Thanks to the Quay Brothers, London, who provided me with original materials, I was able to revive Carl Otto Czeschka’s beautiful Czeschka Antiqua which was first released by Genzsch & Heyse in 1917. Since nowadays the word Antiqua rather refers to fonts with serifs, I dropped it, also because this fanciful font is a humanist sans. To get access to all ligatures, it is recommended to also activate the OT feature Discretionary Ligatures.

Cursive Script is a digital handwriting font. It is slightly different from many other handwriting fonts as it is designed to be regular and highly legible. As such it is clearly a digital font, inspired and informed by natural handwriting rather than attempting to emulate it. It contains 697 glyphs, mostly lower case alternates to ensure natural, flowing script. It also has stylistic alternates for many lower case letters, particularly those with ascenders and descenders.

Umbilical Noose is a rather scary typeface. It is quite similar to an older font of mine: Nyctophobia. The name comes from a Nirvana song called Heart Shaped Box, in which Kurt Cobain sings: "throw down your umbilical noose, so I can climb right back". I have always liked that phrase a lot. Umbilical Noose is an all caps font, but upper and lower case are different and you can easily interchange the glyphs.

Twista is a typeface from the realm of impossible constructions, from letters of illusions, the world of M.C. Escher. It takes its place in the tradition of typefaces playing with 3-dimensional drawings on a 2-dimensional surface. iÍt tricks the eye and attracts our gaze. Carefully choose which messages you set in Twista, they might be read with an invisible question mark added at the end. All letters and characters come in two versions.

Visum means Visa in Dutch. The name was inspired by Dutch soccer club Vitesse's rather sad decision to leave Israeli player Dan Mori behind, after he was refused a UAE visa because of his nationality. Visum font is a tall and proud all caps typeface. It comes with alternates for the lower case letters, some ligatures and an impressive language support. Of course, upper and lower case glyphs can be freely interchanged.

No mystery here: this monocase neon face is based on the old logotype lettering for The Electric Company TV show. This version adds a little jolt with happy outlet characters in the dagger and double dagger positions, a plug at the section mark, and a rather novel treatment of the mu character. This font contains the complete Latin language character set (Unicode 1252) plus support for Central European (Unicode 1250) languages as well.

This whimsical wonder is based on the lettering of Laurence Schall, as presented in Lewis F. Day's 1910 classic, Alphabets Old and New. The typeface radiates a charm reminiscent of the works of many talented artists (including Howard Pyle and Arthur Rackham) who illustrated children's books around the turn of the twentieth century. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

I made this font during the rather hectic start of 2021. Popular Vote is an easygoing, laid-back kinda font. It fits just about anywhere, regardless of your political orientation, your sense of aesthetics or the job you will use it for. Popular Vote will feel at home on a box of crackers, on the cover of a book about keto diets, or on that T-shirt you have always wanted to design. Enjoy!

Fromage is a modern and bold high-contrast sans serif that balances visual interest with restraint. Designed with Adam Ladd’s signature personality, Fromage has dramatically angled terminals and elongated stroke endings that lend both an elegant air and a dynamic rhythm, making it an obvious choice for fashion, beauty, or luxury branding. With horizontal rather than the sheared terminals, Fromage Alt offers a more classic and refined look, conveying touches of a traditional serif Didone.

Barbados is a modern font that is eccentric for its versatility. a typeface that conveys a sense of comfort by combining the solidity of modern proportions with the strict precision of its profile image. His personality develops through his particular modulation, which grows with load; making it a rather jovial typeface that doesn't abandon its more elegant modern characteristics. This font brings compatibility in a global aspect due to its extraordinary versatility for your designs.

HiFi is a geometric script whose genesis lies in drive-in movie theaters, vintage auto emblems and radio dials. It embraces the stylistic tenets of retro futurism and proposes that the evolution of design styles, rather than being linear, is a circular process, continually revisiting and reshaping itself. It evokes the 40s & 50s and pre-transistor electronics when you turned your radio on and waited patiently for the tubes to warm up.

This unusual Gothic face was found in the 1882 McKellar, Smiths and Jordan specimen book under the name Borussian, a then-current variant of “Prussian”. This version is true to the original, so please note: a few of the uppercase characters—notably E and G—are rather unusual, so proceed with caution. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

“Victoria Underwood” was found within the pages of the 1923 American Type Founders specimen book. It was one of many printing fonts faithfully replicating those used on various makes and models of actual typewriters. The purpose of such type was to allow mass production of letters or notices that could appear personalized rather than shop printed. Antique Typewriter JNL is the digital version of this design, and is available in both regular and oblique versions.

If you watched ND Gestalt glitter in the dark near the Tannhauser gate. You know all these sans serifs will be lost in time, like tears in rain… If you like circles you will like ND Gestalt just as much. The unconventional stem to counter bridge in the lowercase gives this one its rather unique appeal. Fonts like this are unlike any other font – they’re either a benefit or a hazard. Beware!

Clafoutis: tasty, sweet and tangy, handmade, an all original recipe. Go with the Regular for a richer option and with Rapide if you're on a light mood. Or better yet, go with both - and don't forget to sprinkle some Insolite bits over it! Notes from the test kitchen: Clafoutis Regular and Rapide contains 2 uppercase glyphs for each letter and extended language coverage. Clafoutis Insolite contains over 200 unexpected lovely pics. Use without moderation.

Serifs gone crazy! They are legible and recognisable and at the same time jumpy, skewed and random! What makes it really cool is that every letter has 5 different versions - and they automatically cycle as you type. That will make your text look quite random and more authentic (rather than obviously repeating letters!) Bonus Jerk also comes with a complimenting Box version - a handdrawn background layer, made to make the letters stand more out!

Eh, what's up, Doc? This cuddly little oddball of a typeface was originally released under the rather unlikely name of Hercules by the Amsterdam Typefoundry in 1926. This face includes OpenType Stylistic Alternates for b, h, h, k and l, which feature very tall ascenders with a "bunny ear" vibe. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Glory Angel is a sophisticated ligature serif from us. This typeface has been made carefully to make sure its premium quality and luxury feel. The ligatures makes this typeface unique and stands out rather than the regular serif font. Very suitable for logo, headline, tittle, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose.

Zold is the first font designed by EMME Grafica. It's a simple, statuesque, architectural, eye-catcher, tough yet elegant font, particularly suitable for titling, subtitling, branding and typographic amusements. The solemnity of Zold does not affect the the elegance of the curves of the font, but gives it the right visibility and temper, like that of Zold, the surly character who will be the antagonist of a multimedia project currently under development at EMME Grafica.

The 1912 American Specimen Book of Type Styles from ATF featured a quaint little offering called "Tabard", whose antique charm was enhanced by several rather quirky alternate characters. This version tosses out the standard characters and keeps the quirks in the works: the result is warm, engaging, slightly mischievous and a whole lot of fun. The Opentype version of this font supports Unicode 1250 (Central European) languages, as well as Unicode 1252 (Latin) languages.

Arzachel is a humanistic sanserif with a big x-height and a specific organic look. Its design is scientifically sharp and efficient in small type sizes as well as rugged and dramatic in headlines. Arzachel’s essential feeling comes from several features: all the letters are slightly sloped, stem terminations are flared at the top, and the terminals in letters a, c, e, f… are widening with the inside parts completely flat. The stroke contrast is low in the regular weight while it increases in the black; finally the capitals have an inscriptional flavor. Despite being a sanserif (thus a product of recent typography) Arzachel’s roots stretch back to the Renaissance tradition: Olocco took inspiration from some of the early and rather weird types cut in Venice in the 15th century. Arzachel was conceived during Olocco’s MA in Reading to provide a companion for his Zenon for use in small type sizes. But instead of expanding the Zenon family with optical sizes, the designer decided on a sans with its own personality rather than a sanserif version of Zenon with chopped-off serifs.

Chancery Lane is a condensed cursive with a breezy, flowing feel. Many of the lowercase characters join up, some uppercase ones too, and the two fonts are slantier than many other chancery-inspired faces, inclined at almost 20°. Each glyph has slightly rounded corners to bestow softness and warmth. The typeface emerged from a study of pen lettering, italic scripts and chancery hands – down a rabbit hole and along the Chancery Lane. The research ranged from early cancellaresca manuscripts to contemporary fonts, and also calligraphic work, most notably that of Indian artist Mayank Baranwal whose lowercase letters inspired many of the Chancery Lane glyphs. Uppercase characters have been designed to harmonise with the lowercase rather than providing overly ornamental openers, true to origins that were functional rather than fancy. Both the capitals and the uppercase alternates are unfussy and relatively simple, and the lowercase swash characters are similarly understated, only modestly flourished. Stylistic alternates and lowercase swash characters can be accessed using OpenType-aware applications or font management software.

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. TessieSomeMore has two family members, a solid style that must have different colors to be useful and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

This type face fills one of the gaps between the world of Roman alphabets and that of linear alphabets. The first to be designed was the set of upper-case letters. The expression of these characters cannot conceal that they were originally intended only for the sculptor's use, as a type face for three-dimensional inscriptions. Their width proportions reflect a dialogue between the contemporary feeling and the legacy of classical Roman inscriptions. The type face was later complemented with a set of lower-case letters and elaborated into further designs. Its clear, concise letter forms end with small serifs which not only make the type face more refined, but above all anchor the individual letter signs visually to the horizontal of the text line. The austere construction of the majority of the letters is balanced by the more exuberant, humanizing forms of the most frequently used letters "a"; "e". (The three variants of the lower-case "e" enable to create rhythmically differentiated texts.) The letters in which a straight stroke is connected with an arch are designed in two ways. That means that the letters "n", "h","m" and the group of letters "b","d","p","q" are conceived in a different way. Thus an interesting tension is created in the structure of the text, which, however, does not endanger legibility. The economizing, slightly narrowed design of this type face predetermines its use for the setting of usual texts. In larger sizes, however, it produces a rather serious, even solemn, impression.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

Cindie Mono is a multi-width display font. Six different widths – A (condensed) through F (super extended) – mathematically correspond with one-another creating a stackable type family. Each face contains all caps full West, Central and East European language support. All diacritics and marks are done in a hairline to add style and contrast. And Cindie Mono is ideal for posters, headlines and display lettering. The inspiration for Cindie Mono came from the lettering styles on optometrists sight-test posters. Then through several stages of development the overall concept for Cindie became of a half-broken Commodore64 and the computer from the 1985 movie 'Weird Science' hooked up to a dot-matrix printer spitting out reams of mechanical but distorted mono-lettering all the while an old modem you can't seem find keeps beeping and beeping and beeping...

Aldo Pro is a contemporary sans serif OpenType font family designed by Sacha Rein. With 8 weights from hairline to black and an extended latin character set of 690 glyphs it is suitable for all typesetting needs, from advertising and branding to web and screen. Aldo Pro is the evolution of the free Aldo semi-bold font published on dafont.com in 2007, and which has been downloaded over 700.000 times. « I have gotten quite a lot of feedback on the original Aldo over the years and tried to integrate most of it into Aldo Pro. The x-height has been reduced to make for a less condensed, more legible font, which makes it more useful for body text than before. By popular demand the X glyphs have been changed to a more ‘classic’ shape. The font also contains some useful ligatures now. »

Dear Dolores has had its name from the latin word dolorem, meaning sorrow or grief. When I started working on this display font I found myself trying it out using the latin requiem texts. The capitals somehow sat well with the monumental and solemn words of mourning. The broken hairlines suggested stone cuttings where the fine details had been worn down and obliterated over time and it felt at home in a churchyard or in a monument park. Adding lowercase gave the font a more personal and friendly appearance and opened up new possibilities for use. The name itself is a fictional message to someone long missed or perhaps lost too soon. Dear Dolores comes in a cut and an uncut version where the fine details are left intact. Both are excellent for headlines or memorable quotes.

The Rosella™ family, by Sabina Chipară, is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. Inspired by late 19th century engravers typefaces that mimic the delicate and ornate hairlines of steel and copperplate engraving, the family’s foundation is built on the dramatic Solid design and then expands to Deco, Engraved, Flourish, Hatched and Inline styles. Rosella also takes to color like the beautiful Australian parrot it is named after. Words set in the typeface come alive when vibrant colors, or tinted backgrounds become part of their plumage. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd – but with grace and composure.

Introducing Inertia - Logo Typeface - 5 weights Inertia is futuristic, logo typeface loaded with alternate glyphs, ligatures, 5 weights and multilingual support. It's a very versatile font that works great in large and small sizes. Inertia is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, numeral, punctuation & Symbol Hairline Light Regular Bold Black Alternate glyphs Ligatures 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!

It is a modern grotesque family that can feel strong power. Hairline Styles are designed to be thinner than the average Thin Styles and have a lower x-height than Black Styles. So when you design your typography using the entire font family, you get a great sense of balance and harmony. And with creative Alternates, you can make your logo and product branding design work unique. Cropped glyphs provide meaningful metaphors for logo design. Be sure to try the Stylistic Alternates and Ligatures this family has to offer. OpenType Features Stylistic Alternates - C, G, K, N, R, S, a, e, g, i, o, s, u, y Standard Ligatures - ff, ffi, fi Discretionary Ligatures - tt, rr Fractions Oldstyle Figures Tabular Figures Circled Numbers Multilingual Support Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian Basic Cyrillic Ukraine

Dionisio, a CastleType original, takes its inspiration from one of the overlooked treasures of the CastleType library: Ransahoff. The latter is extremely condensed and very elegant. I particularly like its hairline slab serifs and cross-bars. I decided to use it as a starting point for a new design, but to make the proportions more classic and to make it more sensuous with gentler curves and bracketed cross-bar serifs. The result is very Bodoni-like, but less extreme and more contemporary looking. Meanwhile, Dionisio maintains a hint of Ransahoff with condensed letterforms and very fine serifs. Dionisio brings together the best of both, making it the perfect choice where a slender, sophisticated typeface is needed. Dionisio is available in two widths: normal and condensed, five fonts each. Includes an extensive character set and OpenType features.

Questal is an intriguing unicase serif. The face appears rather eccentric, yet it still retains a refined character. The typeface is wider than most, but not to the degree that Aviano is extended. The font includes some interesting OpenType alternate characters to extend the quirky quality of the letterforms even further. If unicase isn't your thing, the Questal family also includes a small caps variant for more traditional uses. Use Questal for eye-catching and distinctive logotypes or headlines.

A square sans stripped down to basic, neutral shapes. Olney is primarily a display family with lighter weights that will remain legible at text sizes. The letterforms of Olney are designed to appear consistent, sturdy, and technical. Careful attention was given to the pure, almost modular forms, to ensure that the family looks timeless, rather than resorting to a contemporary or futuristic aesthetic. Each weight includes a thorough set of diacritics for Western and Central European languages.

Say hello to Metropolia! Drawing up the first roughs of this design I was aiming for a slightly asymmetrical feel. I later realized that this gave it a strong art deco influence. A slight tilt brings it a forward movement and a distinct flavour. Designed primarily for headline use, this is not your workhorse font but rather a playful and versatile addition to your font toolbox. A set of alternate capitals will be handy for headline or logo ornaments.

A contemporary interpretation of grotesque (historic) typestyle, relying on geometric shapes applied to a grid. Idiosyncrasies within the typeface are based on how this grid is constructed and applied rather than those inherent in drawing type with a pen or cutting from a block of wood. Other grot types retain the quirks of original woodcut typefaces. Elephant has a different vocabulary of quirks that remove it from being too reverential or constrained to a historic context.

The typeface was designed after seeing a photocopy of some News Gothic text where the ink had faded on the bottom of each character. As character recognition is generally based on the top half of a character, readability was never compromised. Rather like Antique Olive the characters have a top heavy look when viewed straight on, however, as most type is read at an angle with the top further away than the bottom this top heavy look is diminished.

The 'Alzheimer' font has a shape in which parts of the font have been erased as if memories are being erased. The remaining letters, which are minimal enough to be distinguished from other letters, create a different feeling, like an alien language. It is useful for creating titles or logos rather than expressing text. It was produced thinking of all of us adults whose memories are slowly disappearing. May they be full of health and love.