Banjax is a humanist sans serif typeface, designed to be highly versatile and efficient in both print and digital environments. The extreme weights are perfect for display purposes, with the central core weights ideal for body copy. While Banjax has a branding focus, it would be suitable for pretty much any text application in any Latin language. See more detailed examples here. Distinguishing features include a large x-height, short descenders, distinctive asymmetrical contrast, angled terminals, squared dots and punctuation, and maybe a little flair here and there to enhance this typeface’s personality. Overall, Banjax makes for a pleasant reading experience with enough nuances to make it an ideal choice for branding purposes. Key features: 9 weights in Roman and Italic Small Caps, Petite Caps and 3 Alternates Latin Extended and Basic Greek glyphs 1100 glyphs per font.

Let's steal the spotlight and create your bold statement design result with Brilliant Moments. It is a script font that is designed to resemble a signature by playing the curves and angles. Sure enough, this font projects stylish and elegant feel. It works equally good as well in header or as smaller text. Even more, it is also has fascinating features that helps you maximize your design. Features: Stylistic Sets Multilingual Supports Numerals and Punctuations PUA Encoded It is best to be used for many design projects, such as poster, logo, book cover, branding, heading, printed product, merchandise, quotes, social media campaign, etc. Learn more about how to use it by seeing the font preview. Thank you for purchasing our fonts. Please don’t hesitate to contact us, if you have any further question or issues. We’re happy to help. Happy Designing.

Neutro is a neutral, multi-purpose font family. It is Aspira made more neutral, by removing angled terminals. Neutro’s subtle, fresh geometric personality, makes it ideal for any use where the content is more important than the font used to display this content. As neutral as it may be, its presence is always pleasant in an inconspicuous way. Neutro is well suited for both text and display use — for graphic design, corporate identity design, magazines, newspapers, books, reports, editorials, web, advertising, signage, etc. Neutro includes eight uprights and matching italics. Neutro includes nine numerical styles: lining and oldstyle figures (proportional and tabular), small cap figures, superiors, inferiors, numerators, and denominators. Neutro includes small caps, arbitrary fractions, and extensive language support. Free demo font available. Neutro in use: 1. For more information about Neutro, download the PDF Specimen Manual.

Zt Shago is a font family of 3 eye-catching display forms, each style has its own character, from very strong and soft angles. When you're looking for a font with a fun message, you can find it in the zt Shago family. Zt Shago is the most extensive font family I've ever created, with 33 styles and 16 free font styles. The default and round styles come in regular & Italic. But for the free one I only have one on myfont, for other styles you can download at Gumroad. While extra rounded only has one weight, namely extra bold. Zt Shago also has several unique alternatives to the letters a, h, k, m, n, v, w, & z, thus enhancing your design style. I hope you have fun using zt shago Thanks for using this font ~ Khaiuns X zelowtype

Proudly present Land Of Fear - Street Type, created by ikiiko Land of Fear is a hand-drawn street brush font in an urban style that has a gritty and edgy look, conveying the roughness of city streets. The letters have bold characters and appear to be scratched quickly with a strong brush. This font has wild strokes and comes in different widths and angles, giving the letter a sense of spontaneity and vitality. This font has an overall rough and rugged look, but also evokes a style that is young, wild and free. This typeface is perfect for an extreme sport stuff, street vibes, magazine layout, poster, fashion brand, urban style, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Alternates & Ligature Multilingual Support Works on PC & Mac

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

The 2nd installment of the Enchanted Land family takes us on another medieval adventure, opting to completely rebuild instead of refining the legacy script. More emphasis was put into the undulating nature of the Uppercase characters and how they keep your eyes flowing. For this reason, straight lines and right angles are rarely used in favor of flamboyant terminals and wispy swashes. Lowercase characters, by contrast, adhere to a consistent model defined by its straightened edges and sharp corners. This script flirts with several old world styles but seeks only to borrow elements rather than completely emulate them. German Blackletter, Old English, Uncial, Victorian, it’s in there! Enchanted Land DS would work well in a book, video game, or medieval signage. This family is equipped with Basic Latin, Extended Latin, ligatures, punctuation, a few alternates, and kerning.

A vintage lettering stencil manufactured by the E-Z Letter Stencil Company of Baltimore, Maryland was the model for Schoolyard Stencil JNL, available in both regular and oblique versions. Re-drawn digitally and following the actual bend of the steel rule dies used to cut the stencils, this typeface has not been cleaned up from its original design. Upon close examination, you will find straight angles and slight curves in the most unusual places. This was representative of the difficult work involved in bending steel cutting rule material and fitting it into small areas. For many years, E-Z Letter was the main competitor to the Stenso Lettering Company; the originator of the oil board stencil lettering guide complete with automatic spacing holes. Anyone over 40 will well-remember lettering their science fair posters, report covers and ring binders with these stencils.

ITC Motter Sparta is the work of Austrian designer Othmar Motter and for its inspiration, he turned to car design. As we all know, trends in car design affect many other fields of design in a way that shapes tastes." At the end of the 1990s, Motter saw the trend moving away from soft lines and toward a tighter, tenser look: "In this latest trend, sharp clearly-defined edges meet broadly-drawn, dynamic curves and cut them off sharply." And so too is ITC Motter Sparta, with each character form distinct, which also creates a typeface instantly recognizable from a single character. "The sharp straight strokes, cut off almost at right angles, and the strong cross-stroke curves, ending in points, form a charged contrast to the vertical and horizontal straight strokes that give Motter sparta its taut framework.""

In his 1538 book on measurement, Albrecht Dürer gave clear descriptions and drawings about the proportions of the letters in both Roman and 'fraktur' alphabets (from Latin 'fractura', meaning that it's broken up with lots of different angles rather than smooth curves). Here is the fraktur alphabet as a font completed for use today, with a few characters modernised and some gaps filled. Of course there are countless examples of fraktur fonts already circulating, and indeed one foundry even has another version of this particular one; but we have different approaches to some of the questions raised, we have aimed at a more even tracking (horizontal spacing), and the 260 glyphs in our version include accents and other diacritics, and the modern symbols which Dürer would surely have embraced if he had had access to the internet.

Dimitrina was created with a simple premise: Can there exist a typeface which features a minimum of sharp angles? And a readable typeface, as well? With these strict rules in mind, the development started. At first the typeface looked more like a script, and some characters ( M G or R, to name a few) still hold traces of a handwritten style which spices the overall taste of Dimitrina. Since the first draft every character was redrawn, and edited several times, for the purpose of making the typeface readable, and distinct at the same time. Estimate for yourself if our goals are achieved, while you observe the three weights which are available exclusively in MyFonts. All of them feature a full set of characters plus cyrillic support. You can also try the regular weight which is offered free.

This old classic font has an interesting history, it was originally cut with lowercase by the Bruce Type Foundry in 1865 and listed as Ornamented No. 1514. Around 1903 the Bruce foundry was bought by ATF, in 1933 this font was revived by ATF as Caps only and was given the Gold Rush name but was sometimes called Klondike. A similar version of this font with lowercase and radiused serifs was produced by the James Conner's Sons Type Foundry around 1888. In the past other foundries such as the Carroll foundry, Type Founders of Phoenix and the Los Angeles Type Foundry have produced an all caps version of this font. After examining several printed sources of this font from more recent books I found that the original from Bruce's 1882 book was by far the best in design quality, it was also the only printed source that included the lowercase. New open faced, ornamented and distressed versions have been added to this old classic font, there are also many extended characters for Western, Central and Eastern European countries. The Gold Rush Trail OpenType version has alternate double letter pairs included in the font and will automatically be substituted when used in Adobe CS products or other software that takes advantage of OpenType features. Also available is a spurred version of this font listed under the name Gold Spur.

Homework Dashed font was specially conceived/designed for teaching cursive writing. This resource allows tutors and parents to create worksheets for individual or class teaching. Associated with the Homework font, students can learn and exercise their handwriting abilities. All capital letters, excluding I, F, T and P, link to any following small letter: the sequence of the previous letter stroke always follows the angle of the initial stroke of the subsequent letter. This, in the real world, means that words built with the font can be handwritten without having to lift the pen from the paper (except to cross t and f and dot i and j) or interrupt the writing flow. All the letters are base aligned and all small letters have the same ‘x’ height. Homework Dashed font is a tool with which teachers and tutors can create repetitive alphabetical writing exercises that can be printed on lined sheets.

Debugger is a futuristic, sicentific, digital family of next-generation monospaced fonts for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Debugger has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Octagonal and diagonal letterform is good for sci-fi, digital projects. Common elements for each letterform makes harmony and a sense of unity. Debugger supports almost all Latin languages. Try this all-new experiment.

Rombi Technocrat is a geometric, heavy font that features a unique combination of square shapes and slanting angles. Inspired by the dynamics of forward movement and the rigidity of structured design, this italicized font family brings a sense of purpose and direction to your creative projects. The Rombi Technocrat font family includes five weights: Thin, Light, Regular, Bold, and Black, providing a broad range of stylistic options for designs that call for a distinct, angular touch. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures, and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

ALERT: Comicraft's Mad Font Scientist John Roshell and Lead Lab Assistant Drewes McFarling have applied an Unstoppable Force to our Immovable Font ULTIMATUM, successfully splitting it into a family of three fonts! Here’s the secret formula: ULTIMATUM MASS retains the dynamic details of the original with flat, angled corners; ULTIMATUM FORCE cooperates with your demands for a vertical slice of the action; and ULTIMATUM VELOCITY got tired of waiting for a compromise and cut across its horizontals. The complete family features three styles of eight weights for a total of 24 fonts, each with support for 221 languages including Western & Central Europe, Vietnamese & Cyrillic. Three Variable Fonts provide precise control of Weight & Italic slant. ULTIMATUM MASS FORCE VELOCITY is ideal for high performance car & truck branding, sports uniforms, video game graphics, college & university apparel, and any time you want to convey industrial strength and technological innovation.

Inspired by pointed pen calligraphy and modulated sans serif typefaces used for advertising in the 1920´s, Bologna is a high contrasted sans serif with a modern and fashionable look. Bologna comes in three weights: Regular, Bold and Black. The Regular and Bold weights are, despite of their high contrast, also build for body texts. Whereas Bologna Black, with a more expressive look and sharp angles, is specially designed for large and striking headlines, packaging or identities. Overview: 3 weights - Regular, Bold, Black Regular/Bold: 657 Glyphs Black: 871 Glyphs Lining, tabular and old style figures Ligatures: fl, fi, ff, ffi ffl, Unicase Letters: a, e, m, n, r Alternative Guillemets Case Sensitive Arrows Bologna Black: hairline accents and interpunctations Fractions Extended Language Support Stylistic Sets: ss01 = Alternative Guillemets / Alternative y ss02 = Unicase glyphs ss03 = Numerals in circle ss04 = Numerals in black circle ss05 = Hairline Accents and Interpunctations (Bologna Black)

The intention with Capo was to make a typeface with a pinched, angled connection between curves and verticals. We have explored this incised, cut motif previously on typefaces, most notably Noah, Sabre and Harbour. These have focussed more specifically on stone-cut forms. For Capo we wanted to mix the expressive quality of its ‘pinch’ idea with an overall aesthetic that could be applied to text rather than headline. So Capo has something of the function and warm, organic quality of Grotesque style typefaces. In Capo’s Bold and Black weights the sharpness of the letter shapes is more dramatic and emphasised, making for great effect for large-sized text. Why Capo? A capo is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings by pinching or clamping them in place, hence raising the pitch.

The font name comes from the Dutch word "Rijk" meaning "rich". I'd like you to consider Rijk as a good Pinot Noir: medium bodied, offering succulent juicy berry flavors, accentuated by delicate aromas of coffee and vanilla oak. Ruby red in color, it boasts of velvety tannins and a long fulfilling fruity aftertaste. Rijk has a structure that is delicate and fresh. The aromatics are very fruity like cherry, strawberry, and plum, often with notes of tea-leaf, damp earth, or worn leather… My intent was to create a script that is rich, while not overbearing. It will serve many noble and useful purposes because of its fresh and lively texture. It is also very legible because it has a slightly more upright angle. Use Rijk for headlines, packaging, identities, advertising and online. Available in OpenType, it includes a range of ligatures as well as a full range of class kerning.

Shizzle is a font with a graffiti marker style. The lettterform of ‘Shizzle’ essentially made by the combination of downward and upward stroke base on -15 degres angle guideline. The basic of downward stroke is pulling pen from the top left to thw bottom right with full width of marker, then the basic shape of upward stroke look like the ligh flick by using the tip of the pen from bottom right to the top left. Inspired by Hip Hop and Rap style style. ‘Shizzle’ is a slang way of saying "Sure". People generally use it to communicate agreement to another person. This term is a product of Snoop Dogg's penchant for replacing the end of words with "izzle" to sound cooler. And ‘Fo Shizzle’ (for sure) this font offers beautiful typographic harmony for a diversity of design projects, including logos & branding, social media posts and advertisements, especially with graffiti look.

My wife name is Yasemin. After building this typeface, I wanted to honor with my wife’s name. I think I fully reflects the character I created in my mind. I created ornaments and connected glyphs. Yasemin is an OpenType font that contains 1045 glyphs. Ligatures, alternates, starting, endings, a wide range of latin languages and a set of ornaments. And words specially designed to use in advertising slogan, stationery for weddings, birthdays, etc. TIPS: Try using Yasemin at a 20º angle so that the slanted strokes, ornament become perfectly vertical. Having the decorative ligatures feature (dlig) activated is a good option to see letters dance. TECHNICAL: It is absolutely recommended to use this font with the standard ligatures feature (liga) activated. It makes letters ligate perfectly and also improves the space between words. UPDATES: - 3 December 2015 Opentype Feature (fractions) update. - 20 March 2019 Opentype Feature (fractions) update. Some bug fixes.

Introducing Algha Beauty Sans Serif Font. Algha inspired from cottagecore which prioritizes beauty and elegance. Algha has an obtuse angle which means that beauty is not confined to the point of view. Algha is suitable for your needs that require beauty. Algha can be worn simply or with ornaments. What's The Feature ? - 3 Stylistic Alternate Set - Stylistic Ligature - Smooth Corner - Multilingual Support - Separate Alternate Files - Opentype Support Need to test words in this font? Just type the box below, and see what it looks like - For more information on accessing alternative flying machines, you can see this link (http://adobe.ly/1m1fn4Y) - If you want to use this font on canva, you can see the tutorial in this link (https://www.youtube.com/watch?v=Rwhf1O3Dv78&ab_channel=tomcunningham) Feel free to message me if you have any question. Thanks, stay safe and healthy, and have a nice day.

Costanera is a neohumanist typeface with both soft strokes and endings, which is inspired by 90s typefaces. It has an organic aspect and curved finials associated to the early calligraphy, while its straight angles give Costanera a technological and futuristic impression. Costanera weights go from thin to black, thus it can be used in short-impact phrases ideally using Black or Thin weight and extensive texts selecting the Book version. On the other hand, due to its calligraphic-futuristic features Costanera is perfectly suitable for different fields, such as vanguard technology, architecture, and signage topics. This typeface is composed of a Normal and Alternative version, adding 32 weights in total. Stylistic sets, small caps, ligatures, lining and old style numbers, fractions, circle numbers and arrows are part of the Opentype features. Moreover, this project comes with 790 glyphs that allows to write in 219 languages.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

Very condensed typography, thick line and fun look for headlines and advertising where you are looking for saving space and originality at the same time. The upper inclination of the letters, the combination of horizontal with inclined forms, the ascending and descending short, and the lower elongation of some antlers will allow you to print varied styles with a lot of movement according to the context of the design. I started drawing this font with the intention of creating a new decorative typeface Blackletter style but modernizing the strokes, after drawing several letters imitating the ductus of this type of fonts trying to simplify them, emerged all the DNA of the current Jack Stanislav, finally a retro typography without Serif of linear strokes that mimic the angle of a thick pen. Use the following keys to write the bitcoin symbol and the Jack icon: b #, a #

Hebden is a ‘Northern’ font. Inspired by the town Hebden Bridge in Yorkshire, the family is a mix of a grotesque and an incised serif. The grot is based on Victorian train station signage and the serif is style that can be spotted in and around the Yorkshire Dales region. Hebden has a nostalgic twist and is ideal for labelling, signage and memorable messages. The grotesque face with its robust angles and warm circular curves recalls the style of traditional English sans-serifs like Caslon’s 2-Line Egyptian. The incised face has strong but sophisticated and natural forms and is based on a wood carved style popular in the early 20th century. The weight of the two faces are are drawn to complement each other creating an evenly balanced combination. Both faces come with caps, lower caps across letters and numerals, and have Western, Central and Eastern European language support.

Created with the needs of branding design in mind, Jan Hendrik Weber's Unitext is a crisp, clean typeface that functions well across print and online use. It blends humanist and grotesque qualities, adopting a style that the designer describes as “neo grotesque”. Narrow spacing is what sets this typeface apart, however it also uses open counters and angled details to boost readability. “The ideal font should work at every touchpoint,” says Weber. “And designers shouldn’t need an introduction or a set of rules on how to handle this typeface. Unitext allows designers to work without explanation.” The Unitext family includes 7 weights, spread across 14 fonts with extensive Western, Central and Eastern European language support. Unitext Variables are font files which are featuring one axis and have 14 names instances: Hairline, Hairline Italic, Extralight, Extralight Italic, Light, Light Italic, Regular, Italic, Semibold, Semibold Italic, Bold, Bold Italic, Black, Black Italic

DUAL is a full width sans-serif typeface with an experimental side. Its straight lines and 90 degree angles give it a very geometric feel without hindering its legibility. It’s now available in 6 weights, ranging from 100 to 600. The idea behind DUAL has been brewing for quite some time, and though there has been many “experimental” released in the past, it does have its unique features. For starters, it is a fully usable and legible font in its original state. Also, its 251 alternate glyphs and 10 stylistic sets are, of course, its main attraction making DUAL a very versatile typeface for any user, from the casual designer to the hardcore artist. Finally, it has extensive additional language support for the Americas and parts of Europe. With its 563 glyphs, It’s actually two fonts in one, and thus the name DUAL. Enjoy!

Senpai Coder is a family of typewrighter-style monospaced font for developing, programming, coding, and table layout. Some desirable features in monospaced fonts are listed below. 1.Easy to distinguish 2.Easy to identify 3.Easy to read Senpai Coder has very distinguishing letterforms for confusable letters such as Zero&Oh, One&I, and Two&Z. A lot of ingenuity makes this family very distinguishable. Italics have somewhat large inclination angle to be distinguished from their Roman. For the same reason, Italics are slightly lighter than Romans. Italic is not cursive Italic. It is near the slanted Roman. This is an intentional design to identify Italic letters. Cursive is not suitable for programming font. Typewriter letterform (serif) is good for reading. Common elements for each letterform makes harmony and a sense of unity. Senpai Coder supports almost all Latin languages. Try this all-new experiment.

The name “Bicyclette” was chosen because this typeface is all about balance and elegance. The idea was to create a highly contrasted sans-serif family carefully balanced between gentle curves and sharp angles, with large capitals opposing uncommonly short lower case, through six distinctive weights. The letters are wide, and the capitals pop up in headlines while the lower case leaves a lot of white space between the text lines because of its small x-height. The edges are rounded (but not so much for the family to be called rounded), just enough to make the text feel slightly softer, gentler, while retaining some of that technical sans sharpness. The Bicyclette character set supports Western and Central European languages, and includes an extended set of monetary symbols. Each weight includes small caps, ligatures, proportional lining and oldstyle numbers, tabular figures, fractions and scientific superior/inferior figures.

The Metalista font was created as a sign of undying admiration for the persistence of heavy metal culture. The angled font of almost fixed width proportions combines capitals with small letters for more variety and better definition of individual letters. Stressing the horizontal strokes subdued the historical Gothic character and emphasized a more modern signature, which is far different from the majority of current attempts at a modern adaptation of Fraktur fonts. We offer Metalista in three styles, or rather widths to be exact: Speed is inspired by the whiplash pace of 70s and 80s speed metal, and can tell and perform a lot even in a very small space; uncompromising Death balances on the fine line between expression and readability; and Metalista Black is the universal go-to, whether as megalomaniacal titles sprawled across the entire LP cover or as tiny texts for glam rock CD booklets.

This late 19th century design conjures up early 20th century Dutch DeStijl lettering with a mostly strict adherence to right angles and minimal stroke modulation. Geometric began its life as a metal typeface from the Central Type Foundry, circa 1884. Soon after, this design was officially licensed to Morgans & Wilcox and was shown in their 1890 catalog in Regular, Light and Condensed Light variations. After acquiring Morgans & Wilcox, Hamilton Manufacturing offered Geometric Light Face Condensed as their own No 3020 and the Geometric Light Face as No 3021. HWT Geometric has been expanded digitally to include a Regular Condensed version. A heavier wood type specimen was found from an unknown manufacturer and digitized as it was found, resulting in the HWT Geometric Shopworn and Shopworn Inked variations. These digital versions all include a full Western and Central European character set of over 380 glyphs.

We named this font Scholz Secession. Fin-de-siecle Vienna, Austria is the source of this Jugendstil design from Schriftgiesserei Eduard Scholz. The original release was under the name Reklameschrift Secession. Most of the curve strokes look like commas to me. The letters are as soft and plump as the comforter on the bed I slept on in a Salzburg B&B many years ago. I was traveling with a college buddy and our next stop was Vienna. There a kind, young student named Hanna and her boyfriend took us under their wing. One of the places Hanna proudly showed us was Otto Wagner’s Majolika Haus, built in 1898, and only about 8 blocks from Secession Hall. Hanna explained to us that the style was called Jugendstil and represented Art Nouveau as interpreted within the framework of their culture. I even took a picture. After all, memories are part of who we are. Figures are old-style for text use. This font would not be my first choice for a spread sheet. Included are German ligatures ch (alt-0123) & ck (125), two period ornaments (135, 175) and lower case o and u with Hungarian long umlaut (215, 247)). A very likeable and easy-to-use font.

The dearJoe series of fonts had it’s origin somewhere around 1999, the year I created dearJoe 1, which was a first (and half-assed) attempt at converting my own handwriting into a working font. Being able to type in my own handwriting had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use. And that’s what they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on just about anything, ranging from Vietnamese riksjas, a Tasmanian gym to a fancy chocolate store on 5th Avenue. The font is not something I am particularly proud of, but it started me of in building what later became the JOEBOB graphics font foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in making something that can almost pass for actual handwriting.

Phrygia is the Greek name of an ancient state in western-central Anatolia (modern Turkey), extending from the Eskişehir area east to (perhaps) Boğazköy and Alishar Hüyük within the Halys River bend. The Assyrians, a powerful state in northern Mesopotamia to the south, called the state Mushki; what its own people called it is unknown. We know from their inscriptions that the Phrygians spoke an Indo-European language. Judging from historical records supported by ceramic evidence, settlers migrating from the Balkans in Europe first settled here a hundred or more years following the destruction of the Hittite empire (ca. 1200 B.C.). Most of what is known about Phrygian archaeology and its language derives from excavations at the capital city Gordion, located about 60 miles southwest of the modern Turkish capital of Ankara (also a Phrygian site). Gustav and Alfred Körte first excavated Gordion in 1900. The excavators did not reach Phrygian levels, but they did reveal burials dated to the late eighth century B.C. with Phrygian ceramic, metal, and wooden artifacts. From 1950 to 1973, Rodney S. Young of the University of Pennsylvania led excavations at Gordion. Archaeological work at the site resumed in 1988 and continues to the present.

Developed for screen For not the first time, Fontsmith was commissioned to develop a font for one of the UK’s terrestrial TV channels. The product was a clearly-defined three-weight family. When italics were added, it became FS Matthew, a clean, stylish, structured sans serif with swooping, open curves and a bright, lively personality. Southbank Inspiration for many of the forms of FS Matthew came from details found within the modernist buildings and architecture of London’s Southbank, such as the Royal Festival Hall. During the font’s gestation, Jason had found himself at London Studios, a TV studio on Southbank, and a wander around the neighbouring arts buildings proved thought-provoking. The result was a font with a very British character: solid forms that provide the platform for innovation and distinctiveness. Feelgood efficiency FS Matthew’s trademark is efficiency with a feelgood factor: disciplined enough for corporate identities, websites and signing systems, and colourful enough for logotypes and advertising. Its versatility and excellent legibility are achieved via some unexpected details: the reaching curves of the “g” and “y”; the simple shape of the “u”; an off-kilter “k”; generous counters; and a slightly condensed aspect that makes FS Matthew a space-saver in text or title sizes.

The font family Univers is one of the greatest typographic achievements of the second half of the 20th century. The family has the advantage of having a variety of weights and styles, which, even when combined, give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. In 1954 the French type foundry Deberny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, suggested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts — quite an exciting challenge for a sans-serif font at that time. Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype. The Deberny & Peignot type library was acquired in 1972 by Haas, and the Haas’sche Schriftgiesserei (Haas Type Foundry) was folded into the D. Stempel AG/Linotype collection in 1985/1989.

OBO Classic is the second installment of the OBO series, a type collection based on a square. Every character is mapped on a 1x1 ratio which allows for horizontal and vertical settings alike. Or mixed, like crosswords. OBO Classic is a display interpretation of a traditional Old-style Serif. The “distortion” which maps each character to a square creates unusual proportions to what we are used to from classic serif typefaces. The result is a monospaced font. While each individual letter feels conventional on its own, when brought together in words the result feels contemporary. Thanks to the square base vertical and horizontal – and mixed – settings are possible and easy to apply. There are a few exceptions for certain punctuation and special characters that are half the width for better spacing; and the word space’s width can easily be adjusted through OpenType stylistic sets. Talking about spacing, for strictly horizontal typesetting there is the option to turn on kerning for a number of characters to create a cleaner texture across words and phrases. OBO Classic is best set in large sizes and is most comfortable in editorial and display settings. A series of icons complete the character set. A selection comes as pixel graphics which adds further contrast to the traditional legacy of the typeface.

Dream Within a Dream was the title of exhibition of Czech art inspired by the work of Edgar Allan Poe curated by Otto M Urban and Veronika Hulíková. Three dozens of artists exhibited their works in the Czech National Gallery in 2020. The cataloguje was printed with the use of the present typeface. Artists took significant interest in Poe's literary oeuvre only after the writer's untimely death. This was mainly thanks to the poet Charles Baudelaire who translated Poe's works to French. As early as in the second half of the 19th century, prominent artists such as Edouard Manet, Odilon Redon, James Ensor and Gustave Doré created remarkable artworks inspired by Poe. Although the first Czech translations of Poe's woks date to the 1850s, artworks inspired by them only appeared several decades later, at the turn on the 20th century. Poe's poems and short stories inspired František Kupka and soon after him, Josef Váchal, Jan Konůpek and František Kobliha. Alfred Kubin, a German artist born in Bohemia, made illustrations for the German translation of Poe's collected stories. Later on, Alén Diviš and František Tichý created further Poe-inspired artworks. Poe was a source of inspiration for Jan Švankmajer and more recently, František Štorm and Jaroslav Róna.