Capitolium was designed in 1998 at the request of the Agenzia romana per la preparatione del Giubileo for the Jubilee of the Roman Catholic Church in 2000. This type design was the central part of the project for a wayfinding and information system to guide pilgrims and tourists through Rome. Capitolium also continues Rome’s almost uninterrupted two-thousand-year-old tradition of public lettering . It is a modern typeface for the twenty-first century and strongly related to the traditions of Rome. Soon after the completion of this project Unger began contemplating the possibility of bringing the atmosphere of this design to newspapers. Though Capitolium works well in most modern production processes and also on screens, it is too fragile for newsprint. For newspapers sturdier shapes were required as well as more characters to a line of text, and Capitolium News has a bigger x-height than Capitolium. Capitolium News is a thoroughly modern newsface, with classic letterforms linked to a strong tradition. Capitolium News for running text comes in the variations regular, italic, semibold, semibold italic, bold and bold italic. As is possible with most of Unger’s type designs, Capitolium News can be condensed and expanded without any harm to the letterforms. The update to this beautiful font family, Capitolium News, includes the addition of over 250 glyphs featuring full Latin A language support, new ligatures, 4 sets of numerals, arbitrary fractions and superiors/inferiors. Furthermore, kerning was added and fine tuned for better performance.

Designed to be set in big, large and huge sizes in classic TNT (tight-not-touching) style, Benguiat Caslon is dynamite for a wide range of display demands. We also included outline and drop-shadow versions as well as numerous swash caps, ligatures, contextual alternates and automatically-shifting punctuation. Ed Benguiat originally designed this alphabet for the Photo-Lettering library during his tenure as the legendary type house’s art director. When we purchased Photo-Lettering in 2003, one of the first things we did was start picking some of our favorite films to digitize as fonts. Photo-Lettering partner Christian Schwartz chose this expressive serif specimen for its high contrast strokes that stand up to the most vigorous display typography demands without withering against pesky design limitations like screen resolution, ink spread and dot gain. FEATURES: Alternate characters, ligatures and contextual substitutions add an unexpected flair to words and phrases. We also provided a drop shadow to add depth and dimension. Shifting punctuation marks take care of those optical tricks so you don't have to. A delicately expressive outline version adds color even in black and white. BENGUIAT CASLON CREDITS: Typeface Design: Ed Benguiat Typeface Digitization: Christian Schwartz, Bas Smidt Typeface Production: Ben Kiel, Jason Campbell Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

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

The Trump Mediaeval Office family is designed after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C.E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Akira Kobayashi, Linotype’s Type Director, released his own revived design, Trump Mediaeval Office, in 2006. Trump Mediaeval Office has two weights, each with an italic companion. Unlike the original design, Kobayashi has harmonized the varying letterforms across the two weights, allowing Regular and Bold text to stand side by side harmoniously. Trump Mediaeval’s numbers now match across weights as well, optimizing their legibility in sizes large and small. Decades ago, Trump Mediaeval was a popular choice for setting book texts, because of its robust serifs. These are exactly what make the face a good choice for office application today; on lower-resolution printers, these serifs will still remain a strong feature on the letterform, increasing legibility along the line of text.

A playful handwriting of a child Twelve-year old Tobias Düsel designed the characters of this font in 2002 during his family’s furlough in the USA. He drew the alphabet freehand in pencil on a piece of stationery, and clearly had examples of the well-known college and military fonts in mind. The characters in their basic form are geometrically thought out, as well as the construction of the shadows. But remarkably, while drawing, Tobias Düsel did not reach for the obvious aid of a ruler. In fact, the strokes of the letters are not linear, rather are recognizably well-balanced with declining and increasing straights as can be seen in polished classical fonts. Originally this font consists only of upper case letters — all other characters (punctuation marks, figures and similar) have been modified from the components of the capital letters. Complementary to the original Outline-Shadow-Version TobyFont Empty, the variations TobyFont Inside and TobyFont Full are also available. ”Empty“ is, so to speak, the frame of the typeface as “Inside” is the filling, and “Full” is the sum of both. All three versions have the exact same body size so that they can be placed over one another congruently. In this way the effect of a font in two or three colors can be attained. TobyFont is excellently suitable for designing “picturesque” or “hand-carved” contents; large weights are especially charming and striking.

While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread from those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather’s library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century. Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling’s exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase. Bellissima has an effusive energy that appeals much beyond its sourcing. It’s intended for these modern times of appreciation for old crafty things like stationery and letterpress, where its origins help it shine brightly. Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.

Full Sans is a geometric sans in the tradition of Futura, Avant Garde and the like. It has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. Full Sans is the younger brother of original Full Neue, Full Slab and Full Tools. Ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design. Full Sans provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Full Sans LC 50 Book” forms the central point. The first figure of the number describes the stroke thickness: 10 Thin to 90 Bold. Full Sans LC comes 5 weights and italics also Full Sans SC comes 5 weights and italics total 20 types. The family contains a set of 485 characters. Case-Sensitive Forms, Classes and Features, Small Caps from Letter Cases, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Full Sans is the perfect font for web use. You can enjoy using it. UPDATE: 08 March 2019 - Fixed extension of glyhps "y" and "g". - "LineGap" error has been fixed. - Fixed bug in "onum", "pnum", "tnum" and "tnum" software in OpenType feature.

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

The Tecn@ Dark&Light Triangle Background Nomenclature Font family is differentiated by the direction of the triangle tip in the 4 cardinal points. The family were designed to head, enumerate, indicate or highlight writings or design plans, for this reason, the characters are available only in capital letters and some signs or symbols that can serve such purposes. A triangle or empty character is included so that the user can use it overlaying any character of his choice or to be used alone. What is Lorem Ipsum? Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has been the industry's standard dummy text ever since the 1500s, when an unknown printer took a galley of type and scrambled it to make a type specimen book. It has survived not only five centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages, and more recently with desktop publishing software like Aldus PageMaker including versions of Lorem Ipsum. Why do we use it? It is a long established fact that a reader will be distracted by the readable content of a page when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal distribution of letters, as opposed to using 'Content here, content here', making it look like readable English. Many desktop publishing packages and web page editors now use Lorem Ipsum as their default model text, and a search for 'lorem ipsum' will uncover many web sites still in their infancy. Various versions have evolved over the years, sometimes by accident, sometimes on purpose (injected humour and the like). Where does it come from? Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections 1.10.32 and 1.10.33 of "de Finibus Bonorum et Malorum" (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance. The first line of Lorem Ipsum, "Lorem ipsum dolor sit amet..", comes from a line in section 1.10.32. The standard chunk of Lorem Ipsum used since the 1500s is reproduced below for those interested. Sections 1.10.32 and 1.10.33 from "de Finibus Bonorum et Malorum" by Cicero are also reproduced in their exact original form, accompanied by English versions from the 1914 translation by H. Rackham. Where can I get some? There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there isn't anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on the Internet tend to repeat predefined chunks as necessary, making this the first true generator on the Internet. It uses a dictionary of over 200 Latin words, combined with a handful of model sentence structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is therefore always free from repetition, injected humour, or non-characteristic words etc.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Features The Spitzkant Head and Text family has a total of 2 optical sizes, 5 weights and 20 styles, from thin to bold and matching italics. With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/spitzkant-variable/

Garet is a modern geometric sans serif. It is characterised by high x-height, clean and soft letterforms with a smooth masculine tone. Garet derives its distinctive oval shapes from the optically perfect circle and has closed counters to further emphasise that form. The Garet type family consists of 11 weights ranging from quite thin to extremely fat and their corresponding Italics to make a total of 22 fonts. And all of them are combined into one variable font that will give you unlimited opportunities to explore and express without the restrictions of the predefined weights. We understand the need for more extensive language support. That’s why the typeface includes Extended Latin and Cyrillic and covers more than 200 languages. Garet also comes with several alternative stylistic sets that will change the overall look of a paragraph, giving it a slightly different appearance. In addition to that, the type family is enriched with an extensive list of OpenType features for advanced typographic layout, including standard and discretionary ligatures, tabular and small figures, fractions, language localizations, case-sensitive punctuation, and more. Тhe wide variety of weights, characters, and additional features allow Garet to be implemented equally well both in print and on-screen media.

Surf's up! Take an unforgettable adventure to the sparkling shores of Paradise Point. Ride our 25 majestic weights, from tranquil tall & thin to thunderous wide & heavy. Expand your horizons with the versatile Variable font to select any spot between. One-of-a-kind activities: Drop in a thrilling Inline weight for stylistic flair. Overlay with the matching Heavy for striking color effects. Discover hidden wonders! Stylistic Alternates will take you to the scenic heights of uppercase in a friendly lowercase style. Or immerse your text in interlocking Discretionary Ligatures for an authentic Tiki Type island experience. Enchanting views: Two versions of each letter and number automatically rotate for a natural, hand-drawn appearance. The Light weights have round ends to simulate a single pen stroke, which matches the center of the Inline weights for a perfect pairing. Explore! If you venture into unknown territory, each weight of Paradise Point contains 775 glyphs for stress-free support of over 200 languages. An all-inclusive getaway: Each weight of Paradise Point includes the features above, and can set readable body text as well as create striking logos and headlines. Use it for restaurant menus, surf and skate brands, or any design project where you want to convey lively, friendly, stress-free fun.

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Quiroga Serif began in 2007 with the name Quadratta Serif. This typography was designed for continuous text, legible at medium and small sizes, with great saving of space, optimized for 6, 8, 10 and 12 points. The morphology is a mix between tradition and innovation; it has a vertical axis, thick serifs, tall x-height, light modulation and a lot of internal space between letters: key to improve legibility at small sizes. Formally, my idea was to make a serif type that had a unique color, this is visible due to the light modulation. This is also complemented with the incorporation of not common, alternative signs. Some parts of the letters that are usually curb or diagonal where made horizontal (for example: a, q, p, etc.), this makes the eye of each character to be wide and unique. The serifs (wedge type) suffered diverse variations during the process. At the begining they where thicker and ended vertically, but this caused a great deal of printing errors. And so we decided to modify them by giving them an angle to avoid visible errors in medium and small sizes. The ch, and ll ligatures where rescued because they are a part of our current spanish alphabet. The historic ligatures and stylistic alternates give different options to users who want different alternatives within a text. The accentuation signs were composed in a middle line above all signs to avoid visual shock. We also gave plenty of importance to small caps numbers, mathematical signs and currency signs so that the could interact well.

Please note: Acorde webfonts are exclusively available at willerstorfer.com Acorde is a reliable workhorse for large, demanding design projects. It was designed to be perfectly suited to all different sizes, from small continuous text to large headlines and big signage. The typeface’s name is derived from ‘a’ ‘cor’porate ‘de’sign typeface, however Acorde is not only suitable for corporate design programmes but for information design and editorial design purposes as well. Acorde’s inception was in early 2005 as Stefan Willerstorfer’s final project in the Type and Media course at the Royal Academy of Art in The Hague (NL). It is a humanist sans serif with noticeable diagonal contrast and shows clear influences of the broad nib pen, especially in the Italics. Acorde’s characterful details give it a distinctive appearance in large sizes and contribute to its high legibility in small sizes. It comes in 14 styles – seven weights in Roman and Italic each. While the proportions of the Regular style were chosen to guarantee optimal legibility without being too space consuming, the heavier the weight gets the more suitable it is for headline purposes. The heavy weights are relatively narrower than the lighter ones, which gives them a strong appearance. The huge character set contains 925 glyphs per font and covers a vast range of latin-based languages. Various accented letters, small caps, eleven figure-sets, superscript and subscript are all included. OpenType features allow for a comfortable use of the large set. Acorde was honored with the 2010 Joseph Binder Bronze award for type design by DesignAustria.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Sherbrooke is a simple and sans serif font. I have chosen the name of this typeface after the "Sherbrooke" Street in Montreal, Canada, that I daily walked in for several months in the late 2005 while I was studying in Montreal, Quebec, Canada. I do adore this street and also I adore the whole city of Montreal. This font comes in two different weights. "Sherbrooke" can be used in wide fields of publications such as the titles of novels, literary texts, short stories, dictionaries, books, newspapers, websites, and magazines. It is suitable for T-shirts, mugs, advertisement light boards in malls, subtitles of movies, logos, cans of foods, and medicines' names. The font is more attractive when it is printed in calendars and for displaying the contents and paragraphs of electronic encyclopedias and different online websites. "Sherbrooke" is specifically designed for educational, journalistic, literary, and social purposes. The main characteristics of "Sherbrooke" Typeface are in its sans serif new designed letters and also in its lowercase special numerals. I think that these characteristics have made "Sherbrooke" exceptionally unique with its alphanumeric combinations. You can enjoy this typeface and use it anywhere at any product or service. It is simply gratuitous for all. The word "Sherbrooke" is a person's name. Sherbrooke Street - officially Rue Sherbrooke - is a major east-west artery at 31.3 kilometers in length and it is the second longest street on the Island of Montreal in Canada. The street is named for John Coape Sherbrooke, the Governor General of British North America from 1816 to 1818.

Blacker Sans Pro is a complete redesign and development of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the successful Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!

Satero was designed by Prof. Werner Schneider in 2007. Never before have we had so much written material to consume; this is the age of mass-communication. Unfortunately, the decision of which typeface to use is too often made lightly. The typeface is one of the most elementary means of language, and it can play a major role in a text's legibility and the amount of time the reader needs for it. The Satero Type System offers a high degree of legibility due to its dynamic and forms. The individual characters have been based on classical concepts. They are clearly made, and leave all unnecessary elements behind. The type works to create an environment of extreme legibility. Essential parts of the a, c, e, s, and r are to be found at the x-height line, which is the most important area of a line of text in determining legibility. The Satero Type System includes two members whose basic forms are the same. The Sans Serif members are more horizontally differentiated than common grotesques, which aides their legibility. The Serif design employs asymmetrical serifs, avoiding elephant feet" altogether. Their dynamic is progressive. The condensed nature of the seriffed counterparts is optimal for newspaper and magazine applications, where space is at a premium and paper must be saved. All fonts in the Satero Type System include a number of alternate glyphs, as well as ligatures and proportional lining figures; all weights except the Heavy and Heavy Italic fonts are also equipped with small caps, small cap figures, and oldstyle figures as OpenType features. "

Since my first contact with blackletters in 1999, I became more and more fascinated by these artistic looking typefaces. It all started in the USA at the age of 16, when I took an art class. I decided to trace some blackletter typefaces because they looked very interesting. From this point on I was intrigued by blackletter fonts from all over the world. I studied their different body structures and their cultural background as well as the type designers behind it. Full of information and inspiration I started to draw my own blackletter typeface in 2006. While studying in Hamburg I got in touch with the studio of URW++, where I got skilled in type software and development. Creating a type takes an eye for detail and patience but also lots of time and so it took almost 4 years until the project was finished. And so Ruca was born. Ruca is a refined and expanded typeface. When you look at the spines, the tails or the flags you can see the detailed drawing, which makes the font also extremely good looking in very tall letters. The full character set contains over 400 characters, many ligatures, two number sets and all important currency symbols. Over 300 kerning pairs and many OTF-features make the font easy in use for professional type applications. The typeface is very well applicable for strong headlines and mastheads. Because of its unique appearance, Ruca is perfectly suitable professional graphic applications such as fashion design or branding.

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding. The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

Whomp takes its inspiration from the work of an American master in sign painting and alphabet manipulation: Alf Becker . In 1932, Becker began designing a series of alphabets to be published in Signs of the Times magazine at the rate of one alphabet per month. Nine years later, 100 of those alphabets were compiled in one book that became an enormous success among sign painters. In the late 1990s and early 2000s, many Alf Becker alphabets were digitized with blurbs that falsely credit an “Alf Becker typeface”. Alf Becker was not really a typeface kind of guy. He was more of a calligrapher and sign painter. His alphabets were either incomplete or full of variations on different letters, and didn't become typefaces until the digital era. This particular Becker alphabet was quite incomplete. In fact, it wasn't a showing of an alphabet, but words on a poster. Alejandro Paul took the challenge of drawing, digitizing, restructuring, and finally building a complete usable typeface from that partial alphabet. He then extended his pleasure by once again playing with the wonderful possibilities of OpenType. Whomp comes with more than 100 alternates, tons of swashy endings and ligatures, all built into the font and accessible through OpenType palettes in programs that support such features. This is the in-your-face kind of font that stands among other Becker-based alphabets as paying most homage to the vision of this great American artist who saw letters as live ever-changing beings. Whomp is right at home when used on packaging, signage, posters, and entertainment related products.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

The Neuzeit Office family is designed after the model of the original sans serif family Neuzeit S™ , which was produced by D. Stempel AG and the Linotype Design Studio in 1966. Neuzeit S itself was a redesign of D. Stempel AG’s DIN Neuzeit, created by Wilhelm Pischner between 1928 and 1939. Intended to represent its own time, DIN Neuzeit must have struck a harmonious chord. DIN Neuzeit is a constructed, geometric sans serif. It was born during the 1920s, a time of design experimentation and standardization, whose ethos has been made famous by the Bauhaus and De Stijl movements in art, architecture, and design. Upon its redesign as Neuzeit S in the 1960s, other developments in sans serif letter design were taken into account. Neuzeit S looks less geometric, and more gothic, or industrial. Separating it from typefaces like Futura, it has a double-storey a, instead of a less legible, single-storey variant. Unlike more popular grotesque sans serifs like Helvetica, Neuzeit S and especially the redesigned Neuzeit Office contain more open, legible letterforms. Neuzeit Office preserves the characteristic number forms that have been associated with its design for years. After four decades, Neuzeit has been retooled once again, and it is more a child of its age than ever before. Akira Kobayashi, Linotype’s Type Director, created the revised and updated Neuzeit Office in 2006. His greatest change was to retool the design to make its performance in text far more optimal. Additionally, he created companion oblique to help emphasize text.

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

I’d been thinking for a while about making a serif font with ball terminals: big fun round ends to the letters anywhere I can squeeze them in. So I made Breakfast Pastry! I started with a hand-drawn set of basic letters, then went hog-wild making alternates and ligatures galore with fun swirls, curls, and even more balls! I’ve cleaned the letters up significantly to make them smooth and easy for any cutting or printing you may want to do, but I’ve also left in some of the hand-drawn character so that the letters are warmer and not too formal. Then I took the first font, and made a second solid version without the cutouts. After that I thought: I tend to make plumper fonts ... why not make an even thinner version? So I did! All three versions have the same character set (over 700 glyphs total), which means they all have the same extras and alternates. All three fonts have over 300 extended Latin characters for language support, as well as over 200 bonus items: alternate letters, letters with swashes, two-letter ligatures, small caps, catchwords, and even some bonus ornaments and elements to make the fonts even more flexible. (After all, if one swash on a letter is good, two or three might be great!)

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable font contains 2 axes: weight and oblique – all in just one file. Features: With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the static version of the Garino family here: https://www.myfonts.com/fonts/julien-fincker/garino/

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/garino-variable/

Berenjena is a captivating font family designed by type designer Javier Quintana Godoy in Santiago de Chile. Berenjena has the right combination of comfort in reading and a lyric spirit. This helps keep readers in the delicate atmosphere in which novels and tales can display all their charm. Most typefaces created for books cannot reach this. Either they are too expressive so they tire the eyes of the reader, or they are dull and reading becomes a tedious task. Berenjena was designed for text use bearing in mind this concept of subtle balance. Berenjena (Spanish for aubergine or eggplant) gives your text that spicy environment in which words shapes are easy to read while letterforms maintain their capricious feeling. It comes in roman and cursive declined in four weights: Blanca, Fina, Gris, Negra. All Berenjena character sets include extensive diacritics coverage for more than 200 languages plus the usual contextual features. The Berenjena Pro fonts (available at PampaType.com) include smalls caps, elegant ligatures, cute swashes, every kind of figures, and all contextual sorts. Berenjena will give your design a very individual character. It wears captivating details of calligraphic poetry which link subtlety to vernacular sign painting from Santiago de Chile. See a pdf of Berenjena here http://origin.myfonts.net/s/aw/original/306/0/156716.pdf or visit PampaType.com for more information.

Burgues Script is an ode to the late 19th century American calligrapher Louis Madarasz, whose legendary pen has inspired schools of penmanship for over 100 years. His talent has caused some people to call him “the most skillful penman the world has ever known.” I use the word ‘ode’ in a colloquially ambitious manner. If I was an actual poet, my words would be about things I desire but cannot attain, objects of utter beauty that make me wallow in humility, or people of enormous talent who look down at me from the clouds of genius. But I don’t write poems. My work consists of letters drawn to fit together, that become an element of someone’s visual poetry. I am the poet’s assistant, so to speak. Once in a while, the assistant persists on what the subject of the poem will be. And occasionally, the poet gives in to the persistence. I hope you, visual poet, find my persistence justified in this case. The two main sources for Burgues were the calligraphy examples shown in Zaner Bloser’s The Secret of the Skill of Madarasz: His Philosophy and Penmanship Masterpieces, and C. W. Jones’s Lessons in Advanced Engraver’s Script Penmanship by L. Madarasz. These two references were the cornerstone for the concept I was trying to work with. I did have to change many of the letters in order to be able to produce digital calligraphy that can flow flexibly and offered the user a variety of options, while maintaining its attractive appearance. To this end, many ligatures and swashes were made, as well as full flourished sets of letters for use at the beginnings or endings of words and sentences. All of this has been tied together with OpenType and tested thoroughly within today’s standard design and desktop publishing software. After working with digital scripts for so long, at one point I thought that Burgues Script would become a bit of a chore to complete. I also thought that, like with most other scripts, the process would regularize itself after a while and be reduced to a mechanical habit. Surprisingly, and fortunately for me, this did not happen. The past holds as many surprises as the future. Madarasz’s method of penmanship was fascinating and challenging to translate into the strict, mathematically oriented language of the computer. It seems that the extremely high contrast of the forms, coupled with the required flow and connectivity of such lettering, will always be hard work for any visual artist to produce, even with the aide of a powerful machine. I can only imagine what steady nerves and discipline Madarasz must have had to be able to produce fully flourished and sublimely connected words and sentences on a whim. When I think of Madarasz producing a flourished calligraphic logotype in a few seconds, and try to reconcile that with the timelines of my or my colleagues’ work in identity and packaging design, the mind reels. Such blinding talent from over a hundred years ago. Burgues is the Spanish word for Bourgeois. In the end, I hope Burgues Script will serve you well when a flourished word or sentence is required for a design project. One of the wonders of the computer age is the ability to visually conjure up the past, serving both the present and the future. With Burgues, you have a piece of “the most skillful penman the world has ever known,” at your service. Burgues received important awards such as a Certificate of Excellence TDC2 2008 and a Certificate of Excellence at the Bienal Tipos Latinos 2008.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."