new tabular figures, numerators and denominators, expanded f-ligatures and a complete Central European character set.

Wardruna Arabic is a method of writing Arabic with a Runic-like alphabet devised by Devin Lester. He imagined that if some vikings had settled in the Middle East, they might have started speaking Arabic and writing it with a version of the Runic alphabet. This particular alphabet is based on Tolkien's Cirth Runes. A band of vikings went to Baghdad after raiding in Europe. The markets in Constantinople were closed as the Turks had just sacked the city. These men had heard of the great market in Baghdad and went there to sell their wares, seeing that this land was warm and fertile they decided to stay. They ended up settling the land and taking Arab wives and having children, because of thier Northern European accent their Arabic evolved into a part-Arabic dialect of Iraqi arabic. This is why today you see a few Arabs with green eyes and dark blonde or red hair. The Arabic alphabet was too fluid for them and vikings disdained the use of paper as a persons writings could be burned, so the evolved their runes to fit Arabic.

Enzian is the fruit of a yearlong German Chancellor Fellowship sponsored by the Alexander von Humboldt Foundation. Our hope was simple: to make something useful and beautiful out of something that most people consider to be neither. We were fascinated by the complex persona of Blackletter in Germany and drawn to its emotive ornament and its sensual, non-geometry. Two areas in particular, the long-standing rivalry and widely-believed inferiority that Blackletter had with Roman type and Blackletter’s relevance in contemporary culture, became the foundation of the project. The result is Enzian: an invigorated, original Blackletter of uncommon depth and hopefully, a bit of charm. It is warm and expressive, feminine and contemporary, while staying true to its hand-written, calligraphic roots. Enzian is a multi-language, workhorse typeface that can create hierarchy (with unconventional italic and small caps), and has numerals that fit the family. It is a display face that isn't afraid of handling longer text; one that is equally comfortable in headlines and in poetry. We are delighted to announce that Enzian has been awarded a Certificate of Excellence in Type Design by the Type Director’s Club.

After the popular successes of Exocet and Mason, Emigre has once again teamed up with Jonathan Barnbrook to bring you his latest venture into type land. Priori is a logical progression from Mason, a typeface he designed around ten years ago. Where Mason was designed purely for display purposes and featured only caps, Priori includes lower case, companion serif and sans serif versions, alternates and, according to its creator, is shooting for text face status - a bold claim from a designer who loves to wear his influences on his sleeve and who has little use for typography that aspires to be "neutral" or "transparent." Like many of Barnbrook's typeface designs, Priori is based on his interest in British typography of the early 20th century. It is inspired by the work of famous British typographers, such as Eric Gill and Edward Johnston. But it also embraces all of the signage and lettering that Barnbrook observes in the streets, cathedrals, and public buildings of his London neighborhood. This mixing of native influences with a contemporary pop culture intent is what gives Barnbrook's types a distinct and unique flavor. Like its creator, Priori is a one of a kind.

Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases 'n' or 'd', for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.

Refresh was inspired and partly based on handwritten text from advertisements for a popular cola-based soft drink from the 1950s. I designed the missing characters in the handwriting style of the original. The Refresh family comes in three styles: - Lite- possibly the most elegant of the three styles -- use at larger sizes for greater legibility; - Med -of intermediate weight - more legible than Lite; - Blak - for bolder statements and best readabilty. Refresh, with its three styles, is ideal for any display work needing a feminine, handwritten effect. Use it for product branding, book covers, invitations, greeting cards where you're looking for charm and movement. Refresh has not been designed to be used with capital letters placed next to one another: it is not advisable to use text in "ALL CAPS". The best effects for headings and subheads are obtained with an initial upper case letter followed by lower case characters. If you are using upper and lower case then it is not necessary to use kerning. Refresh contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Zulia is located in the west of Venezuela and it is the state in where Joluvian grew up. It is a region of sunshine, high temperatures, oil and cheerful people, although we choose the name to honor his mother who is from there (zuliana) and who is proud of her land and everything that it represents the area. Zulia is also his first typographic project. It is based on two of his favourite calligraphic styles: italic and brush pen. He started with simple and contrasted strokes on paper with brush and marker. After that he developed the full alphabet and its various options for each letter, starting from a set of handmade forms that could be connected in different ways according to the user needs. What motivates him to involve this style was to create a differentiation with his daily work by generating a heavier type, contrasted and low rise. Zulia finally got life of its own with the participation of Alejandro Paul and a feedback of techniques and skills that were generated with the duo work. Zulia is not just a typeface, Zulia is his love of letters.

Quieta is a humanist serif typeface inspired by the aesthetics of Italian Renaissance and by the empowering history of the painter Artemisa Gentileschi, first woman to be admitted to an Academy of Fine Arts in Italy. The designer, Maria Chiara Fantini, has used sharp flat-nib calligraphic strokes to add a vibrant contemporary vibe to the traditional humanist proportions. Classical details (such as the beak of the “e” and the angled stress of the “o”), are balanced by a modern and readable low-contrast design, developed in a range of six weights with a matching set of true italics. A Display weight, with lighter shapes and stronger contrast has been developed excel in logos, headlines and captions. The wide array of alternate, decorative and swash glyphs and the full coverage of over 200 extended latin languages make Quieta a solid, highly readable and elegant typeface perfect for body text both on the screen and on the printed page. Graceful and powerful at the same time, this typeface family is ready to help you when in need of the timeless appeal of a self-conscious feminine elegance.

It's been a while... more than three months we developed our brand new font. We call them "Meastro". Fun fact though, we want to call it "Maestro", but you know... we were afraid of the copyright thing. Meastro Script is a fun, bold, luscious, retro display script font. We crafted this font very carefully and make them very smoothly attach to each other. Especially, on the script version. You can see every character's tail beautifully connected one to another without using ligatures' help. This font takes full advantage of the Open Type format with several automatic ligatures that occur as you type for your preferred design. Moreover, the manual stylistic alternates allow you to choose the letters you prefer. Alternates occur automatically as you type in supported programs when you have "Ligatures" or "Stylistic Alternates" turned on. Meastro is Created with a ton of stylistic alternates, swashes, and ligatures, and also comes with layerable fonts to recreate the effect without uncomfortable overlaps of the extruded shadow effect. On this pro pack, you will also get the Meastro Display font! On this font you will meet the unique blocky and squared design, making your design feel classic and retro-like. Combine them and “boom”, you will be the “Maestro” of the vintage design! This retro typeface is perfect for logotypes, t-shirts, vintage badges, retro quotes, branding, packaging, posters, signboards, social media needs, etc. ——— Meastro features: A full set of uppercase and lowercase characters Layered Style Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features +553 Total Glyphs (Script) +235 Total Glyphs (Display) +238 Stylistic Alternates +30 Ligatures +69 Swashes and more (Shiny and Graffiti Spray Effect Included!) ——— ⚠️To enable the OpenType Stylistic alternates, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe InDesign & CorelDraw X6-X7, Microsoft Word 2010, or later versions. There are additional ways to access alternates/swashes, using Character Map (Windows), Nexus Font (Windows), Font Book (Mac), or a software program such as Pop Char (for Windows and Mac).

Introducing: Northwell! A rustic, dapper handwritten font with a personal charm. With quick dry strokes and a signature style, Northwell is perfect for branding projects, homeware designs, product packaging - or simply as a stylish text overlay to any background image. ★ New Update • Northwell Clean! Northwell has now been updated to include 2 styles; a rustic textured version, and a totally clean & smooth version. This gives you the option to completely switch the style of your font at the click of a mouse, whether you’re looking for a more rustic, hand-made style, or a silky smooth finish. The Northwell Family includes 6 font files; 1. Northwell • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Northwell Alt • This is a second version of Northwell, with a completely new set of both lower and uppercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Northwell Swash • A set of 20 hand-drawn swashes, the perfect finishing touch to underline your Northwell text. Simply install this as a separate font, select it from your font menu and type any A-U character to create a swash. 4. Northwell Clean, Northwell Clean Alt & Northwell Clean Swash • Clean versions of the above 3 fonts, with the rough brush texture removed and replaced with a completely smooth edge. Ideal for specialist printing (e.g. Cricut/Silhouette Studio), or simply for a smoother finish to your designs. Fonts include multilingual support for English, French, German, Spanish, Italian, Portuguese, Czech, Danish, Dutch, Estonian, Finnish, Hungarian, Norwegian, Polish, Slovak, Slovenian, Swedish, & Turkish. Standard Ligatures • Are also available for several lowercase characters (double-letters which flow more naturally). Ligatures will automatically replace the standard letter pairs whenever available, when using any OpenType capable software.

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.”

Polias is an all-caps uniwidth typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great's inscription, only that this is its first datable appearance.” The letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias is one of the seven typeface designs in Esintype's ancient scripts of Anatolia project, Tituli Anatolian series.

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.”

Rev your engines and get ready to add some muscle to your typography with Threefortysixbarrel, the ultimate typeface for those who live life in the fast lane. This high-octane typeface was peeled right off the air filter of a 1970 Plymouth Barracuda. With Threefortysixbarrel, you’ll be able to proclaim your message with confidence and authority. This no-nonsense alphabet is barely street legal, just like the muscle cars it takes inspiration from. And with three different styles to choose from, you can customize your typography to match your message perfectly. First up, we have Threefortysixbarrel. This is the serious, clean version of the font, with a powerful personality that commands attention. It’s perfect for when you need to make a statement that can’t be ignored. If you’re looking for a more vintage feel, Threefortysixbarrel Intake is the way to go. This style features a realistic rusty letterpress effect that will make your typography look like it’s been around since the golden age of muscle cars. It’s perfect for adding a touch of nostalgia to your designs. And finally, we have Threefortysixbarrel Exhaust. This style is raspy and faded, barely hanging on—just like a muscle car that’s been pushed to its limits. It’s the perfect choice when you want your typography to have a scruffy, worn-in feel. But that’s not all—the textured styles of Threefortysixbarrel also include custom pairs that will be substituted automatically in apps that can handle OpenType ligatures. This means that repeated character textures will be broken up, resulting in an even more realistic, scruffy effect. So what are you waiting for? Grab the pistol grip, slam the pedal down, and peel out with Threefortysixbarrel. This typeface is the ultimate choice for anyone who wants to add some serious muscle to their designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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 90th, 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 honoured as a member of the Art Director 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.”

Polias Varia is an all-caps uniwidth variable weight typeface inspired by an ancient inscription carved on a monoblock stone in hybrid characters — between no-contrast linear sans to low-contrast flared serif. The inspiring inscription is the dedication by Alexander the Great, discovered in the Temple of Athena Polias in the ancient Ionian city of Priene. Stanley Morison mentioned this inscription in one of his lectures: “The distinctive feature of this inscription consists of a consistent thickening towards the ends of perpendiculars and horizontals.” … “We have not the right to say that the serif was invented for Alexander the Great’s inscription, only that this is its first datable appearance.” In Polias Varia, the letter proportions are almost identical to the original, but the stroke features have been reinterpreted and characterized. Serif-like nodes at the end of the strokes are subtle extensions that serve to accentuate rather than break its monoline elegance. With an analogy, they are not flowers, but like blooming buds. Polias Varia is a flared sans typeface which is closer to sans-serif forms on the spectrum between sans and serif. It’s especially light looking by design to convey rather thin and white typographic color of its original monumental look. It comes in eight weights and a variable font, scaled from Thin to Bold. It is multiplexed, so the weights do not affect text lengths. Light weights are closely based on the actual carving of the inscription. Thicker weights can be used on smaller typesettings to compensate for the weight difference of larger letters’ strokes, and to keeping the monoline appearance of the entire text block intact. This method can be used for any purpose, such as setting a hierarchy between the lines or to justify their lengths. Some of the original letterforms have been preserved and stylistic alternatives such as Ionic four-bar Sigma, dotted Theta, palm Y are provided as open type feature. Some of the other ancient forms, such as the three-bar Sigma (S), the pointed U, were also added for both the Greek and Latin scripts. Polias Varia is preferable for big type settings such as logos and headlines as a modern representation of perennial classical forms. Its a fine fit for product branding, movie posters, book covers, packaging materials, and more, which require an epic look to attracting attention with a distinctive elegance. Polias Varia can be considered for distinctiveness wherever Roman Capitals work. As a noun, Polias is one of the epithets of Athena / Minerva, and in this case referring to her role as the protector of the city of Priene. Polias (family) is one of the seven typeface designs in Esintype’s ancient scripts of Anatolia project, Tituli Anatolian series.

Rahere Roman Display is an elegant design with flared stems and subtle old style features, influenced by Berthold Wolpe’s wonderful Albertus font and (to a lesser extent) fonts based on Roman square capitals. It’s a classic design for the modern age, appealing to serious typographers, graphic designers and anyone looking for a beautiful, multipurpose font that also offers value for money. Originally conceived as a display companion for the Rahere Sans typeface family, Rahere Roman harmonizes perfectly with its sans counterpart: use it for headings, sub-headings or pull-out quotes. Want an eye-catching introduction? The small caps have been sized to optically align with the x-height of Rahere Sans or start a paragraph with a swash drop cap. There are also ornaments and devices on hand to spice things up. Of course, Rahere Roman Display works beautifully as a standalone font too. Although predominantly a display font, with a quick flick of its lowercase switch, Rahere Roman transforms effortlessly into a readable text font. Like a Swiss Army Knife, this is a hugely versatile font, capable of conveying different messages from classic and romantic to historical and modern. It’s suitable for a wide range of applications including: branding, posters, advertising, packaging, labels, signage, wedding stationery, museums, art galleries and book covers. Weighing in at well over 2,000 glyphs, Rahere Roman contains a myriad of alternative characters (mostly capitals) including two sets of small caps that allow certain letter combinations - such as RO, LA, LI, TY, etc. - to mimic ligatures. The advantage of this is that if letter spacing is increased or decreased, the letter combinations aren’t fixed and can move too, which helps the space between letters to remain even. However, for lovers of ligatures there is still a bucketload of goodies to play with, including the obligatory ‘OO’ ligature. If that’s not enough, the font also contains start & end swashes, alternative numerals, seven ampersands, ornaments and devices. .ss01 - Initial swash capitals .ss06 - Superior small capitals (aligned to the cap height) .ss07 - Small capitals (sitting on the baseline)