The initial inspiration for CA Spotnik was the opening title of an early Andrei Tarkovsky movie. There was this very unconventional hand drawn “s” which drew my attention. Despite its strange shape, it felt totally natural in that context. So we made a few screenshots and started to sketch some more letters in order to catch the spirit that attracted us so much. The result is a grotesque typeface with a slight contrast, the proportions are rather wide with a large x-height. The bolder the weight, the wider it gets. In case you find the swirly “s” uncomfortable, there is a standard s included as well. The general atmosphere of the typeface, which could be described as “nerdy but friendly” doesn’t depend on this detail. It’s rather the sum of details derived from the original inspiration.

Bordonaro Spur - Bordonaro Script’s partner - is a typography strongly influenced by old beer labels and includes some serifs based on Frederic W. Goudy’s Copperplate, but with some softened spurs adding an elegant and soft texture to the text. It is ideal to be used on large bodies and has a set of special ligatures ideal to be used in branding. Psss...Check out the NEW Bordonaro Spur with Rounded corners , same version but soft! FEATURES Co = company1 Co = company2 Estd = established Inc = incorporated Ltd = limited Mc = mac Rd = Road St = street And also from Adobe CC you can activate Style Sets (SS) and get ideal ligatures for ordinal numbers: 1st = st 2nd = nd 3rd = rd 4th = th Bordonaro Script and Bordonaro Spur are two typographic styles that were designed under the same characteristic features with the idea of combining them to obtain better results, for that reason, we recommend merging them in a creative way and you will realize everything you can design with them. The banners designs are based on old brands of beer labels, coffee packaging, sports logos and in some cases we use Copperplate Gothic but only as a complementary font in order to harmonize the layout of the elements in each banner.

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 **ANUSCHKA** - Faux Cyrillic Display Font Faux Cyrillic, pseudo-Cyrillic, pseudo-Russian or faux Russian typography is the use of Cyrillic letters in Latin text, usually to evoke the Soviet Union or Russia, though it may be used in other contexts as well. It is a common Western trope used in book covers, film titles, comic book lettering, artwork for computer games, or product packaging which are set in or wish to evoke Eastern Europe, the Soviet Union, or Russia. A typeface designed to emulate Cyrillic is classed as an ethnic typeface. **ANUSCHKA** came with that protest and propaganda vibe. It's contain a complete Simple Latin Glyphs, with extra ligatures, D-Ligature, Stylistic set for the main character to make it stencil look and distressed look. --- This font can be used with all software that can read standard fonts. Check out my instagram: https://www.instagram.com/anomalicreatype/ Thanks so much for checking out my shop! All the best, **Krisna Teja** Anomali Creatype #typeface #Stencil #FauxCyrillic #Cyrillic #Military #Protest #Poster #vintage #Extreme #design #Vintage #graphic #calligraphy #Retro #typography #propaganda #Poster #blackletter #retrostyle #illustration #Russian #socialist #character #set #uppercase #decorative #black #classic #Uppercase #handmade #capital #bold #number #modern #tattoo #english #art #label #logo #middle #typographic #antique #sign #letterhead #fashion #filmtitles #russia #comicbooklettering #videogames #computergames

Michiana Pro is my new, hand-crafted connecting script! I've been hand lettering cards and envelopes to my wife and family in this type style for years and decided it was time to make a font based on it. I typically start with a single thin stroke for each letter, then build up the weight of the heavy stroke, so there ends up being a lot of charming variations in terms of style and color. The overall finish is rough, yet friendly. Perfect for invitations, place cards, love notes, and with its large x-height, it sets nicely for text. I grew up running around the dunes and beaches along Lake Michigan in northwest Indiana, and I think the shoreline and dune grass has inspired my aesthetic. Michiana Pro takes the name from a small area along the lake between the Indiana and Michigan state lines. There are a lot of nice, modest homes nestled in the duneland forests. Thinking about what it's like back there, it's like having a bowl of steaming hot comfort food. So I hope Michiana Pro feels that way to you too. Michiana Pro features include: + extended character set for Western European language support + 1,205 glyphs + lowercase beginning and ending swashes + contextual initial and final letterforms + alternates for L, R, Z, f, g, p, t and y + 140+ ligatures + superior and inferior figures for unlimited fractions + ordinals (st, nd, rd, th) + 4 ornamental swashes + available in both OTF and TTF formats

Novelty Script is a bold dynamic script, sharply delineated, yet fluid. Most of the lower case letters and many of the upper case letters have joins. The typeface was designed by Nicholas J. Werner and Gustave F. Schroeder and patented in March 1893. The original release was by the Central Type Foundry of St. Louis, Missouri. Although a part of ATF from 1892, the Central Type Foundry continued to operate under its own name until 1895. Novelty Script uses our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Novelty Script has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, Western European accented letters, lower case “o” and “u” with Hungarian umlaut and our usual Hand-in-Hand symbol. But that is not all. With the takeover of the Central Type Foundry by ATF, a group of special characters appeared. All are included in this font, except the “&Co” and the "'s", for a total of nine in all. The “Ch” and “nd” ligatures are especially interesting because of the impact they have on the color and overall appearance of the page. Download the PDF Type Specimen for locations. This is a fun font to use. Its strength is print, where it gives a page a refreshing look. The joins sometimes have difficulty on the screen, in spite of extensive hinting. Playing around with small changes on the point size can pay dividends. Not for the faint-of-heart. Are you up to the challenge?

Offense is an unyielding rectangular slab-serif face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Offense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support 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!

Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric stencil, inspired by the ambience of high-end fashion and luxury combined with the raw, utilitarian nature of the stencil. The inclusion of over 130 unique ligatures expand it’s sensibility of alluring, well-balanced letterforms and distinctive style. The stencil marks are atypically placed and vary throughout, giving it a purposely forward presence. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to it’s unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution. Features include: Precision kerning- Expanded set of over 130 Ligatures, including alternates (ae, oe, fi, fl, ffi, ffl, ffj, ff, fh, fj, ft, tt, th, ct, st, oo, og, go, ogo, gog, la, ea, ev, ew, fy, ez, et, oc, ga, do, uv, vu, yu, uy, nn, mm, xy, yx, ao, oa, ac, da, aq, nt, aa, ll, ss, ut, tu, ka, ca, ag, of, off, co, ne, nr, nl, nd, nk, hn, mn, me, mp, al, an, af, ar, ak, ah, ad, ab, and, gg, all, co, ço, he, the, tl, tn, tf, tr, tk, td, tb, te, am, ame, amb, tm, ap, tp, wu, uw, kt, tz, ra, za, mk, xx, yy, vv, ww, ky, fu, oq, cc, cq) Alternate characters (A, G, R, Q, _, $, ®, •, ¶) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Defense is an unyielding rectangular slab-serif stencil face designed with consistently balanced letterforms and a refined finish. It’s extremely angular geometric form commands attention in display settings, yet is also legible in short text blocks. The stencil mark width varies accordingly with each weight, helping to further define each style. Numerous alternate character sets allow room for customization, while the expanded ligatures push letter combinations to the limit. Stylistically, Defense’s almost crude, sharp-cornered construction is balanced by it’s sophisticated finish and attention to detail, often unrealized in similar faces of this genre. The upright weights are complimented by pairings of true italics, completely rebuilt, slightly narrower in width with modified letterforms, increasing their contrast and flow. Features include: Precision kerning Standard Ligatures set including 'f' ligatures (fi, fl, ff, fh, fj, ffl, ffi, ffj) Discretionary Ligatures set including (ft, rt, ae, oe, st, ft, ct, oc, oo, ry, AE, OE, AL, TH, HE, AK, AN, TT, HD, AM, AP, AR, NF, NE, NH, NL, NB, FL, ND, FE, AB, OB, OD, OF, OG, OH, OK, OL, OM, ON, OO, OP, OQ, OR, OU, AH, UE, UF, UB, UD, UH, UK, UL, UM, UN, UP, UR, UU, MP, XY, YX, KY, WY, VY, AF, FF, FI) Alternate characters (O, o, S, s, a, h circumflex, @, ®, ™, ¶, $, &, _, and various ligature alternates) Case forms (shifts various punctuation marks up to a position that works better with all-capital sequences) Capital Spacing (globally adjusts inter-glyph spacing for all-capital text) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Sevigne [sey-vee-nyey] is a highly refined, contemporary geometric sans, inspired by the ambience of high-end fashion and luxury. The inclusion of over 130 unique ligatures expand its sensibility of alluring, well-balanced letterforms and distinctive style. Stylistically, as an all-caps typeface, Sevigne exudes a greater sense of harmony and polish due to its unicase form where the interplay of a limited amount of characters is the focus. Subtle, considered details are found within individual letters, contrasted by the complex, intersecting forms that make up the various ligatures. With multiple stylistic sets added to the expanded ligatures, individual letters and ligature pairs can be carefully exchanged to fine-tune text settings for a unique custom type solution. Features include: Precision kerning- Expanded set of over 130 Ligatures, including alternates (ae, oe, fi, fl, ffi, ffl, ffj, ff, fh, fj, ft, tt, th, ct, st, oo, og, go, ogo, gog, la, ea, ev, ew, fy, ez, et, oc, ga, do, uv, vu, yu, uy, nn, mm, xy, yx, ao, oa, ac, da, aq, nt, aa, ll, ss, ut, tu, ka, ca, ag, of, off, co, ne, nr, nl, nd, nk, hn, mn, me, mp, al, an, af, ar, ak, ah, ad, ab, and, gg, all, co, ço, he, the, tl, tn, tf, tr, tk, td, tb, te, am, ame, amb, tm, ap, tp, wu, uw, kt, tz, ra, za, mk, xx, yy, vv, ww, ky, fu, oq, cc, cq) Alternate characters (A, G, R, Q, Z, _, $, ®, •, ¶) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Mayence is the French name of Mainz, German city where Johannes Gutenberg was born. It's a manuscript font inspired in the author's calligraphy, with an angular structure, marked by a certain impulsiveness. Besides being a continuous-line font, Mayence explores some deviations and imperfections in the calligraphy practice, as accumulations of paint and anomalies in the thickness variation, characteristics which gives it more naturality. Its main difference is the set of over 430 ligatures (Premium version), based on the research and selection of important character sequences, rather frequent in several languages. For this, a study was done about the diphthongs, triphthongs and di-tri-tetra-pentagraphs more common in languages such as English, Spanish, French, German, Italian, Portuguese, Dutch, Hungarian, Croatian, among others. Ligatures with up to 2 characters are enabled by default and with more than 2 characters are enabled by the Discretionary Ligatures option. Mayence also contains several ligatures based on common words in English and Spanish, exclusive ligatures with numbers and another standard, discretionary, historic and Unicode ligatures. It has 9 different ampersands (&), which can be chosen by the user according to the application context. When you enable the Titling Alternates (in OpenType-savvy programs), these 9 ampersand styles are converted to their forms of seal, with different purposes of use. To enrich your graphic applications, Mayence brings the Ornaments Version, for construction of impressive lines, borders, textures and the geometric shapes that you want, according to your creativity! To see the features available in each version, open or download the User Guide pdf, in the Gallery section. All text fonts are available in OpenType PS format and have extended character set to support CE, Baltic, Turkish, as well as Western European languages and additional Celtic characters.

Type Ultimate is an exquisite serif font that combines elegance and sophistication. It comes in regular and italic versions, each containing a stunning collection of 383 ligature glyphs and alternate glyphs, as well as 26 swashes for both regular and italic versions. With its extensive character set, Type Ultimate supports a wide range of languages, making it a versatile choice for various projects. This font is perfect for creating a memorable logo, establishing a strong brand identity, and making headlines that stand out. Its timeless and refined design also makes it an excellent choice for elegant wedding invitations and other formal occasions. Overall, Type Ultimate is a font that exudes beauty and refinement, adding a touch of sophistication to any project it's used in. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i 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, Meru, 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 Ligatures Uppercase - AB,AC,AD,AG,AK,AL,AM,AN,AP,AR,AS,AT,AV,AY,BE,BL,BO,BU,CE,CH,CK,CO,CT,DE,DI,DO,EA,ED, EE,EF,EI,EL,EM,EN,EP,ER,ES,ET,EV,EX,EY,FA,FE,FF,FI,FO,FR,FT,FU,GA,GE,GH,GO,GR,HA,HE,HI, HO,HT,KE,KI,KN,LA,LD,LE,LF,LI,LL,LO,MA,ME,MI,MM,MO,MP,MU,NA,NC,ND,NE,NG,NK,NO,NS,NT, NY,OA,OD,OK,OL,OM,ON,OO,OP,OR,OS,OT,OU,OW,PA,PE,PL,PO,PP,PR,RA,RD,RE,RI,RO,RR,RS,RT, RY,SA,SE,SH,SO,ST,SU,TA,TE,TH,TI,TL,TO,TR,TS,TT,TU,UG,UL,UN,UR,US,UT,VE,VI,WE,WH,WI,WO,YO, YS,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH, VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER, TION,OULD,IGHT,HAVE,THIS,THIN,THEY, ATIO,EVER,MENT Lowercase - ab,ad,ag,ai,ak,al,am,an,ap,as,at,av,ay,ba,be,bl,bo,bu,ca,ce,ch,ck,co,ct,de,di,do,ea,ec,ed,ee,ef,eg,ei,ej,el,en,ep,es,et,ev,ew,ey,fa,fe,fi,fo,fr,fu,ga,ge,gh,gi,gr,ha,he,hi,ho,ht,ic,id,ie,ik,il,im,in,io,ir,is,it,iv,ke,ki,kn,la,ld,le,lf,li,lo,ly,ma,me,mi,na,nc,nd,ne,ng,ni,nk,nl,no,nt,ny,oa,oc,od,of,oi,ok,ol,om,on,oo,op,ot,ou,ov, ow,pa,pe,pi,pl,po,pp,qu,ra,rd,re,ri,rm,rn,ro,rr,rs,rt,ru,ry,sa,se,sh,si,so,sp,ss,st,su,ta,te,th,ti,tl,to,ts,tt, tu,uc,ug,um,un,up,ur,us,ut,va,ve,wa,we,wo,xp,ye,yo,ys,men,wer,fro,rom,ron,the,and,ing,her,hat,tha, ere,for,ent,ion,ter,you,ver,thi,ght,ave,hey 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. Mock ups and backgrounds used are not included. Thank you! Enjoy!

NOTE : If you want any specific ligature included, just write me a message and I will add it with next update :) Type Master is a sophisticated and delicate serif font that exudes elegance in every aspect. With its extensive collection of over 100 ligatures and alternate glyphs, this font offers endless possibilities for creative expression. Additionally, its support for 87 languages ensures that it is versatile enough to meet the needs of any project. Whether you are designing a logo, creating marketing materials, or crafting an editorial layout, Type Master is the perfect choice for adding a touch of refinement to your work. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i 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, Meru, 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 Ligatures : IS, FO, OD, FA, TY, EX, NN, PI, EY, AY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, FAS, FAST, CKS, OOD, FOOD, FOO, THEY, HEY, HYP, TYP, OUT, UST, URS, WAS, THE, WES, EST, WEST, ERS, EAST, EAS, LES, ENT, FOR, OUG, OUGH, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE 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. UPDATES : COMING SOON Mock ups and backgrounds used are not included. Thank you! Enjoy!

Pakenham is a typeface that truly exemplifies the transformative power of typography. Inspired by the timeless elegance of Steile Futura, a work of art by the legendary Paul Renner, Pakenham has taken the world of typography by storm with its innovative and captivating design. At its core, Pakenham is a sans-serif typeface that exudes an aura of modernity and sophistication. Its gently curved corners and generously scaled loops give it an effortlessly chic and trendy look, while its clean and sharp lines keep it rooted in the world of minimalist design. But Pakenham is not just a pretty face. It is a typeface that is brimming with oddities and anomalies that will add a unique and personal touch to your creations. Its superelliptical design is unlike anything you’ve seen before, making it perfect for designers who are looking to break free from the shackles of conventionality and embrace their creative freedom. With four different weights, two widths, italics, and special effect styles, Pakenham is a typeface that offers an unprecedented level of versatility. It is a true workhorse, capable of adapting to a wide range of design projects and styles. Overall, Pakenham is a typeface that is a must-have for any serious designer. Its combination of elegance, modernity, and versatility make it a true gem in the world of typography. So if you’re looking to take your design game to the next level, look no further than Pakenham. 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.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Type Maestro is an exquisite ligature serif font that exudes creativity and elegance. With over 100 meticulously crafted ligatures, this font is the perfect choice for designers looking to elevate their projects to new heights. One of the key features of Type Maestro is its extensive language support, boasting compatibility with 87 different languages. This makes it an incredibly versatile font that can be used for a wide range of projects, no matter where your audience is located. But what truly sets Type Maestro apart are its alternate glyphs. These unique characters add a touch of individuality and personality to your text, allowing you to create truly one-of-a-kind designs. Whether you're designing a logo, a website, or a social media post, Type Maestro has the flexibility and style to help you stand out from the crowd. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i 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, Meru, 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 Ligatures : IS, FO, OD, FA, TY, EX, NN, EY, SS, LL, FU, US, UT, AS, AN, AM, CI, LO, ES, RO, ET, TE, CK, OH, OO, OE, OC, KO, KE, KC, CH, SE, EA, UR, RS, KS, TH, TU, TT, TK, TL, HE, RG, EP, ER, RE, RC, LE, ND, ED, OF, HA, EN, CT, ST, NT, ON, ME, MO, NG, NC, UG, UC, OU, GH, OR, OP, EE, YO, VE, IT, WE, TI, VO, WO, SA, MA, OL, VA, YP, YR, OX, XO, BA, OT, TO, BE, RU, KU, TW, EN, NT, FAS, FAST, CKS, OOD, FOOD, FOO, TEE, TOR, TOP, TWE, NTY, TYP, OUT, UST, URS, WAS, THE, WES, EST, EEN, ERS, EAS, LES, ENT, FOR, OUG, ERE, TER, YOU, VER, HER, THER, THA, AND, ITH, THI, MENT, WERE, WER, ROM, THE, ERG, ERE, ERC, ERU, ERO, NTH, FOU, HRO, HRE, HRC, HRU, TWO, GHT, OUR, OUP, STO, VEN, ORT, MEN 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. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i 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, Meru, 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 LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT 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. Mock ups and backgrounds used are not included. Thank you! Enjoy!

A mediterranean style sanserif in 4 styles The original idea of Costa was to create a contemporary mediterranean typeface style. Costa is a synthesis of the purity, as found on Greek capitals, and softness, found in Renaissance scripts. First thing was the design concept that take its roots on the Chancery script. Such writing style appeared during Italian Renaissance. Later few typefaces have been developed from such cursive models. Today most serifed typeface italic take their roots on such triangular structure we can find on gylphs like the n, p, or d. The Costa capitals remains close to pure sanserif models when the lowercases features an ending serif on many letters like the a, n, d, etc. This ending serif being more like a minimal brush effect, creating a visual contrast and referencing the exoticness of the typeface. Knowing that the Costa typeface family began life in the 90s as a bespoke typeface for Costa Crociere, an Italian cruise company — it suddenly makes sense and explains well why Jean François Porchez focused so much on Italian Chancery mixed to a certain exotism. The curvy-pointed terminals of the Costa n can obviously get find on other glyphs, such as the ending of the e, c and some capitals. So, the sanserif looks more soft and appealing, without to be to pudgy or spineless. The general effect, when set for text, remains a sanserif, even not like Rotis Semiserif. Costa is definitly not a classical typeface, or serif typeface which convey past, tradition, historicism as Garamond does beautifully. Because of the Costa crocieres original needs, Costa typeface was designed to be appropriate for any uses. Anytime you’re looking for good mood, qualitative effects, informal tone, cool atmosphere without to be unconvential or blowzy, Costa will convey to your design the required chic and nice atmosphere, from large headlines sizes, brands, to small text sizes. It’s a legible typeface, never boring. A style without neutrality which doesn’t fit comfortably into any typeface classification! Does it proves the novelty of its design and guarantees as well as its originality? Its up to you to be convinced. Barcelona trip Originally not planned, this need appeared because of a trip to Barcelona at the time of the project, where Jean François was giving a lecture. He wanted to pay an homage to that invitation to create something special. So, he designed during his flight some variations of the Spanish Ch, following ideas developed by the Argentinian type designer Rubén Fontana for his typeface called Fontana ND (published by the Barcelona foundry Bauer). Then, he presented during his lecture variations and asked to the audience which design fit the best to their language. They selected the design you can find in the fonts today. Read more about pairing Costa Type Directors Club 2000 Typographica: Our Favourite Typefaces 2004

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i 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, Meru, 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 Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT 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. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

The concept of the Baroque Roman type face is something which is remote from us. Ungrateful theorists gave Baroque type faces the ill-sounding attribute "Transitional", as if the Baroque Roman type face wilfully diverted from the tradition and at the same time did not manage to mature. This "transition" was originally meant as an intermediate stage between the Aldine/Garamond Roman face of the Renaissance, and its modern counterpart, as represented by Bodoni or Didot. Otherwise there was also a "transition" from a slanted axis of the shadow to a perpendicular one. What a petty detail led to the pejorative designation of Baroque type faces! If a bookseller were to tell his customers that they are about to choose a book which is set in some sort of transitional type face, he would probably go bust. After all, a reader, for his money, would not put up with some typographical experimentation. He wants to read a book without losing his eyesight while doing so. Nevertheless, it was Baroque typography which gave the world the most legible type faces. In those days the craft of punch-cutting was gradually separating itself from that of book-printing, but also from publishing and bookselling. Previously all these activities could be performed by a single person. The punch-cutter, who at that time was already fully occupied with the production of letters, achieved better results than he would have achieved if his creative talents were to be diffused in a printing office or a bookseller's shop. Thus it was possible that for example the printer John Baskerville did not cut a single letter in his entire lifetime, for he used the services of the accomplished punch-cutter John Handy. It became the custom that one type founder supplied type to multiple printing offices, so that the same type faces appeared in various parts of the world. The type face was losing its national character. In the Renaissance period it is still quite easy to distinguish for example a French Roman type face from a Venetian one; in the Baroque period this could be achieved only with great difficulties. Imagination and variety of shapes, which so far have been reserved only to the fine arts, now come into play. Thanks to technological progress, book printers are now able to reproduce hairstrokes and imitate calligraphic type faces. Scripts and elaborate ornaments are no longer the privilege of copper-engravers. Also the appearance of the basic, body design is slowly undergoing a change. The Renaissance canonical stiffness is now replaced with colour and contrast. The page of the book is suddenly darker, its lay-out more varied and its lines more compact. For Baroque type designers made a simple, yet ingenious discovery - they enlarged the x-height and reduced the ascenders to the cap-height. The type face thus became seemingly larger, and hence more legible, but at the same time more economical in composition; the type area was increasing to the detriment of the margins. Paper was expensive, and the aim of all the publishers was, therefore, to sell as many ideas in as small a book block as possible. A narrowed, bold majuscule, designed for use on the title page, appeared for the first time in the Late Baroque period. Also the title page was laid out with the highest possible economy. It comprised as a rule the brief contents of the book and the address of the bookseller, i.e. roughly that which is now placed on the flaps and in the imprint lines. Bold upper-case letters in the first line dramatically give way to the more subtle italics, the third line is highlighted with vermilion; a few words set in lower-case letters are scattered in-between, and then vermilion appears again. Somewhere in the middle there is an ornament, a monogram or an engraving as a kind of climax of the drama, while at the foot of the title-page all this din is quietened by a line with the name of the printer and the year expressed in Roman numerals, set in 8-point body size. Every Baroque title-page could well pass muster as a striking poster. The pride of every book printer was the publication of a type specimen book - a typographical manual. Among these manuals the one published by Fournier stands out - also as regards the selection of the texts for the specimen type matter. It reveals the scope of knowledge and education of the master typographers of that period. The same Fournier established a system of typographical measurement which, revised by Didot, is still used today. Baskerville introduced the smoothing of paper by a hot steel roller, in order that he could print astonishingly sharp letters, etc. ... In other words - Baroque typography deserves anything else but the attribute "transitional". In the first half of the 18th century, besides persons whose names are prominent and well-known up to the present, as was Caslon, there were many type founders who did not manage to publish their manuals or forgot to become famous in some other way. They often imitated the type faces of their more experienced contemporaries, but many of them arrived at a quite strange, even weird originality, which ran completely outside the mainstream of typographical art. The prints from which we have drawn inspiration for these six digital designs come from Paris, Vienna and Prague, from the period around 1750. The transcription of letters in their intact form is our firm principle. Does it mean, therefore, that the task of the digital restorer is to copy meticulously the outline of the letter with all inadequacies of the particular imprint? No. The type face should not to evoke the rustic atmosphere of letterpress after printing, but to analyze the appearance of the punches before they are imprinted. It is also necessary to take account of the size of the type face and to avoid excessive enlargement or reduction. Let us keep in mind that every size requires its own design. The longer we work on the computer where a change in size is child's play, the more we are convinced that the appearance of a letter is tied to its proportions, and therefore, to a fixed size. We are also aware of the fact that the computer is a straightjacket of the type face and that the dictate of mathematical vectors effectively kills any hint of naturalness. That is why we strive to preserve in these six alphabets the numerous anomalies to which later no type designer ever returned due to their obvious eccentricity. Please accept this PostScript study as an attempt (possibly futile, possibly inspirational) to brush up the warm magic of Baroque prints. Hopefully it will give pleasure in today's modern type designer's nihilism.