Rational TW is the typewriter addition to the Rational family. It is a monospaced font building on the same principles as its proportional, neogrotesque brother, such as maximum legibility and flexibility while combining Swiss and American gothic elements with a modern aesthetic. Due to the monospaced environment, some of its letter shapes like “r”, “m”,“f”, “i” and “w” have been slightly adapted but kept the same in appearance. Rational TW comes in two version: Rational TW Display and Rational TW Text. As indicated by its name, Rational TW Text is not limited to, but works best in small font sizes because it features distinctive letter shapes like a double storey “a” or “g” in order to help differentiate similar glyphs in small sizes. Rational TW Display, on the other hand, creates a geometric uniformity by implementing round shapes in “a” and “g”, giving it a subtle friendly and open character. Unlike many other monospaced fonts, Rational TW has a large amount of opentype features like small caps, alternative glyphs, case sensitive shapes, and many more making it the perfect choice for countless scenarios. With more than 700 glpyhs per font, it performs excellently in any project from print to digital.

Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

Introducing "Cyberend" – a font that seamlessly marries the raw, edgy aesthetic of cyberpunk with the precision of square pixels and the sleek modernity of italic serifs. As the digital world converges with futuristic design, Cyberend emerges as the quintessential typeface for those seeking a cyberpunk-inspired typographic experience. Dystopian Elegance: Cyberend encapsulates the essence of cyberpunk, embodying a dystopian elegance that effortlessly blends chaos and sophistication. The font's italic serifs add a touch of rebellion and forward momentum to every character. Pixelated Precision: Immerse yourself in the pixelated precision of Cyberend, where each character is meticulously designed with square pixels. The result is a sharp, high-tech appearance that resonates with the digital landscapes of cyberpunk aesthetics. Versatile Impact: From gaming interfaces to film titles, Cyberend makes a bold statement in any digital or print medium. Its versatility allows you to infuse cyberpunk vibes into logos, posters, websites, and more, giving your projects a distinctive and immersive feel. Futuristic Legibility: Despite its cyberpunk flair, Cyberend prioritizes legibility. Each character is crafted to ensure readability, maintaining a perfect balance between avant-garde design and practical functionality. Unleash the power of Cyberend to transport your audience into a cyberpunk-inspired future. Whether you're designing for tech enthusiasts, gamers, or cyberpunk aficionados, this font is your gateway to a digital realm where style meets rebellion. Upgrade your typographic game with Cyberend and let your creations transcend the boundaries of conventional design.

The gaming world is loaded with so many cool logotypes that never see the full font light of day. The PowerUp family finds its origins of inspiration in the Super Mario Bros. logotype, and been expanded upon to create its two unique styles and extruded shadow typefaces. PowerUp celebrates the geometric sans serif stylings of the original logotype, both in its condensed and heavyweight forms, and gives them the full character set they deserve. It's fun and functional. Each font includes a full standard character set with expansive international support of latin based languages, and 2 weight/width styles and three shadow styles. This highly stylized family is ready to electrify design urges, both digital and beyond. Here's what's included with the PowerUp Family: 480 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 styles: Regular, Black, Shadow, Black Shadow One, & Black Shadow Two. Layered Black & Black Shadow Two can be scaled down to 62% to match inspiration logotype. Here's why the PowerUp Family is for you: You're in need of a dynamic geometric font with extruded shadow layerable fonts You're a huge Super Mario Brothers fan You're a gamer, obsessed with all gaming related things You are looking for a techno style font family with Condensed AND Uber Black styles You just like to collect quality fonts to add to your design arsenal

Earlier this year I visited a bakery in Newport Beach, CA and fell in love with the organic design and typography of the place. Hand-drawn menus, table cards, chalkboards, and wall quotes surrounded the charming spot. It inspired me to create a new font family based on the combination of hand drawn fonts. Included in this package are 5 font families, with 2 graphic ornament fonts. Each font family contains at least a light, medium and bold. Here is a breakdown of what's cookin' at Catalina's Bakery: Catalina Anacapa: Tall and skinny, this font comes in 3 weights for both sans and slab serif styles. It includes contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and also includes Small Caps. Catalina Avalon: Based off Anacapa, this sub family has a high contrasting line weight. It comes in light, regular and bold as well as an inline alternative for both sans and slab serif styles. Avalon also includes opentype features such as contextual alternatives (giving 3 versions of each letter), stylistic alternatives for select letters (A, K, P, Q, R, Y) and small caps for each letter. Catalina Clemente: In a more standard width, Clemente is one of the two sub families that can be used for paragraph text as well as headlines. It's organically geometric in style and comes in ALL CAPS and lowercase, includes upright and custom italics, and has the opentype feature giving 3 versions of each letter. Catalina Script: A great compliment with the display sub-families, Catalina Script rounds out the package with a hand-drawn cursive flair. It includes contextual alternatives (giving 2 variations to each letter) as well as stylistic alternatives for many of the capital and lowercase letters. It has special ligatures for some letter combinations, and titling alternatives for all the capital letters. Catalina Typewriter: The second of the paragraph text sub-families, this typewriter inspired hand-drawn font family works great as either a display or paragraph text. It has contextual alternatives with 3 versions of each letter, and comes in both upright and custom italics versions. Catalina Extras! These two fonts go perfectly with the Catalina Family. They includes borders, frames, arrows, banners, flourishes and more. Catalina Flourish has all of it's options in a light and bold style, to use the light version type all lowercase letters, then to make something bold, used it's uppercase (or shift+) characters. For a breakdown of graphic/letter correlation, see the breakdown PDF. All of Catalina was drawn by the same hand, using the same ink and technique. While they contrast in their type styles, they work together perfectly to create one cohesive font family.

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

An experimental font designed by Viktor Kharyk in Op Art style. UniOpt is based on free brush technique similar to experimental lettering of the early decades of the 20th century; for instance to ‘Graficheskaya Azbuka’ (‘Graphic ABC’) by Peter Miturich and works by Victor Vasareli. The face is legible even at small sizes and quite useful to an original display matter, initials and logos. The rigid double-wide structure allows to create complicated decorative works using vertical composition. Interesting that diacritical marks are also placed inside of character square fields and don’t destroy geometrical order. The decorative abilities of the font are increased by inverted versions of characters that may be used in different combinations including in color. The character set contains expanded Latin, Greek and Cyrillic ranges. UniOpt was awarded for type design excellence at TypeArt’05 Contest in Moscow. Licensed by ParaType in 2006.

A set of original ornamental symbols was designed by Viktor Kharyk and licensed to ParaType in 2007. The name was inspired by the famous book “Champ Fleury” by Geoffroy Tory (1529) but the theme of blooming meadow was embodied much more literally. Each ornamental motive has a real prototype in flora. Mainly there are plants raising on Ukrainian wooded steppe. Plants were chosen for their Ukrainian and Latin names begin of proper letters from Ukrainian and Latin alphabets. The font is consisted of two styles: Day for normal and Night for reversed that reminds night lighting by its unexpected distribution of black and white areas. Fleurons may be used for creation of ornamental surfaces, composed borders and corners, decoration of any materials, and even as botanical illustrations. Blooming Meadow Day have been adjudged Award of Excellence in Type Design at TypeArt’05 international type design contest

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

MAS AMOR POR FAVOR (1) (more love, please) Fluire means -to flow- in Italian and that’s what this font is all about. The story began when a friend of mine asked for a tattoo with the word -Fluir- (to flow in Spanish). She didn't want a tattoo full of swashes and swirls, like I'm used to doing, but something more fluent, soft and minimal. My very first attempts were more related to copperplate calligraphy but I wasn't even close: I discovered that I needed to forget a little bit about the classic contrast and speed of the engrosser's nib and started playing with a tiny flat metal nib. Letters started to flow, and I immediately thought of turning them into a font. Inspired by the tattoo I created and by other tattoos I saw, I started the journey of what would be a very fun process. The result is a very cute, almost monoline font with a wide range of uses. USES If not used for a tattoo (my first ‘target’), the font delivers amazing results in combination with Fluire Caps: These two need each other, they go together, they talk. I designed Fluire Caps Down and Fluire Caps Up so it’s easier to manage their colors. Also there’s Fluire Caps Down Lines, which has a decorative thin line to add yet another dimension. Use the fonts in magazines, book covers, posters, greeting cards, weddings, lettered walls, storefronts! TIPS Since the font is Open-Type programmed, I strongly recommend using it in applications that support that feature. Also, the font looks way better when -contextual alternates- are activated, but it’s your choice :) Try Fluire, and keep flowing. NOTES (1) The phrase alludes to maybe the most tattooed phrase in Latin America.

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.

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

Introducing Lonely Moon - Handmade typeface - 3 fonts Lonely Moon is handwritten and retro slab serif typeface loaded with 3 fonts, alternate, ligature glyphs and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Lonely Moon is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Language Support Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, Frenc,h Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Mer,u Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES 3 styles Uppercase, lowercase, numeral, punctuation & Symbol Multilingual support - 87 languages alternate glyphs ligature glyphs How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Introducing Corzinair—the typeface that exudes confidence and practicality. Its rugged serifs add a touch of grit and determination to any message. Perfect for businesses looking to make a bold statement, Corzinair was inspired by the iconic IBM Selectric typewriter fonts of the 1960s. Its wide, squarish shapes are reminiscent of a time when simplicity and functionality were the driving forces of innovation. Available in three weights—regular, bold, and italic—Corzinair is versatile enough to suit any design need. And with separate Small-Caps styles, it’s even easier to deploy on the web and in applications. Make your mark with Corzinair—the typeface that means business. 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.

Unleash the Power of Motion and Speed with the ApexPro font – a dynamic, sporty font designed for those who crave action, speed, and innovation. This typeface is meticulously crafted to embody the essence of the automotive world, fitness, and cutting-edge technology. Key Features: Style: The ApexPro boasts a rounded and soft appearance with bold, italic, and slashed elements, giving it a sporty and energetic vibe. The letters are carefully crafted, providing a clean and sharp visual for maximum impact. Design Elements: Inspired by the sleek lines of high-speed vehicles, the font carries a rounded, beveled, and cutout aesthetic, adding a touch of modernity and innovation. The use of military and stencil elements infuses a sense of power and dynamism. Versatility: The ApexPro is not just a font; it's a statement. Perfect for automotive enthusiasts, gym-goers, and tech aficionados, it seamlessly blends into various contexts such as sports events, gaming interfaces, and futuristic designs. Target Audience: The ApexPro is tailored for individuals who appreciate the fusion of technology, speed, and style. The target audience includes: Age: 18-35, seeking dynamic and trendy design elements. Gender: Unisex, appealing to both males and females. Needs: Graphic designers, gamers, fitness brands, and automotive enthusiasts looking for a font that embodies speed and action. Why the ApexPro font? For Speed Enthusiasts: The ApexPro brings the thrill of high-speed action to your designs. For Fitness Brands: Reflect the energy and dynamism of your fitness brand with the ApexPro. For Gaming Interfaces: Elevate your gaming experience with a font that resonates with movement and power. File Inclusions: Languages Covered: Multilingual support for a global audience. Numbers, Symbols, and Punctuation: A comprehensive set for versatile use. Lowercase Letters: Lowercase letters for a balanced and cohesive look. Fuel your creativity with the ApexPro – the font that doesn't just communicate, but accelerates your message. Download now for an experience that goes beyond the ordinary.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Pan-European family has 17 fonts in total, supporting the W1G character set. It spans six weights from ultra light to heavy, each with an italic complement. In addition, three condensed designs and two monospaced (typewriter) typefaces were drawn to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity. While the family is also large enough to manage complicated typographic hierarchy, SST pairs handsomely with typefaces as far reaching as ITC Berkeley Old Style®, Meta®, PMN Caecilia®, Malabar® and Neue Swift®.

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). • Suggested uses: born to allow you to change the weight of a word without losing the text alignment, Bakemono can both excel at text size in its regular widths optimised for legibility as well as owning the page at display size with its uncommon design details. Perfect for contemporary branding, web design, packaging and countless other projects; • 21 styles: 7 weights x 3 different styles + 1 variable font; • 839 glyphs in each weight; • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Ordinals, Scientific Inferiors, 7 Stylistic Sets, Subscript, Superscript, Slashed Zero • 217 languages supported (extended Latin 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, 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, 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

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.