Excritura is the third typeface created by the Spanish designer Alex Camacho. The robust personality of this original calligraphy-derived italic font will undoubtedly also win you over.Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre. Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre.

Wide font family is a geometric sans serif font, which features 9 styles. It’s based on the Futura developed by Paul Renner and neo sans-serif fonts. At the same time, it has significant stylistic differences. Massive lengthy letters are among the unique features of this font. They will help you come up with the perfect composition. The letters have optical compensation, while a circle is the main figure of the fonts. Due to wide fonts, your project will have modern and fresh design. The composition will keep its contrast regardless of a background you’ve chosen. The Widy family includes 9 styles: Thin, Extra Light, Light, Semi Light, Regular, Medium, Semi Bold, Bold and Extra Bold. Each of them also has Italic variation. The fonts are perfect for both graphic design projects (posters, brand identities, logotypes) and simple interface design, which needs the necessary style.

The world of typography has been forever transformed by the innovative and avant-garde typeface that is Silicone. Its unique, all-caps letterforms embody the futuristic essence that forward-thinking graphic designers crave. Silicone is a synthetic typeface that boasts a smooth, sleek surface with soft strokes and letterforms that will captivate the viewer’s attention. Each letter has been meticulously crafted to evoke a sense of calm and sophistication. With seven weights available, Silicone is a versatile typeface that can be tailored to meet the demands of any design project. Whether you need a chunky weight for a bold headline or a laser-thin weight for delicate body text, Silicone has got you covered. And let’s not forget about the italics! With its own distinct style, the italics add a touch of elegance and refinement to any composition. Silicone is more than just a typeface, it’s a high-tech voice that communicates your message with precision and style. Don’t settle for ordinary when you can elevate your designs to the extraordinary with Silicone. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Welcome to the world of Emory, the typeface that packs a gritty punch. With its sandpaper-like texture, Emory is perfect for those looking to add a tactile quality to their message. This easy to grip typeface is designed to be comfortable to use, yet its coarse texture will make your words stand out. Every letter has been crafted with care to ensure a unique look that will make your text truly one-of-a-kind. In addition to its distinctive texture, Emory also features bespoke combos that will automatically be substituted for common character sequences. This feature adds an extra layer of roughness to your text, ensuring that your message will truly stand out. Emory is available in four distinct variants: Regular, Italic, Bold, and Bold-Italic. Whether you’re looking for a subtle touch of texture or a bold statement, Emory has you covered. So why settle for a plain, boring typeface when you can add a touch of grit and texture to your message? Choose Emory and experience the power of grit! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Introducing Biphoton—the monospaced sans-serif typeface designed to elevate your screen captions and UI applications to a new level of clarity and precision. With proportions that match Letter Gothic 12 Pitch, Biphoton can easily replace this font in any application where it has been specified. Unlike Letter Gothic, Biphoton is optimized for screen performance, ensuring that your message is delivered with utmost clarity and impact. This font features a range of currency symbols, numeric ordinals, primes, and common precomposed fractions, ensuring that your message is conveyed with precision and style. Biphoton is available in Regular, Italic, Bold, and Bold-Italic in TrueType, making it easy to integrate into your existing design workflow. Whether you’re designing for mobile or desktop applications, Biphoton delivers superior performance and visual appeal. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Looking for a typeface that exudes intelligence, sophistication, and technical know-how? Look no further than Affluent—the sleek, modern sans-serif typeface that blends cutting-edge technology with scientific elegance. One of the key features of Affluent is its unique mix of unconstrained vertical lines and perfectly flat, quantized near-horizontal lines. The result is a design that feels both dynamic and precise—perfect for conveying complex technical information with ease. Whether you’re designing materials for a military organization, a scientific research institute, or a cutting-edge technology company, Affluent is the font that will help you make your mark. With four distinct styles to choose from—Regular, Semi-Bold, Bold, and Italic—you can customize your design to perfectly match your brand’s personality and message. So why settle for a boring, generic font when you can choose Affluent and take your design to the next level? Try it out today and see the difference for yourself! Affluent comes in Regular, Semi-Bold, Bold, and Italic styles. Most Latin-based European, Greek, and some Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greek, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Ukrainian, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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. ITC Founder's Caslon® was created in 1998 by Justin Howes, an English designer who used the resources of the St. Bride Printing Library in London to thoroughly research William Caslon and his types. As was common in the eighteenth century, Caslon had punchcut several different sizes of his types, and each size had a slightly different design. Howes digitized every size of type that Caslon cast, keeping their peculiarities and irregularities and reproducing them as they appeared on the printed page. This family has the 12 point, 30 point, 42 point, and Poster styles, as well as a full set of bona fide ornaments. In keeping with the original Caslon types, none of the sizes have bold weights, the numerals are all old style figures, and a full set of ligatures (some with quaint forms) are included. ITC Founder's Caslon® is a remarkable revival in the true sense of the word, and works beautifully in graphic designs or texts that require an authentic English or historical flavor.

Introducing Wyvern—the sans-serif typeface that exudes professionalism and precision. With its high x-height and short descenders, Wyvern is a true testament to the vintage typewriters and daisy wheel printers that inspired its creation. Its sleek and compact design boasts clean edges that give it an open and vibrant appearance, perfect for businesses looking to make a brave statement. But it’s not just its appearance that sets Wyvern apart—its italics are a testament to its strength. With angled stems and altered stem widths, Wyvern maintains a dynamic and natural appearance without the use of cursive forms. This makes Wyvern ideal for businesses that want to convey a sense of innovation and forward-thinking. Wyvern comes in seven weights and italics, providing a range of options for businesses looking to make their mark. Whether you’re creating an audacious new brand identity or refining your existing design, Wyvern is the perfect choice for designers that want to make an impact. So why wait? Experience the power of Wyvern today and take your design to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

"Berganza" is a typeface designed as a tribute to the spanish century called "Siglo de Oro". Embellished with several ornaments and swashes, it quickly reminds an age in which castilian arts & letters were flourished, as well as the fantasy knighty fables adventures of heroes, loved ladies and evil villains. Although the Siglo de Oro cannot be set in specific dates, it is generally considered to have lasted more than a century; between 1492, the year of the discovery of America and 1681, the year in which the writer Pedro Calderón dela Barca died. Lope de Vega, Francisco de Quevedo, or even William Shakespeare (in England) are also famous figures of this time. Berganza typeface takes its name from the main character of the picaresque novel "The Conversation of the Dogs" (Cervantes, 1613). Berganza is able to speak with the other dog Scipio on a big number of social & philosophical topics. Talking about technics, Berganza is a modern typeface but with a humanist flavour. Thanks to its various styles and flourishes, it immediately refers to the culteranism aesthetic of that time, whose aim was to elevate the noble over the vulgar. But also, Berganza takes advantage of the contemporary technology, highlighting in his drawing the contrasted forms and certain broken and unusual strokes in order to give it a brave and different style touch. Berganza includes four weights to be used for continuous reading with great visual richness. However, it is more recommended for large sizes, since its unusual and particular details appear when the letter grows. Finally, the hundreds of glyphs and Opentype features that it has incorporated, allow us to change the aesthetics of the type according to our needs. OPENTYPE FONT 518 CHARACTERS 1113 GLYPHS 4 INSTANCES (Regular, Bold, Italic & Bold Italic) 38 LANGUAGES 28 LAYOUT FEATURES (stylistic sets, ligatures, historical ligatures, swashes, contextual alternates, numerals, etc) DESIGNED BY CARLOS CAMPOS IN 2021 www.cuchiquetipo.com Dummy text from wikisource.org («Rinconete y Cortadillo», by Miguel de Cervantes).

A sans serif with a dynamic look for complex typographic work. Rival Sans is a sans serif font family possessing many strengths. Its 32 fonts and 2 styles, make Rival Sans a very versatile family and suitable for many graphic design projects such as branding, signage, editorial creation, advertising, packaging, broadcasting or logo creation. With the endings cut at 10 degrees and sharp cuts on the top of the stems of certain characters (like the l, b or the d) Rival Sans gives dynamism and readability to the lengthiest of editorial content. This beveled font design also gives rhythm to a text's sentences as well as a very functional look. All these design details give this new font family a modern, energetic and humanistic look. Rival Sans also has many powerful OpenType features such as case sensitivite forms, small capitals, old style and tabular figures, slashed zero, ligatures, fractions,and alternative characters to give personality to graphic design projects. Designed also for complex editorial content, this typeface has a powerful home kerning system called "Pro Kerning". With more than 2500 pairs of glyphs and many languages, Pro Kerning optimizes headlines, subtitles, texts as well as long paragraphs in real time. In addition to these extended features, the italic styles of this fonts family have been drawn as fully-fledged styles with different designs from their regular version so that the italic texts look like calligraphic phrases. Rival Sans has an extended character set with over 930 glyphs. This family covers over 130 languages from Western Europe, Eastern Europe and Central Europe. In addition to all the features of its kind, Rival Sans is part of a very complete "type system" with style variants such as the serif version Rival Serif or the slab version Rival Slab. With all these typefaces, you have 62 styles to make your own vibrant and professional graphics or web creations while maintaining consistency in your creations.

TT Bluescreens useful links: Specimen PDF | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Meet the upgraded TT Bluescreens! TT Bluescreens is a geometric sans serif with narrow proportions. The font has a memorable character, while remaining neutral, so it can be used in various design projects. The range of possibilities of the updated TT Bluescreens has become much wider! Condensed styles with narrowed proportions have been added. The classic styles of TT Bluescreens are universal and suitable for setting both in headings and in text arrays. Condensed styles are intended for non-standard design solutions. In small sizes, they are perceived as if having a texture, thanks to which they can become part of packaging or poster design. In large size they look extraordinary, but they are highly readable and convey information well. Variable font now changes along 3 axes: weight, width and slant. Even more options for those who love variety. The character set of TT Bluescreens was expanded, and additional extended Cyrillic and Latin characters were added. Expanded character set. Each style has 874 characters. This is 253 characters more than it there were in the previous version. New currency signs, arrows, punctuation and fractions were added. Number of OpenType features increased from 18 to 31! The font has become even more functional and convenient thanks to a large number of ligatures, stylistic alternatives and localizations. The quality of the contours has become even higher, diacritics were improved. The updated TT Bluescreens is suitable for the design of covers and posters, it will look aesthetically pleasing in packaging design. It can be used in the design of titles and disclaimers. Condensed styles are preferably used in large size. The TT Bluescreens font has 37 styles: 9 upright and 9 italics of standard width, 9 upright and 9 italics in Condensed, 1 variable style. Each style contains 874 characters. The font has 31 OpenType features, including ligatures, stylistic sets, and localizations.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: the sturdy, legible forms of FF Good have been put to good use in the Polish-language magazine ‘Komputer Swiat,’ the German and Russian edition of the celebrity tabloid OK!, and the new corporate design for the Associated Press. Although initially released as a family of modest size, the typeface was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles. This includes seven weights ranging from Light to Ultra, and an astonishing seven widths from Compressed to Extended for both FF Good and FF Good Headline, all with companion italics and small caps in both roman and italic. With its subtle weight and width graduation, it is the perfect companion for interface, editorial, and web designers. This allows the typographer to pick the style best suited to their layout. As a contemporary competitor to classic American Gothic style typefaces—like Franklin Gothic, News Gothic, or Trade Gothic—it was necessary that an expanded FF Good also offers customers both Text and Display versions. The base FF Good fonts are mastered for text use, while FF Good Headline aims for maximum compactness. Its low cap height together with trimmed ascenders and descenders give punch to headlines and larger-sized copy in publications such as newspapers, magazines, and blogs. There is even more good news about FF Good: it has something of a serif companion. Łukasz Dziedzic built FF Good to work together with FF More, creating in a powerhouse superfamily that is versatile in both its function and aesthetic.

Moritza Script is a calligraphy script font that comes with a very beautiful character change, a kind of classic decorative copper script with a modern touch, designed with high detail, it took time since July 2019 - September 2020 to present an elegant style. Moritza Script is attractive as a typeface that is smooth, clean, feminine, sensual, glamorous, simple and very easy to read, because there are many fancy letter connections. I also offer a number of viable style alternatives for many letters. The classic style is perfect to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or any type of advertising purpose. Moritza Script including various language support. With OpenType features with alternative styles and elegant ligatures. The OpenType feature does not work automatically. I highly recommend using a program that supports OpenType features and Glyphs panels such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so you can see and access all Glyph variations. Moritza Script is encoded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Font Book, and Windows users can use Character Map to view and copy one of the extra characters to paste into your favorite text editor / application. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, please let me know. I'm happy to help. Thanks & Happy Designing! New Update • Moritza Script! Moritza has now been updated to include 3 styles; bold version, regular & italic version. This gives you the option to completely change your font style with the click of the mouse, whether you're looking for a smoother style, a bold version, or an italic finish. And don't forget the elegant touch of ornament.

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. Caslon Antique was designed by Berne Nadall and brought out by the American type foundry Barnhart Bros & Spindler in 1896 to 1898. It doesn't bear any resemblance to Caslon, but has the quaint crudeness of what people imagine type looked like in the eighteenth century. Use Caslon Antique for that old-timey" effect in graphic designs. It looks best in large sizes for titles or initials. Caslon Black was designed by David Farey in the 1990s, and consists of one relatively narrow and very black weight. It is intended exclusively for titles or headlines. Caslon Black has a hint of the original Caslon lurking in the shadows of its shapes, but has taken on its own robust expression. Caslon Graphique was designed by Leslie Usherwood in the 1980s. The basic forms are close to the original Caslon, but this version has wide heavy forms with very high contrast between the hairline thin strokes and the fat main strokes. This precisely drawn and stylized Caslon has verve; it's ideal for headlines or initials in large sizes."

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

P22 ST.G Shrift is a font series based on the type designs of Stefan George with an italic version designed by Colin Kahn. Stefan George (1868-1933) was a German poet who led the revolt against realism in German literature. All of his works were privately published and the typefaces that were used reflected his neo-classic and anti-industrial (progessive) aesthetics; oftentimes consisting of his own hand lettering designs. The original font was cast in 1907 by a small foundry in Germany and was used primarily for the works of George as well as other books including a monumental edition of Dante's Divine Comedy. The ST.G Shrift Fonts contained in this set are derived from 3 known variations of the original roman typeface, St.G., found in various books published in Berlin in the early 20th century. ST.G Shrift One contains the most idiosyncratic characters, while ST.G Shrift Two uses more familiar characters as well as a redesign of characters including the t and the k to be more in keeping with modern san-serif designs. The OpenType version of the roman contains both one and two and expands on them by including central European characters, small caps, and small caps titling figures. The Small Caps titling figures are derived from the first version of the typeface. Below is a features list (accessible through the type palette in Adobe programs) and their functions: ST.G Shrift Opentype Features: Small Caps: Changes Lowercase to Small Caps Titling Figures: Changes Uppercase to Titling Caps, and Small Caps to Small Caps Titling Figures Contextual Alternates: Changes Character Set to match ST.G One and changes Small Caps to Titling Small Caps Ornaments: Changes < > and ? (greater, less and bullet) to ornaments ST.G Shrift Italic is an art nouveau version of the roman. The OpenType version includes central European characters, small caps, titling caps, titling small caps and ornaments.

Faithful Fly is an alphabet of capital letters designed by David Sagorski in 1994. Vital and dynamic, the figures of Faithful Fly dance across the base line. Zigzag strokes and energetic forms define this frolicsome font. Little ovals decorate the figures in different places. A marked contrast between finer and stronger strokes can be seen in all characters and builds the foundation of the unmistakable image of this font. Faithful Fly's fresh, young look makes this font perfect for comics, cartoons and trend magazines.

Amertha is a bold logotype script font created in 2020. It is wild and fast, and has beautiful, signature style brush strokes. The expressive movement of the letters creates a feeling of vitality and will grab the attention the viewer. The typeface has OpenType features such as ligatures and a complete alternate alphabet, which makes it natural and adaptable to any project. It has an extensive lingual support, covering all European Latin scripts. The font contains all characters you'll ever need, including all punctuation and numbers.

Brenta is a crisp typeface with open counters and compact proportions, its name referring to a range of mountains in northern Italy. Like its namesake, Brenta is characterized by sharp-edged and sturdy forms, but also by its clarity and elegance. Strong serifs, flat and bold shoulders and open terminals pronounce the horizontal and help to guide the eye along the line. Very fine junctures keep the characters sharply defined and create dynamic light traps. Visit this minisite to see the Brenta webfonts in action: http://brenta.ludwigtype.de

HT Neon shines as if to invite us.This rounded and monoline font is very striking. But it is readable because the characters are arranged naturally when they are typed. HT Neon is great to use on your design projects such as Shop Sign,Packaging, Logotype and more.When you type the character “µ”, it becomes a electrical cord! Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

HGB Info is a display typeface for my Linotype Nautilus Monoline. This came about while working on the corporate design for the municipality of Weissach im Tal. Shorter ascenders and descenders and a broader letter shape result in more compact word images. The ups and downs are cut vertically. This works particularly well in large degrees. This is the area of ​​application on signage and information systems.

Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. The typeface name was chosen as an homage to the mythical homeland of the Norse Gods, evoking a land of fierce warriors, power and strength - but also of divine, delicate beauty. Thanks to the help of Andrea Tartarelli and Mario de Libero the original design was extended along with the design space, expanding the number of weights and widths with a "workhorse typeface" approach, and adding also a slanted axis to experiment with italics. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family. This gives the designer a full range of options for typesetting, with the Roman and Fit widths providing basic display and text-sized alternatives, and the Wide width adding more display and titling options. The inclusion of backslant italic styles gives Asgard an extra chance to add its voice to the typographic palette. To complement this, all Asgard fonts have been given a full set of Open Type Features including standard and discretionary ligatures, stylistic sets, positional numerals and case sensitive forms. Dynamic and expressive, Asgard is a super-family that manages to look brutal and refined at the same time, quoting the vernacular typographic practices of letterpress print while expressing the contemporary zeitgeist. • Suggested uses: perfect for contemporary branding and logo design, bold editorial design, dynamic packaging and countless other projects. • 73 styles: 8 weights + 8 italics + 8 backslant italics, 3 different widths + 1 variable font. • 968 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Slashed Zero • 219 languages supported (extended Latin, Greek and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

TT Runs useful links: Specimen PDF | Graphic presentation | Customization options TT Runs Version 2.0—an Unusual Wide-Proportioned Sans Serif! An update that expands the font's capabilities. TT Runs is a font designed for the sports industry. Before starting the development, we researched the identities of various Olympic venues and analyzed current sports brands. We put in maximum effort to design a unique yet elegant modern font well-suited for the sports sector. TT Runs has wide and unusual proportions that are different from traditional ones. It is because of the reversed contrast, which refers to the distinction between the upper and lower parts of letters. The uppercase letters have distinctive inverted proportions, particularly noticeable in characters like K, C, S, and R. This design choice gives the font an original personality and makes the letters look stylish and suitable for both athletic and casual sportswear. While updating the font, we kept its distinctive characteristics and preserved the graphical look of the majority of the characters. However, we thoroughly redesigned the outlines and italic font styles and updated the font's technical aspects entirely. As a result, TT Runs has become more convenient to use, and its range of applications has significantly broadened. - More projects and countries! The set of each font style has expanded from 791 to 917 characters. We added new languages and characters of the expanded Latin and Cyrillic writing systems. - Perfect italics! The new italic font styles are flawless from both graphical and technical points of view. The updated variable font. We have united the roman and italic font styles. You can now change the font on the axes of slope and weight, choosing the suitable values. - The new set of OpenType features! We added the updated numerators with currency symbols, numbers in filled circles, and localization features for the Dutch, Catalan, Turkish, Serbian, Bashkir, Chuvash, Bulgarian, and Romanian languages. TT Runs is an expressive font. It looks aesthetically pleasing on both athletic and casual clothing and is well-suited for printing on any material. Due to its proportions, the font is an ideal choice for headings, offering excellent readability and an elegant appearance in bigger blocks of text. Created with the sports industry in mind, this font brings a touch of style to any modern project. FOLLOW US: Instagram | Facebook | Website TT Runs OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt. TT Runs language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Uzbek (lat), Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gikuyu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Asturian, Belarusian (lat), Bosnian (lat), Breton, Bulgarian (lat), Colognian, Cornish, Corsican, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Walser, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Lakota, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Azerbaijan, Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Shor, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr) .

Derived from the world famous Rennie Mackintosh Font, the Venezia version gives a very modern look to this classic font, especially when filled with a gradient fill in a graphics package such as Photoshop or CorelDraw - although it even looks great "out of the box". The Venezia name comes from the native name of the city of Venice - one of several Italian cities Mackintosh visited on a sketching tour of Italy early in his architectural career. Venice was also one of the venues of an exhibition of Mackintosh's work on a European tour.

Seven superb scripts, to be freely mixed with one another. Alone, each of them flows nicely, but combined they reach ultimate vitality and grace. The Pleiades are one of the most beautiful constellations in the sky, and in Greek mythology they were seven divine sisters. Luxurious freedom of choice and excellent readability make Pleiad the perfect face for a variety of projects, from stylish invitations to magazine ads, from poetry books to restaurant logos. Sometimes calm, sometimes flittering – but always fair and graceful – this sublime calligraphic type family will hold an everlasting fascination.

Karepo is a remarkably cool and dynamic serif font designed to elevate the visual appeal of your display. This font brings a sense of modernity and vitality to your designs, making them more captivating and engaging. Ideal for graphic design, social media, and branding projects, Karepo seamlessly integrates into the contemporary design landscape, adding a touch of sophistication and charm. Elevate your visual communication with this versatile serif font, perfect for creating a lasting impact across various platforms. Thank you for coming to my shop and enjoying other fonts.

Vicentina has been created starting from gothic cursive calligraphy, widely used in Italy during XIV century. The ductus of Vicentina has been derived from the documents redacted by Master Domenico Dominici from Vicenza, while most of the inspiration comes from books preserved in the archives of Orvieto Cathedral (Archivi dell'Opera del Duomo di Orvieto). As a result, Vicentina takes form with an elegant, but fast and simplified ductus respect to gothic graphs, rich in ligatures and with over 400 OpenType glyphs, in perfect harmony with the rules of readability of a modern typeface.

Golden Record is an elegant all caps sans serif typeface with a tall, classic, and high-quality feel. Its timeless design is perfect for adding a touch of sophistication to any project. The font's classiness evokes a sense of luxury and opulence, making it ideal for high-end branding and design applications. Golden Record is a versatile typeface family consisting of the styles Light, Regular, Bold, and Outline, each available in Italic, offering a wide range of creative possibilities. The idea for Golden Record came to life when Mans Greback was inspired by the elegance of vintage vinyl records and their iconic gold labels, merging classic aesthetics with modern design principles. Mans Greback is a Swedish typeface designer known for crafting high-quality fonts with a focus on versatility and aesthetics. He created Golden Records to provide designers with a unique and sophisticated typeface for upscale projects. Greback is committed to delivering exceptional quality in every font he designs, consistently pushing the boundaries of typography.

Robert Moore is a font that was specially designed for comics. A lot of work has been done. At first, glyphs were drawn manually using different markers, then they were transferred to the font. The font was tested on real printing and digital comics. The world of fonts for comics is big and I wanted to create even more variability for authors with one family, which is why a variable version was created containing two axes: weight and italics. This gives you more options. A large number of glyphs, multilingualism, ligatures, and a capital give even more scope for work and creativity. The name was created from the names of the authors of the comics Robert Kirkman and Alana Moore, so the Robert Moore font turned out. Although the font was made for comics, it is not limited to them. Posters, logos, covers, text, headings, prints, product design, web, interfaces are not all options for using the font.

Introduce Salma Alianda Script! This is a modern font script. This font comes with a thin and italic style, made very slowly to get a neat result so it will create a very elegant impression on this font. Available 653 glyphs in it, so you can get used it freely and follow the current trend. With a style like this, this font will be suitable in use for logo's, branding projects, homeware designs, product packaging, mugs, quotes, posters, shopping bags, logo's, t-shirts, book covers, name card, invitation cards, greeting cards, and all your other lovely projects. You can use this font for your job very easily. Because there are many features in it. Contains the complete set of lower and uppercase letters, punctuation, numbers, web fonts, and multilingual support. This font also includes several ligatures and alternative style Stylistic Set For those of you who have software that is capable of working OpenType (Corel Draw / Photoshop / Illustrator / InDesign).