Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Designed by Ashley Havinden, Ashley Inline is a monoweight all-capitals typeface with a hand-crafted look, suggesting European decorative wood-cut letters from the twenties and thirties. The term inline refers to the fine reversed-out line in the centre of the characters of the Ashley Inline font.

Valfieris Aged looks as though it just came off an antique printing press. Ink has pooled in the serifs and on the corners, and the metal did not make full contact with the paper in center of the letters. Valfieris Aged includes a full set of OpenType alternates for every character in the English alphabet, swash alternates, ending swashes, titling alternates, oldstyle figures, historical forms, small caps and 64 discretionary ligatures. These ligatures are used to alter the appearance of the type so that the printing appears realistic and without any duplicate letters to detract from the antique appearance.

The type “Vandalismo 26” is a tribute to the calligraphy style that 'screams' over the front of the buildings in the center of São Paulo/Brazil. This underground calligraphy, known as "pichação" or "pixo”, is a movement that expresses disagreement and rejection against the system. For some critics, this “vandalism” is considered to be the most disruptive and conceptual contemporary art today. It is a type to be used in headlines. Vandalismo 26 is a mix of the chaotic pixo style representing the nonconformity of a generation. It is a protest to the system in a typographic format.

Linotype Cutter was designed by Georg John in 1997. As the name suggests, the font looks like it was cut out of black cardboard pieces. Each letter has a irregular rectangle black background and they combine to form heavy rows of letter elements. The strong contrasts of the font make it good for short headlines or initials in larger point sizes and combines well with almost any text font. Georg John made a second version of this theme called Linotype Schere (scissors) it is a companion typeface where the conturs of the letters are even rougher in its form.

After creating an original light bulb symbol from scratch, I incorporated it in all letters and punctuation signs, ensuring a distinct rhythm and creative variation. The result is a highly recognizable font with a unique appearance, which can inspire you as a designer in many imaginative directions. This font is especially fitting for Christmas-themed projects where light installations take center stage. Similarly, if you represent a light bulb company, consider utilizing it in your indoor presentations or social media posts to showcase the playful voice of your brand. After all, everybody needs their light bulb moment.

Download PDF Instructions from https://peggofonts.com/download/Rationell-Instructions_4.59.pdf Behance presentation https://www.behance.net/gallery/88695175/Rationell Rationell is a functional multipurpose corporate typeface, based on classic 1950's swiss rationalism, subtle tuned on a XIX century didonesque modernist structure, a contemporary interpretation with the eyes of the Latin idiosyncrasy. Designed in 12 upright weight with 12 matching Italic, from Hairline to ExtraBlack, average weights (Light to Bold) are easily read on text sizes, printed and digital media, while Hairline to ExtraLight and ExtraBold to ExtraBlack are especially suitable for big contexts like headlines, poster and higher sizes as big as storefronts, monumental billboards or building size printed mesh covers. 40 OpenType features: Standard and Discretionary Ligatures, Lining, Old Style and tabular numerals, scientific and fractional forms, slashed zero, stylistic and contextual alternates (rounded dots, "Il" readability, auto roman numbers, auto group enclosed numbers, slashed zero on alphanumeric contexts), sensitive case, localized forms, glyphs composition/decomposition, access to all alternates. Rationell has a serious but kind timeless look, an ideal voice for corporate publishing, branding, wayfinding and complex technical information systems. It Supports 222 Latin based languages, with +2200 glyphs Rationell is capable to solve the most advanced nowadays global design needs.

Wood Type Catalogs of the 19th century often offered tools and accessories alongside alphabets of wood type. Probably the most closely related was wood type borders and ornaments. Decorative Borders were often sold by the foot and accompanied by corner pieces that matched the designs. These borders could be assembled in almost any size dimensions as needed. The digital version uses the same principals of modular assembly to create the exact size border that is needed. Along with the borders, included in this font are a selection of "streamers". These banners would have been made to order with the font designs reversed out along a horizontal banner with decorative end caps. The digital version allows for a modular assembly by selecting choice of end caps and then typing the = as many times as needed to achieve the desired length. 10 styles of 9 piece borders can be created in any size variations as well as 8 styles of streamers in any desired length. Some of the designs can be mixed and matched for unusual contemporary design interpretations of these historic styles. It is recommended that the line height (leading) is set to the same size as the point size setting, this will visually lock all elements together.

Sudtipos is proud to announce the release of Clockmaker, an 8-weight family that takes initial inspiration from typography around the turn of the twentieth century. Clockmaker takes aesthetic references from Victorian, Art Nouveau and Art Deco advertising and typography, taking special influence from John F. Cummings’ all-caps – and never digitized – type design Elandkay.  Clockmaker is a robust multi-weight family that includes an array of ligatures as well as alternate characters and support for all latin languages. The design process began with developing and modernizing the uppercase letterforms, followed by designing the lowercase and additional weights. Creating a diverse and playful set of uppercase ligatures was an almost endlessly enjoyable task; they are one of Clockmaker’s most charming features. Clockmaker is an impeccable choice for designs requiring a vintage flair such as a luxury liquor labels, restaurant identities, lavish hotels and many other applications where elegance and grace are needed.   In addition to its historical references, Clockmaker is an homage to my grandfather who was a master craftsman, repairing antique clocks and fine watches with great skill and mathematical precision. Watching him work was fascinating and it has been a joy to remember those quiet and curious moments from my childhood while designing this font.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Influenced by the ornamented capitals found in late nineteenth century specimens, this layered font was designed to decorate publication covers, labels, stationery or any other piece that needs to be embellished. This family intends to dress any work. Started up by the author’s hand, Dress is a professional work, accurate, well spaced, with ligatures and alternates for uppercases, initials, endings and figures. Each variable contains more than 1200 glyphs with plenty of OpenType features and extensive Western, Central and Eastern European language support. Use professional software that widely support Open Type features. Otherwise, you may not have access to some glyphs. For further information about features and alternates, see the User Guide The main member of this family is the Base font which can be used alone or decorated with the layers: Shade One or Shade Two, Inline One or Inline Two and Outline. In this way, experienced designers will create their own combinations. On the other hand, there are multi-layered fonts that make Dress easier to use: Dress Combo One to Five. Additionally, Dress Deco adorns the beginning and the ending of the words, while the Ornaments decorates the whole design. The family package contains all this thirteen options. Dress matches very well with Limon Script Let’s Dress your work!

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. Caslon Black was designed by Dave Farey in the ITC library.

Lady Edith harkens back to the days of flappers and cocktail parties. The early part of the twentieth century, when Art Deco was at it’s height and high fashion was all the rage. A time of beauty, class and elegance. A minimalistic font with clean lines and just enough flare to make it unique. The perfect font for any occasion that needs a bit of high end magic. There is no lower case for Lady Edith as it is a decorative font. The Upper case version serves both the upper and lower case keys. Lady Edith has a glyph count of 397 and supports the following languages; Supported 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

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

Linotype Dropink, from German designer Christine Voigts, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. A spirited font, Linotype Dropink may remind you of your first attempts with a broad-tipped pen or of schoolwork in days of yore. However, the blots of ink are in this case done on purpose, are indeed the highlight of the font, large and small, round and irregularly sheped. Linotype Dropink is intended exclusively for headlines/display and should be used in point sizes of 18 or larger.

Linotype Scott Mars, from German designer Hellmut Bomm, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. Bomm constructed this typeface from a consciously limited repertoire of forms, producing a strictly constructed font with a cool, technical look. Worthy of note are also the exalted numeral forms and the unusual size relation of the lower case and capital letters. Scott Mars is best used for headlines and short to middle length texts in point sizes of 10 or larger.

M Comic is a humanistic script design characterised by its modern, stiff, free and blocky construction. M Comic incorporates free and irregular characteristics of M Cute. Crossbars (橫) and stems (豎) are straight and slightly slanted. Entry and finial points of strokes are squarish and parallel without flare. Contrast of stroke is low, together with its bold stems (豎), making it suitable for large display text to catch attention. The result is a loosely coupled line of text of free, stiff and blocky glyphs. It is best for casual and humanistic display, illustrations, set upright, non-condensed.

M Comic is a humanistic script design characterised by its modern, stiff, free and blocky construction. M Comic incorporates free and irregular characteristics of M Cute. Crossbars (橫) and stems (豎) are straight and slightly slanted. Entry and finial points of strokes are squarish and parallel without flare. Contrast of stroke is low, together with its bold stems (豎), making it suitable for large display text to catch attention. The result is a loosely coupled line of text of free, stiff and blocky glyphs. It is best for casual and humanistic display, illustrations, set upright, non-condensed.

Linotype Russisch Brot is part of the Take Type Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contests of 1994 and 1997. The inspiration of German designer Markus Remscheid is not hard to see for those who are familiar with the chocolate cookies in the form of letters which are called Russisches Brot. The font is available in six weights. The basic weight is perfectly legible and is good for both headlines and shorter texts and from there the weights become more and more nibbled away, leaving the basic form of the characters and a few crumbs.

Zirkel is a geometric sans serif typeface which includes 16 fonts – eight weights and eight matching italics. Each character is geometrical, but optically corrected for better readability. Featuring austere lines, the font gains its strength in the final layout, which is created by the user. Zirkel Sans is suitable for headlines of all sizes, but it can be used in variety of long text as well. This font supports Western, Central and Eastern European languages, ligatures, alternate characters such as A, V, w, etc., and will find its place in the beginning, centre or end of any word. Geometry rulezz...

The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

PB Capitalis Rustica IVc is a font face designed for imitate latin writing style found in manuscripts from 1st to 9th century. All characters are handwritten by use ink and reed pen (calamus), scanned, digitized and optimized for best quality without lost its handwritten visual appearance. Character set support codepages: 1250 Central (Eastern) European, 1252 Western (ANSI), 1254 Turkish, 1257 Baltic. Include also additional characters for Cornish, Danish, Dutch and Welsh language, spaces (M/1, M/2, M/3, M/4, M/6, thin, hair, zero width space etc.) and historical characters (overlined Roman numerals, I-longa, historical ligatures for "nomina sacra" and "notae communes"). OpenType TrueType TTF (.ttf) font file include installed OpenType features: Access All Alternates, Localized Forms, Fractions, Ordinals, Superscript, Tabular Figures, Proportional Figures, Stylistic Alternates, Stylistic Set 1, Historical Forms, Historical Ligatures. Include also kerning as single 'kern' table for maximum possible backwards compatibility with older software. Historical ligatures for "nomina sacra" and "notae communes" are mapped to Private Use Area codepoints. Use of OpenType features to get historical characters: ïTo get "I-longa" use Stylistic Alternates for: "I"(U+0049), "i"(U+0069), "dotless i"(U+0131). ïTo get "nomina sacra" use Historical Ligatures and write uppercase letters: DS for: "Deus", DMS or DNS for: "Dominus" EPS for: "Episcopus", IHS for: "Iesus", PBR for: "Presbiter", SCS for: "Sanctus", SPS for: "Spiritus", XPS for: "Christus". ïTo get "notae communes" use Historical Ligatures and write: B(U+0042) + "middle dot"(U+00B7) for: "-BUS", Q(U+0051) + "middle dot"(U+00B7) for: "-QUE". ïTo get "scriptio continua" (writing without words separation) use Historical Forms (regular spaces are replaced by zero width spaces between words). ïTo get "middle dot" for separate words use Stylistic Set 1 (regular spaces are replaced by middle dot between words).

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

FF Casus was drawn for print – but is also as natural for textual content in interactive design. It brings warmth and a subtle, handcrafted quality to pages in books and periodicals as well as banners and informational copy on large and small screens. It pairs flawlessly with a wide range of sans serif typefaces to create inviting and easy to read text copy. Drawn by Eugene Yukechev, FF Casus is a fresh take on the robust serif typefaces produced early in the 18th century. The FF Casus™ typeface family takes advantage of slightly narrowed proportions, moderate contrast in stroke weight and an ample x-height to achieve high levels of legibility and efficient use of space. Born in Novosibirsk, Russia, in 1980, Yukechev earned degrees in philology in addition to editorial and graphic design. He also graduated from the British Higher School of Design in Moscow, studying type and typographic design. Yukechev now runs the Moscow-based studio “Schrift Publishers” and the online “Type Journal” with his colleagues. The six weights of FF Casus – each with an italic complement – are available as OpenType® Pro fonts with an extended character set supporting most Central European and many Eastern European languages. Looking for something new – with the panache and warmth of an old book face? FF Casus may be the perfect choice.

Sudtipos’ new sans serif font Replete is inspired by the mixture of aesthetics and philosophies found on the streets of metropolitan cities the world over. Buildings constructed throughout the twentieth century, including those made in the Art Deco style or influenced by the Bauhaus’s gospel, stand side-by-side as symbols of their time. Typography is one factor that bonds these vistas, and simultaneously further complexifies them. Art deco letters appear on storefronts and signage in Europe’s oldest cities and as remnants of the Golden Age of economic expansion for Latin America. Typography, like architecture, sometimes coexists in perfect harmony, and other times in ideological opposition. But it is these juxtapositions in places such as Shanghai, New York, London, Buenos Aires and Tokyo that shape each city’s identity. Replete is inspired by this mixture. We wanted to create a useful modern sans serif family – a set of 7 weights with playful geometric alternates – that allows you to combine characters including wide-width and filled letterforms. Replete is apt for long texts, and equally, for instances where letterforms can stand together like a cityscape. Replete means full, packed and abounding … it is a sans, it is grotesque, it is geometric and it is Deco. Replete is a new family that has a little of everything we like, equipped with everything you need to design anything you want.

Cosmopolitan Elegance Named after a southerly wind that blows over the Mediterranean Sea, FS Ostro breathes warmth into letterforms with their roots in colder, stark Modern typefaces. FS Ostro is a typeface imbued with balanced and sophisticated elegance. It’s discerning and sensitive, self-assured but understated. One for the well-travelled reader. Thoughtful contrast FS Ostro draws inspiration from a wide range of sources, such as 19th century British Scotch Roman designs, Italian modern style typefaces and highly contrasted display Spanish examples. Its text version offers a consistent rhythm and robust texture that is easy on the eye. This elegant, cosmopolitan typeface is characterised by its thoughtfully modulated contrasts between thick and thin, sharp angles, and sophisticated curves. Exaggerated touches in display “What is more restrained and sober in text, becomes purposefully prominent and more detailed in display,” says Fontsmith designer Alessia Mazzarella. These exaggerated details for the display version can be seen in the letter terminals, such as those in the ‘a’ and ‘g’ and the tail of the ‘Q’, as well as in the set of numerals, fractions, arrows, borders and ornaments, which can be used to build decorative framing elements. Fluid italics The less rigid and curvaceous italics of modern style typefaces were the inspiration for FS Ostro’s own subtle, flowing italic styles. The letterforms are confident and fluid, creating an overall sense of refinement and modernity.

More than a century ago, Frank H. Atkinson presented this hand lettered style as Broken Poster. It was one of a hundred styles he demonstrated in his manual on sign painting. Even before his book was published (and certainly after), Broken Poster was a favorite with sign painters and letterers. It has graced show cards and movie posters, signs and windows displays, and advertisements of all varieties. We presented the our first digital revival of this classic in 2000. It is long overdue for an upgrade. Broken Gothic expands the basic Broken Poster to four weights, two specialty formats and some cool layed effects. The language base includes Greek, Cyrillic, Latin A, and some of Latin B and Latin Extended. There are also some nice alternates and ligatures. All weights are quite suited to posters, headlines, display copy, web headers, etc. At first glance, Broken Gothic may seem to have limited uses. Give it a chance and it will surprise you. Broken shouts out that there is a sale, a giant monster or the end of the world. Broken Gothic is comfortable in a wide range of themes and applications from zombie movie titles to salsa jar labels. While I can't recommend it for text, Broken is great for headers, banners, signs, titles, product presentation and other display applications. When you need a rough customer, Broken Gothic fills the bill.

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.

Conference is a bold, playful sans serif, which was designed in 1978 by Martin Wait. Conference's letters are very curvaceous; many of them bulge lovingly outward from their centers. This typeface offers a different feeling than is available from most contemporary sans serif display faces; Conference is lively, without sacrificing readability. The type should be set in large, display sizes, where the eye can better appreciate its loving forms.

Introducing Franqueline Slab, the captivating new typeface family passionately designed by Estudio Vástago and expertly distributed by Sudtipos! This versatile font offers a diverse array of styles, ranging from delicately refined to boldly eye-catching on the weight axis, all elegantly inspired by the timeless Egyptian fonts of the late 19th century. With expressive character and exquisitely unique shapes, Franqueline Slab harmoniously blends the finesse of its delicate strokes with sophisticated endings, resulting in a truly remarkable typography. Every letter in Franqueline Slab has been meticulously crafted to strike the perfect balance between a contemporary edge and a touch of traditional charm, appealing to both the younger generation and typography enthusiasts who appreciate the artistry of the past. Its adaptability makes it ideal for captivating headlines that convey a message of youthful energy and playfulness, while still exuding the timeless elegance that only classic fonts can deliver. Embrace distinction and originality in your designs with Franqueline Slab. Whether it graces an editorial project, logo, or advertising material, this exceptional typeface family will undoubtedly stand out, leaving a lasting impression with its captivating personality. Watch your messages come to life and shine with the unparalleled charm of Franqueline Slab!

Thomas Jefferys (ca. 1710–1771) was the best-known map maker in 18th-century England, chiefly because he won (and hyped) the title “Geographer to King George III.” Jefferys was really more an engraver/publisher than a geographer, since he mostly relied on the cartographic materials of others. Still, his maps of the North American colonies were well known. Geographica is a legible, four-style serif family modeled after the neat hand-lettered place names and peripheral text on Jefferys’s maps. With its long serifs, tall x-height, and robust curves, Geographica somehow combines classic elegance with a whiff of coastline and sea. The italic styles have the slant and warmth of the hand-drawn source materials. And the typeface comes with a slew of distinctive map-based ornaments—including compass wheels and sailing ships. This evocative serif works well in both display situations and long blocks of text, whether on paper or screen. OpenType features include small capitals, numerous ligatures, and two stylistic sets of titling caps. Geographica offers full support for Central and Eastern European languages—more than 1,200 glyphs in all.

Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides. Lionheart succeeds with the idea of gradual curves leading to sharp concave or plano-concave terminals, to effectively build serious letter forms that speak of historical mystique and mystery. This font was was named after Richard I, King of England for a decade in the late 11th century. He reportedly exchanged many gifts of respect with Saladin, even though the two kings were on different sides of the Crusades. Lionheart comes in all popular font formats, with some alternates placed in accessible cells of the character set.

London-based designer David Quay designed ITC Quay Sans in 1990. One of the precursors to the long run of functionalist European sans serif faces that has been a dominating force in type design since the 1990s, ITC Quay sans is based on the proportions of 19th Century Grotesk faces. Grotesk, the German word for sans serif, defines an entire branch of the sans serif movement, which culminated in the 1950s with the design of Helvetica. ITC Quay Sans is made up of very simple, legible letters. The weights of the strokes throughout the alphabet vary very little. Microscopic flares on the ends of each terminal add a bit of dimension to the design. This helps prevent the onset of the monotony, a danger when one repeats countless near mono-weight stroked letters throughout a large body of text. ITC Quay Sans is a very readable face; it works equally well in all sizes. Six fonts of the ITC Quay Sans typeface are available: Book, Book Italic, Medium, Medium Italic, Black, and Black Italic. ITC Quay Sans is similar to Hans Eduard Meier's Syntax, and Tim Ahrens' Linotype Aroma."

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

A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street’s own Grotesque Shaded of 1834 (with light and shadow reversed). The idea of a shaded font is of an outline font whose letters have each been extruded through a die and then viewed from the lower right to reveal the third dimension. That third dimension has also been referred to as a shadow. Vincent Figgins' 1815-release of a shaded serif typeface was the first known of many shaded faces, as the other foundries rushed to bring out their own versions. Thorowgood Sans Shaded may be gainfully used today as a eye-catching headline font, just as it was so popularly used in the early nineteenth century. To assist with the usual all-cap letter-spacing problem, the following pre-kerned pairs are included: AT, AV, AW and AY. Be sure to download the Type Specimen showing the full character set, as well as a sample text. Live large - use it boldly.

NaNa Arabic is a new creation of Naghi Naghashian. It was developed in 2012/2013 on the basis of specific research and analysis of Arabic characters and definition of their structure. This innovation is a contribution to the modernisation of Arabic typography, giving the font design of Arabic letters real typographic arrangement and providing greater typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. NaNa Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. The NaNa Arabic Font Family is available in four weights: Thin, Light, Regular and Bold. The design of this font family is inspired by two classic scripts: Kufic and Naskh. The quasi-geometric character of Kofic melds with the calligraphic grace of Naskh, which was invented by Iben Moghleh, an Iranian savant of the ninth century. He lived in Baghdad and was assassinated at the instigation of an Abbasid caliph. He was a polymath and a renowned scholar. I dedicate the design of this font family to the memory of this great man.

Hastings was inspired by my appreciation for old fashioned English murder mysteries set in the early part of the twentieth century. No one seems to capture the ambience of the roaring twenties or thirties better than the Brits. Everything from the clothing, to the cars, to the telephones, down to the smallest accessories like the pens, all seem to have been appropriated from the local museum. I'm hopeful that this typeface also embodies similar feelings with its sleek and streamlined Art Deco features. Hastings has a glyph count of 389 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

“Hey, look at me!” cried the new advertising typefaces. With the nineteenth century and the industrial revolution came an esthetic revolution in type design. Brash, loud, fat display faces elbowed their way into the crowd of book faces, demanding attention. Those who admired traditional book types harumphed and complained. Robert Thorne had fired the opening round with his Fatface. With the cutting of Figgins Antique, the battle was well and truly joined. Job printing came into its own and it seemed like everything changed. The world of printing had been turned upside down and the gentile book-type aficionados recoiled in horror much as the rural landed gentry recoiled at the upstart middle class shopkeepers and manufacturers. William Savage, approvingly quoted by Daniel Berkeley Updike over a hundred years later, described the new display faces as “a barbarous extreme.” These were exciting times. According to Geoffrey Dowding in his An Introduction To The History Of Printing Types, “The types which we know by the name of Egyptian were first shown by Vincent Figgins in his specimen book of 1815, under the name Antique.” Of course, dating the design is not quite as simple as that. Nicolete Gray points out that Figgins used the same “1815” title page on his specimen books from 1815 to 1821, adding pages as needed without regard to archival issues. As a result, there are different versions of the 1815 specimen book. In those copies that include the new Antique, that specific specimen is printed on paper with an 1817 watermark. The design is dated by the 1817 watermark rather than the 1815 title page. Figgins Antique ML is an all-cap font. This typeface is for bold statements. Don't waste it on wimpy whispers of hesitant whimsies. And please don't use it for extended text -- it will only give someone a headache. Think boldly. Use it boldly. Set it tight. Go ahead and run the serifs together. Solid and stolid, this face is very, very English. FIGGINS ANTIQIE ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 331 glyphs. 2. Added OpenType GSUB layout features: liga and pnum. 3. Added 86 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Redesigned mathamatical operators. 6. Included of both tabular (standard) & proportional numbers (optional). 7. Refined various glyph outlines.