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  1. The "H.H. Samuel" font, created by Spanish type designer Fernando Haro (deFharo), stands as an exquisite representation of modern typographic design. This font is a part of deFharo's broader explorat...
  2. Korean Calligraphy, known as "Seoye" (서예) in Korean, is not just a font but an art form that embodies the grace, tradition, and aesthetic precision of Korean culture. It is an artistic practice of ha...
  3. The SKULL TS 2 font, designed by the notable font designer Billy Argel, stands out as an emblematic representation of creativity melded with an edgy, gothic aesthetic, reflecting Argel's penchant for...
  4. The font named SAVE THE HONEYBEE, created by SpideRaY, is a distinctive and purpose-driven typeface, conceived with the intention of raising awareness about the critical issue of honeybee conservatio...
  5. Crosspatchers Delight by PizzaDude is one of those fonts that instantly captures your attention with its unique and vibrant personality. Designed with an eclectic touch that seems to dance between cr...
  6. Angryblue is not just a font; it's a powerful statement wrapped in the attire of typographic artistry, courtesy of the creative mind behind the brand, Angryblue. Imagine if a rebellious punk rocker, ...
  7. The Romance Fatal Goth Versal font, designed by Juan Casco, is a fascinating foray into the world where gothic sensibilities intermingle with romantic fatalism, presenting an artistic expression that...
  8. Once upon a time, in a world bursting with the solemnity of serif and the sternness of sans-serif, there emerged a font so whimsically charming and cheekily vivacious, it could only be known as Comic...
  9. Prepare yourself to delve into the whimsically wicked world of EvilGenius BB, a font that could only spring from the vibrant minds at Blambot Fonts. This is a font that puts on a cape, laughs maniaca...
  10. The font Mastodon, created by Apostrophic Labs, is a distinctive typeface that stands out due to its unique style and versatility. It belongs to a category of fonts that combine elements of both nove...
  11. Psycho Poetry is a font that truly captivates the imagination, inviting its audience into a universe where typography and creativity merge in a dance of poetic madness. Imagine each letter crafted wi...
  12. StamPete is a charismatic and lively font that seems to leap off the page with an infectious energy. It is a display font that draws inspiration from the distinctive marks made by rubber stamps, embo...
  13. The "CrazyZoo" font, imagined as a spirited creation by an artist named Chloe, is a vibrant and captivating typeface that instantly transports its viewer into a whimsical world of imagination and cre...
  14. As of my last update in April 2023, HeadlineNEWS by Reference Type Foundry has not been specifically documented in my training data. However, I can provide you with a general description based on wha...
  15. The font named Skeksis, created by Neale Davidson, is a fascinating typeface that draws inspiration from the rich tapestry of fantasy and science fiction. This font serves as a bridge between the mys...
  16. As of my last update in early 2023, there might not be a widely recognized or specific font called "Naz" that has achieved significant prominence or notoriety in the fields of typography or graphic d...
  17. "Staubiges Vergnügen," created by nihilschiz, is a font that resonates with a unique blend of artistic flair and nostalgic charm. Its name, translating to "Dusty Pleasure" in English, perfectly encap...
  18. The Bertolt Brecht font by Thiago Matsunaga is an evocative and expressive typeface that captures the spirit of innovation and sophistication. Named after the famed German playwright and poet Bertolt...
  19. Drift Wood, intricately designed by the renowned typeface artist Dieter Steffmann, embodies a unique blend of rustic charm and artistic flair, transporting one to an era that exudes both warmth and n...
  20. As of my last update in 2023, "Sonic Empire" isn't a widely recognized font within mainstream typographic resources, which suggests it might be a custom or lesser-known typeface, perhaps specifically...
  21. The font titled "Chemical Reaction B BRK" created by AEnigma is a distinctive typeface that embodies a unique blend of creativity, precision, and playfulness. Designed to evoke the sense of a chemica...
  22. Digital Counter 7, designed by the prolific foundry Style-7, is a digital font that encapsulates the essence of digital displays from the late 20th and early 21st centuries. This font is distinguishe...
  23. Imagine if a bunch of rebellious pixels had a wild party on your screen, and the next morning, you find them trying to form letters with a throbbing headache. That, my friends, is the essence of "Hea...
  24. The Slim Chef font by Juan Casco is a whimsical and charming typeface that exudes creativity and playfulness, tailor-made for those projects that require a dose of light-heartedness and a sprinkle of...
  25. Zuben, created by the talented designer Fran Board, stands out as a distinctive typeface that merges the essence of geometric precision with a touch of humanistic warmth, making it both appealing and...
  26. As of my last update in April 2023, CounselorScript is not a widely recognized or standard font, and its characteristics might not be universally agreed upon or formally documented. However, let us p...
  27. The font "Anna" is an artistic labor of love created by the talented designer Keith Bates. It stands out in the realm of typography with its distinctive charm and uniqueness. This font encapsulates a...
  28. Robotaur, crafted by the innovative minds at Iconian Fonts, is a font that captures the imagination and propels it into a science fiction realm. It is not just a collection of characters; it's an ens...
  29. As at the last update I received in 2023, the font "NewMedia" created by Denis Potschien offers a fresh and contemporary take on digital typography. It is designed to capture the essence of modernity...
  30. The font named "abc" by Weknow is a distinctive typeface that showcases the creativity and artistic versatility of its creator, Weknow. Weknow is well-known for his prolific output of unique fonts, o...
  31. Ah, Roddy! If fonts were guests at a party, Roddy would be the one wearing a bow tie with sneakers, casually charming everyone with stories that span from the quirky to the profound. It’s not just a ...
  32. As of my last update in 2023, "Twenty Four" may not refer to a widely recognized or standardized font within typographic communities or font libraries. However, the playful and imaginative name sugge...
  33. Drum Komputer by Channel Zero! is not just a font; it's an ode to the era of early digital experimentation and the pioneering days of electronic music and computer technology. This unique typeface em...
  34. "As an imaginary artist with a vivid appreciation for typography, envisioning a font by the name of 'If' can inspire a world of possibilities. This concept of 'If' as a font embodies the essence of w...
  35. As of my last update in April 2023, "Paul6" does not appear to be a widely recognized or documented font within the typographic community or among the standard collections from major type foundries. ...
  36. Catharsis Requiem, a font that seems to exist at the intersection of elegance and strength, offers a deep, emotional resonance through its design, making it a distinctive choice for various design pr...
  37. The Black Cow font, masterfully created by the talented David F. Nalle, stands out as a testament to the intersection of artistic flair and typographic innovation. Nalle, known for his ability to inf...
  38. TT Marxiana by TypeType, $59.00
    TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.
  39. Parisine Std by Typofonderie, $59.00
    Ultra legible forceful sanserif in 32 fonts Parisine was born as official parisian métro signage typeface. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. Born as signage typeface family, the various widths and weights permit a wider range of applications. In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited. The various Parisine typeface subfamilies Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. Many years of adjustments were necessary to refine this complex family. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch. Directly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine. Parisine: Introducing narrow and compressed families About Parisine Parisine helps Parisians catch the right bus Observateur du design star of 2007
  40. Optima Cyrillic by Linotype, $65.00
    Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™, and Soho®.
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