During the 2019 "36 Days of Type" we created a leafy letter for each day. After the project finished we decided it wouldn't be the end and translated those letters into a workable font we named "Dias de Follaje". We also added a whole range of additional glyphs to cover the extended Latin, Cyrillic, and Greek scripts as well as filling in the punctation. The uppercase glyphs feature the leaves whereas the lowercase showcase the letterforms without leaves, allowing for a versatile and fun display typeface. Prints and specimen available HERE

Evie Sans was developed in 2020 by Katy Thompson as a typeface to be used for her customisable planner / diary company PLANNER.STUDIO. The fonts have geometric proportions and subtle Art Deco influences in several of the uppercase characters, including a lowered crossbar on the H, lowered middle arm on the F and deepened bowl on the P. The family includes 6 weights in regular, italic and condensed variations, each with 216 glyphs. Evie Sans is perfect for modern branding and logo design, editorial design, web design, packaging and other projects.

Yngreena is a serifed typeface with calligraphic origins. In updating it in 2011, I began to add alternative letters and reached the point where it made sense to create an alternative family of faces rather than include all the alternatives as part of an OpenType font. The letters K, R, V, W, Y, f, g, k, t, v, and w are tamer in Yngreena Alt. As a result, though it is still a decorative text face, Yngreena Alt is better suited for lengthier blocks of text than is the original Yngreena face.

Brannboll Stencil is a script sport typeface. The baseball-style lettering was drawn by Mans Greback in 2020. It is a specialist stencil typeface, created primarily for laser cutters: All whitespaces are connected with the background, making it a lettering perfect for signs, jewellery, stencils and general cutting. It also comes with the additional, decorative style Brannboll Stencil Swash, which contains ten cool swashes to give the graphic extra expression. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Borden is a rounded hand-printed caps font ideal for your graphic project. Usage recommendations : Title, short text, children’s book, poster, book cover, brochure, label, magazine. "The friendly hand-drawn charms of the Borden family […] Designed by Ewen Prigent, the Borden family is a hand rendered, all-caps design ideal for all sorts of playful settings. With its narrow condensed letterforms and rough rendering, this family is a good fit when space is limited in your design but you don’t want to compromise its friendly tone." www.fonts.com - newsletter - march 2014

Niveau Serif - the companion of Niveau Grotesk - is a type family of six weights plus matching italics & small caps. It was designed by Hannes von Döhren in 2013. Influenced by classical nineteenth century engravers faces, the fonts are based on geometric forms. Niveau Serif has a contemporary feel and combines the clearness of a Sans with the elegance of a typeface with serifs. Niveau Serif is equipped for complex, professional typography with alternate letters, arrows, fractions and an extended character set to support Central and Eastern European as well as Western European Languages.

DisSonus X is ideal for: Initial characters - give your text an unparalleled facelift! Headlines - create a unique look for your posters, event graphics, book covers & music/media/game packaging. Preamble - reanimate the introduction... The bread text on the gallery images is written in Nihil . DisSonusX was revised 2012 and now hold a full character set of basic english/latin letters and west european diacritics! Note that there are no digits in this font. Use a fitting antiqua such as Berkeley Book or (insert your favourite version here) Garamond.

Sometimes type designs are set aside as one project takes priority over another and occasionally it becomes overlooked. One such example is a set of extra bold, sans serif stencil characters drawn out in 2017. Regrettably, as much time has passed, no backstory can be applied to this typeface. It was checked against existing releases in the Jeff Levine Fonts library and didn’t seem to have been re-worked for any subsequent release. With this in mind, Baggage Claim JNL makes its belated appearance and is available in both regular and oblique versions.

Jan Tomáš studied at the Universität der Künste, Berlin. He is a multi-talent – the author of many ideas, a font creator, designer, modeller, technician and web designer. In 2011, he founded Future Typo, the first web portal for advanced typography with original design typefaces and 3D typefaces. When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized.

Ingone is a slightly irregular sans-serif face. It was designed to complement PattyDay and HeyPumpkin, but can be used alone if you need an informal, friendly sans-serif font. It has only one weight, but the family includes a shadowed style. In 2018 the inside of the shadowed version was separated out and made a separate typeface. The letters have the shapes of the regular version but the spacing of the shadowed version and can be layered with the shadowed version to easily produce lettering with two colors.

Noyh Geometric Slim is altered modified from the form of the original “Noyh”(2015) typeface. We added sharp corners in apex, including the structure of typeface. Import to be more Corporate, the font family has flat terminals that harmonize with sharp corners. With all of these features , “Noyh Geometric Slim” is a prominent, eye-catching and unique typeface. It comes with 9 weights and italic type in order to suit for a multifunctional usage, especially for cooperative work, such as website, magazine, editorial, publishing , as well as packaging.

Reed is a refined calligraphic font based on humanist italic. It contains two weights and a high-contrast Display style for extra large point sizes. Two unusual stencil styles add zest to the type family. The character set includes lots of swashes and contextual alternates. This makes text set in Reed look very close to live calligraphy. Reed works perfectly in labels and packaging of confectionery, cosmetics, perfumery and sparkling wines, as well as greeting cards and event design. Reed was designed by Isabella Chaeva and released by Paratype in 2020.

Baskerville Display PT is a type family intended for large and extra large point sizes. It was inspired by the faces of John Baskerville and designed for expressive display typography. Two weights of Baskerville Display with matching italics are much lighter than the existing text versions of Baskerville. Each of them is an ideal partner for ITC New Baskerville. A good addition to the family is Baskerville Poster which will look great in very large sizes. The font was designed by Arina Alaferdova under the supervision of Dmitry Kirsanov and released by ParaType in 2016.

Alghera Pro is a casual script font family.  It was digitally engineered in 1996 by Pat Hickson of P+P Hickson and Steve Jackaman of International TypeFounders, Inc. (ITF).  Jackaman revamped the family in 2017 and added wider language support to include Western, Central, and Eastern European languages. Alghera Pro has a hand-written, antique feel, and was inspired by an old label on a bottle of Portuguese wine.  As with all the Red Rooster “Pro” versions, the family contains a 40% larger glyph set and improved designs.

Brannboll Connect is a script sport typeface. The baseball-style lettering was drawn by Måns Grebäck in 2020. It is a specialist connected typeface: Each character and all their parts are physically connected, making it a lettering perfect for laser cutting, signs, jewelry, woodworking and embroidery. It also comes with the additional, decorative style Brannboll Connect Swash, which contains ten cool swashes to give the graphic extra expression. It has a very extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Gerbera is a new sans-serif with a distinct personality that fuses geometric and organic elements. It is at once hip and quaint, clear yet idiosyncratic, restrained but sensual. Its deliberately varied classical capital proportions and geometric structure are balanced by slightly reversed stress and pinched terminals on curved strokes. This versatile font comes in five weights with their italics and offers a variety of Open Type features, including small caps, alternate characters and punctuation, five sets of figures, and CE, Baltic, and Cyrillic support. Designed by Gayaneh Bagdasaryan & Vyacheslav Kirilenko, 2014-2022.

Lyster is a hand-painted script typeface, built and created by Måns Grebäck in 2020. Its brush strokes makes the typeface the ultimate blend between modern and classic. The balanced weight and tilt result in velocity, flow and a friendly but energetic vibe. Lyster comes as Lyster Regular and Lyster Bold, and each style contains a full OpenType compatible alternate alphabet and ligatures. The font contains all characters you'll ever need, including all punctuation and numbers. It has an extensive lingual support, covering all Latin-based, European languages.

Heavy Rain is a decorative roman typeface. Drawn and created by Mans Greback during 2020 and 2021, this medieval serif font has a distinct classic style and a historical character. It gives antiquity to any graphic project, and with its ornamental capitals it accentuates your message. In addition to the decorated uppercase, it is provided in a regular, simplified text style. Heavy Rain is built with guaranteed top-notch quality. It has extensive lingual support, covering all Latin-based languages. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Larch is a clear and crisp high quality script typeface. It consists of five weights: White, Bright, Shaded, Dark & Black. Each style is working great separately, but they make the perfect combination together. Larch is designed by Måns Grebäck in 2016. The font supports hundreds of languages. It contains contextual and stylistic alternates, swashes and ligatures. Write # after any lowercase letter to make swashes! You can also write % after the following letters to make left swashes: b d f h i j k l t Example: Black% Lar#ch

I present you Trečiokas typeface. This two font family is based on written letters that were sketched by using paint markers and afterwards pollished digitally. Glyphs mostly are connected, leaving some separate, as a contrast to round and soft letter shapes. It includes extended latin character set. In 2013 I made the Aerofont project, which included custom music instruments that were made based on Trečiokas Normal letter shapes. The main idea was to connect music and typography, by making sound emitting letters. You can watch the project video here.

Imagine having a formula for sunshine. I mean, in a way to make the sun shine when you want it, or really need it. That could be for a day at the beach, or for the plants in your garden - or even better: make someone happy with a little bit of sunshine! I made this font on the first day of summer in Denmark 2020 - the rounded corners and the soft and easy look of Sunshine Formula, really got me into the "this-is-going-to-be-a-great-summer" mode! :)

An original typeface designed for ParaType in 2004 by Armenian designer Manvel Shmavonyan. Based on the lettering created in 1970s by outstanding Armenian type designer Henrik Mnatsakanyan (1923-2001) of the same name. In Armenian ‘Haverj’ means ‘Eternally’. The face resembles many regular text serif fonts but elements like serifs and terminals make it eccentric and a little bit funny. The shape of diagonal legs in capital K and R resembles book lettering of the 1950s—60s. Using it in text, advertising and display typography may lead to surprising effects.

Inspired by and tribute to arcade game logos in 80s and 90s. Clonoid can give futuristic, sci-fi and mechanical impression by its geometric framework but its rounded bowls and semi-rounded edges can make natural and soft impression too. And its orthodox letterform make it possible to use this font for all uses. Clonoid family consists of 12 styles, 6 weights (ExtraLight, Light, Regular, SemiBold, Bold and Black) & italics and it’s available in OpenType format. We released 4 big Sci-Fi families in 2013. Check it out! Clonoid Controller Geom Graphic Space Colony

Modern antiqua (Victorian, Scotch Roman) «Dodo», 2008–2019. Named so as a portmanteau of Bodoni – Didot. XIX-th century fonts, especially Victorian antiquas, were almost excluded from the modern use by their XX-th century's descendants. And these new books had lost too much of their former beauty, elegance. Their old noble spirit. This project, «Dodo» was started in 2008 year as the first then modern revival for the Old Imperial Russian book scotch antiqua, used 120–170 years ago in almost every printed book. Still keeping the spirit of the Steam æra.

HERENGRACHT (Patricians' Canal or Lord’s Canal) is the first of the three major canals in the city centre of Amsterdam. The canal is named after the heren regeerders who governed the city in the 16th and 17th century. The most fashionable part is called the Golden Bend, with many double wide mansions, inner gardens and coach houses on Keizersgracht. Former bureau of André Toet (SO)Design was situated there for over 32 years, it was about time to name one of our fonts to: HERENGRACHT. Concept/Art Direction/Design: André Toet © 2017

Empresario Stephen F. Austin (1793-1836) is considered by many the “Father of Texas” for leading the first Anglo-American colony into the then-Mexican territory back in the 1820s. A few years later, while on a diplomatic mission to Mexico City, Austin was arrested on suspicion of plotting Texas independence and imprisoned for virtually all of 1834. During this time he kept a secret diary of his thoughts and musings—much of it written in Spanish. Austin Pen is my interpretation of Austin’s scribblings in this miniature prison journal (now in the collection of the wonderful Dolph Briscoe Center for American History, in the Texas city that bears his name). The little leather-bound book is filled with notes in ink and pencil—some of the faded penciled pages traced in ink years later by Austin’s nephew Moses Bryan. A genuine replication of 19th century cursive, Austin Pen has two styles: a fine regular weight, along with a bold style that replicates passages written with an over-inked pen. Each is legible and evocative of commonplace American penmanship of two centuries ago.

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use. Several years later, Boton began sketching a new design, based on the original Linex Sweet but with a little more authority and grace. Linex Sans is the result. A mix of crisp angles and soft shapes, this new addition to the extended Linex family is both inviting and elegant. The subtle calligraphic overtones distinguish the design from more traditional sans serif designs. A three-weight family with a complementary italic for the Regular weight, Linex Sans is a versatile communications tool in both text and display sizes. It offers that mix of sophistication and joie de vivre that characterizes the designs of Albert Boton. Boton began his professional career as a carpenter. Fortunately for designers and typographers, he quickly turned from pounding nails to hammering out graphic design and constructing great letterforms as a profession. In his long career, he has created hundreds of distinctive, highly useful and award-winning designs. And even though he is now retired from active business, Boton continues to create fresh, new typeface designs. Add Linex Sans to the list.

First introduced by the American Type Founders Company in 1906, Railroad Gothic was the quintessential typographic expression of turn-of-the-century industrial spirit—bold and brash in tone, and a little rough around the edges. A favorite for the plain speak of big headlines, Railroad Gothic quickly gained popularity among printers. Its condensed but robust forms were likely a source of inspiration for later families of industrial sans serifs. The design feels like a cleaned-up version of some earlier Victorian gothics, notable for their uneven proportions and awkward letterforms. ATF offered a number of sizes of Railroad Gothic as metal type, with cuts varying in design considerably from size to size. Creating this new digital version involved interpreting the characteristics of different sizes and making some aesthetic choices: where to retain the design’s familiar unstudied gawkiness, and where to make improvements. The new ATF® Railroad Gothic features a measured, harmonious interpretation of the original, and has been extended with four new weights (each bolder than the last). The heaviest weights are carefully designed to keep counters open, no matter how dense the overall effect may be, maintaining legibility at any display size. This contemporary rendition of a historic American design boasts a full Latin character set, including glyphs undreamed-of in the heyday of railroads.

Tallahassee Chassis JNL was modeled from a toy alphabet rubber stamp set made in Japan and imported to the U.S. during the late 1950s and early 1960s. The lettering style somewhat resembled that found on the side of old railroad cars, buses or trolleys.

ND Lupo is a modern typeface featuring mono linear strokes and captivating loop shape counters in select lowercase letters. Its elegant design exudes charm, while the clean lines ensure readability. Versatile and legible, perfect for logos, headlines, and creative projects, leaving a lasting impression.

Linex Sweet was designed by Albert Boton in the late 1990s. It's a smallish family of three weights; the middle weight has an italic companion face. With its soft corners and slightly quirky head-serifs, Linex Sweet is a friendly design that sees much use.

An example from the vintage lettering book "100 Alphabets Publicitaire" ("100 Advertising Alphabets") provided the inspiration for French Lettering JNL. This stylized Victorian [or Western] type face evokes the era of fanciful lettering design from the late 1800s. Available in both regular and oblique versions.

Hustlers™ was inspired by carnival, circus and tattoo signs shop from the late 1800's. It works well with normal size text, but works even better for large displays, short words, or just to incorporate a few or single characters in a design.

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 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.

Découpé Based on a French children’s play from 1906. In a car boot sale André Toet found a funny looking box containing a lot of cut out cardboard figures, in fact it looked a bit like a geometric puzzle! He played around a bit and succeeded to create a workable typeface with it ! The interesting thing about this particular font is, that in fact it’s organized chaos. The 26 letters of the alphabet are a mix between caps and lowercases, so within one word caps and lowercases will be used next to each other. It’s a very useful font for different projects. Concept/Art Direction/Design: André Toet © 2017

This is my first fontrelease in 2021, and it's one of those "things will get better soon" kinda fonts (Here I am thinking about 2020, which was a year I am glad we just left!) Anyway, the first thing I ate in 2021 (not counting the "kransekage" after midnight) was a delicious and lovely tuna sandwich - or as I called it: Party Toast! Heh-heh! :) Well, it is a playful font with it's jumpy and slightly quirky letters. I've added 5 different versions of each letter and they automatically cycles as you type. I cross my fingers for a 2021 where everything gets back to normal!

June was first published in 2019 but it got a redesign and upgrade in the character set. It now supports Latin Extended and Vietnamese. It also has OpenType features such as stylistic alternates, case sensitive punctuation, small figures, arrows, superscript, subscript, fractions, and many more. June Pro was inspired by the work of Adrian Frutiger and his exploration into font design and legibility. June Pro is a modern sans-serif family in 10 weights ranging from Thin to Heavy with true italics. It was designed with legibility in mind. It is a versatile and distinctive font that makes it useful for various applications like editorial, web design, or branding.