ITC Greengate is the result of a time-traveling, intercontinental collaboration--one between 21st century South African designer Richard Every, and early 20th century Scottish artist Jessie Marion King. Jessie Marion King (1875-1949) began her professional career as a book designer and illustrator, but over time her creativity found its outlet in many forms, including posters, jewelry, ceramics, wallpaper, fabrics, murals, interior design and costumes. After eventually settling in Kirkcudbright, Scotland, she founded Green Gate Close, a center for women artists. Although her style is reminiscent of the Art Nouveau artist, Aubrey Beardsley, King's aesthetic was an offshoot of the “Glasgow Style,” a Scottish hybrid of the Arts and Crafts movement and Art Nouveau. Often, her illustrations included hand lettering. It was just this kind of lettering that gave Richard Every his inspiration for ITC Greengate. When he saw some children's book illustrations that King created in 1898, he knew on the spot he had to complete the hand lettering as a typographic font. He began working on the typeface in 1996, but it took six years to be released as an ITC typeface. Every simplified and harmonized King's letterforms slightly and, most importantly, added a suite of lowercase characters. The result is a somewhat earthy Art Nouveau design, with a character quite distinct from typical digital revivals. Every's career has been as diverse as King's. He was born in Durban, South Africa and studied graphic design at ML Sultan Technikon in Durban. He's been an art director, freelance designer, the owner and manager of a nightclub and co-manager of a South African band. “Through it all,” he says, “typography has always been one of my passions.”

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

DF Korolev is a 72 weight geometric sans serif family based on lettering by an anonymous Soviet graphic designer from the propaganda displays at the Communist Red Square parade in 1937. It has been named in honor of Sergey Pavlovich Korolyov, or Korolev, considered by many to be the father of practical astronomics. Rational and robust, it is also elegant and refined. Tracings done in Illustrator over a photograph featuring this type pinned down some of the basic character shapes. These were then imported into FontLab, where the full glyph complement was developed. The lower-case has been designed from scratch, and adheres to the structural logic of the uppercase as closely as possible. The complete Korolev super-family includes standard, italic, condensed, and compressed versions, each in five weights. The Alternate families come with a double-story “a”. Authoritative yet friendly, Korolev Rounded is a versatile addition to the Korolev range.

Honeydrop is a script that mimics the action of a heavily-laden inky pointed brush, dancing across the page . Designed by Jeremy Dooley, its unique form is great for branding and packaging, especially for all-natural food items. The typeface also has a bit of Eastern flavor to it. Five different distressed variants make Honeydrop stand out. Its many alternatives help to advance your project. These variants allow you to change the final character of the lowercase letters. Besides, there are ligatures that extend the natural writing feel. Opentype override options round out the fonts, including random replacements to create a unique look and feel; each time you use the font you get a unique result. Each font has sixty five alternate characters. Also included are many unique textures that help the typeface adapt to different situations; you will find them of great use. Grab the extra sweet and flavorful typeface Honeydrop today.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Square was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Rounded was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Anface is a bold, square font with a playful, creative letters. This font is unique because of its bold and strong letterforms that evoke a feeling of confidence and strength. The square shapes add a modern, geometric element that gives it a cool and contemporary look. In terms of functionality, Anface offers a range of styles, including regular and bold, as well as a full character set that supports multiple languages. Its special features include a full range of punctuation and symbols, making it a versatile choice for a variety of design projects. The design concept behind Anface was to create a font that was both bold and playful, making it perfect for a variety of creative projects: headlines, logos, and other design elements that required a strong and confident visual impact. Its unique square shape and bold letterforms make it a fresh and exciting addition to any designer's toolkit. Here are a few ideas for where Anface could be used: Tech companies: The geometric design of Anface could be a good fit for technology or software companies, as it has a modern and futuristic feel. Sports teams: The bold, strong letterforms of Anface could be used for sports team logos, jerseys, and other branding materials. Its square shape gives it a sporty and athletic look. Architecture firms: The clean, modern lines of Anface make it a great choice for architecture firms or any businesses related to construction or design. Art and design studios: Anface's playful, creative design would be well-suited for art and design studios, or any business related to the creative industries. Music industry: Anface's bold, attention-grabbing design could be used for music album covers, posters, or other promotional materials. Cafes and restaurants: Anface's square shape and bold design could be a good fit for cafes or restaurants that want to create a modern and unique brand identity. Its playful and creative look could help businesses stand out and create a unique visual identity.

PUBLIC SERVICE ANNOUNCEMENT: Price Didone has inspired a full alphabetic font - Mastadoni, so if you're after more than numerals, head over there! Price Didone is a font with a singular purpose: The setting of elegant, stylish price tags. As such it is non-alphabetic, featuring instead numerals, a large array of currency symbols, and a smattering of typographic niceties such as quotes, brackets, pilcrow, daggers and a very curvaceous ampersand. Certain currency symbols that are not independent glyphs (Q, Ft, kr etc.) are included as their constituent letters, some of which also have automatic ligatures for that little something extra. There are currency symbols included which have not (yet) been accepted to unicode, such as the Russian Ruble and Bitcoin symbols. For ease of access, these can be typed using the standard ligatures feature. See features below for the full list. Features: Automatic Fractions - with fractions feature engaged, arbitrary fractions are a doddle. Stylistic Sets: SS01 - an alternate look for 4 SS02 - a double stroked dollar symbol SS03- the # sign becomes a stylish numero Stylistic Alternates - for software that doesn't support stylistic sets, the above three features are grouped into the one SALT feature. Standard Ligatures - certain typed combinations automatically change to different glyphs: B|| = Bitcoin symbol P- = Russian Ruble RM = Malaysian Rimgit symbol Rp = Indonesian Rupiah Rs = Rupees Ft = Hungarian Forint kr = Kroner symbol % off;%off;%ff = Special percent off ligature Discretionary Ligatures - this feature sets decimal prices like $5.95 with the numerals after the period smaller and raised from the baseline, underlined by a nice swoosh. It also shrinks the dollar, sterling, and Euro symbols for a more authentic look. While intended for one sole purpose, Price Didone could nevertheless be quite versatile. Quote marks and typographic symbols can be used for decoration. Everybody loves a nice ampersand and this is one I'm really proud of. Or you might just want some pretty numbers for your house, or sports jersey, or just to stand out a little from the rest of your text. Whatever use you may have in mind, go for it. And do let me know if your currency symbol isn't included, and I'll quickly add it to the glyph set in future versions.

Rev up your design game with Dealerplate, the typeface that brings the license plate style to your work. This typeface features 17 embossed designs from states and provinces across the United States and Canada, ensuring your work is always on point with the latest in license plate style. To truly capture the essence of the license plate look, be sure to turn off kerning in your design application. This will create a more authentic appearance, bringing the road to your design work. Not only does Dealerplate capture the essence of license plates, but it also includes OpenType fractions, numeric ordinals, mathematical symbols, and monetary symbols, making it a versatile and powerful addition to any design project. Don’t just settle for any license plate typeface, upgrade your design game with the stylish Dealerplate typeface today. The Dealerplate family includes plates from: California Florida Illinois Maryland Massachusetts Michigan Missouri North Carolina/Utah/Alaska New Jersey New York Ohio Ontario Pennsylvania Quebec Virginia Washington Wisconsin Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Diaria started as a project in Typeface Architecture for Master in Advanced Typograghy at EINA, Centre Universitari de Disseny i Art de Barcelona, a course tutored by Laura Meseguer and Íñigo Jerez Quintana. Later it has developed into Diaria Pro, an extensive typeface including Cyrillic script, small caps, and various OpenType features. Diaria Pro is a low-contrast serif typeface designed as a primary text face for the newspapers. Its large x-height and static exteriors allow comfortable reading in narrow columns, and calligrafic counters as well as dynamic serifs add humanist detail to overall perception and incline contrast axis without affecting interletter counterforms. Besides extensive language support, Diaria Pro includes various OpenType features: ligatures, discretionary ligatures, small caps, 6 sets of digits, superiors, inferiors, fractions, ordinals, upper-case punctuation, and some language-specific features. Diaria Pro also has a sans-serif companion - Diaria Sans Pro. Some of the styles of Diaria Pro can be found in Mint Type Editorial Bundle together with other fonts which make some great pairs. Check it out!

Kosnat Trunks is a striking sans-serif display font that seamlessly blends retro aesthetics with a touch of modern design. With its wavy ligatures and a whopping 920 meticulously crafted glyphs, this font is a typographic masterpiece that will elevate your design projects to new heights. Key Features: Retro Charm: Kosnat Trunks exudes a delightful retro charm that harks back to the styles of the past, making it perfect for vintage-inspired designs. Wavy Ligatures: The unique wavy ligatures add a playful and dynamic element to the font, making your text visually captivating and memorable. Vast Glyph Library: With an extensive collection of 920 glyphs, Kosnat Trunks offers you unparalleled versatility in your design work. This includes uppercase and lowercase characters, punctuation, symbols, and special characters. PUA Unicode: Kosnat Trunks supports the Private Use Area (PUA) Unicode, ensuring compatibility across various platforms and applications. This feature allows you to access alternate characters and glyphs effortlessly. Multilingual Support: Whether your project requires Latin-based characters or extends to various international languages, Kosnat Trunks has you covered with its comprehensive multilingual support. Ideal Usage: Vintage Branding: Create eye-catching logos and branding materials for retro-inspired businesses and products. Poster Art: Craft attention-grabbing posters and promotional materials that demand attention. Editorial Design: Elevate your magazine layouts, book covers, and editorial spreads with this unique font. Packaging: Design packaging that stands out on the shelf and tells a compelling story. Web Design: Use Kosnat Trunks to add a touch of nostalgia and personality to your website headers and titles. Kosnat Trunks is not just a font; it's a design tool that empowers you to infuse your projects with a sense of nostalgia and style. Elevate your typography game with this versatile and captivating typeface.

Welcome to the world of Permanence, where the past meets the future. Inspired by the iconic cover of Alvin Toffler’s groundbreaking hardcover, “Future Shock” from 1970, Permanence is the perfect typeface to transport you to a world of limitless possibilities. With its bold, clean lines and sleek design, Permanence captures the essence of the retro-futuristic style. Its crisp, angular shapes and unique curves evoke a sense of progress and innovation, harking back to a time when anything was possible. Permanence is more than just a typeface—it’s a vision of a better tomorrow. Its timeless design captures the optimism and hope of a bygone era, while still feeling fresh and modern. Why settle for the ordinary when you can experience the extraordinary with Permanence? 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.

Mullen Hand is the fresh digitization and expansion of a Jerry Mullen metal typeface called Repro, originally published by ATF in 1953. The connectivity of certain letters in the original type was limited by metal technology, but this new digital version is updated to resolve those issues with. Two- and three-letter ligatures take care of the r, s, x and z connections. These ligatures are programmed in the 'liga' feature of the OpenType version, so they automatically activate in programs that support advanced typography. Casual, tall, and elegantly friendly, Mullen Hand's even strokes and confident connections embody the spirit of contentedness and reassurance sought by today's appeal designer. It accommodates a variety of applications, from posters and signs, to book and music covers and product packaging. Mullen Hand comes in all popular formats. The TrueType and PostScript versions come with 2 fonts, one of them containing the ligatures and some alternates. The OpenType version combines both fonts into one, and includes programmed features for localization, alternation and intelligent substitution. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

Vast and untamed, the American West once stretched as free and wild as imagination itself. Still beautiful, the Wild West of long ago and the new West of today is now to be found in insigne’s new face, Plathorn. That’s right, folks. When the West called, Jeremy Dooley reached up like Pecos Bill, grabbed it by the reins and pulled it in, then using its wide, roaming elements to design this functional font that still has an unbroken spirit burning deep inside. This down right, no-nonsense, orthodox face leaves off any of that extra fancy stuff that doesn't belong on a ride. Plathorn comes with a family of cowhands as wide as the Rockies, bringing specifically tailored condensed and extended sub-families along with it too. By design, it’s not very obtrusive like its unorthodox reversed tension brethren. Leave those for the next font rodeo. This mount features barely a hint of a serif that hearkens back a hundred years or so to sign painters and package lettering artists of early twentieth century. They're sure to put the sharpness, gumption and grit you need into your copy. So grab a tall glass of Plathorn and drink in the deep taste of America’s big country. Put it in your next magazine. Put it in your brand. This typeface’s offbeat appeal is bound to bring a bit of wild U.S. to your free-spirited work.

Get in the swing with Metairie. This high-contrast script from Jeremy Dooley sets the rhythm for your next headline or short phrase with its fresh, expressive forms. Metairie’s (sometimes exaggerated) scrawled letterforms play on the colorful world of calligraphy to bring you a fully developed personality of its own. Inspired by elixirs and pharmaceuticals of the 1800s, this design has forms that dig down deep to the soul. It brings a unique, vibrant feel for your next message. The typeface supports all major Latin languages, and the expanded OpenType capabilities let you slide elements easily and quickly into your design. Metairie also includes a number of distressed options. Improv a bit, too, with Metairie’s decorative ornaments, variations on the fleur de lis. Ornaments and tails are accessed through the glyph palette or using the Swash function. An extensive set of ligatures gives you more options for humanizing the handwriting on the page. Then take it up a notch by using the glyph palette to find the perfect solution for project. You have full access to this amazing capability with InDesign, Illustrator, QuarkXpress and similar software. We recommend that you explore what this font can offer by using the glyph palette. Get a glimpse of ​​the font’s strength by looking over the brochure in PDF format in the "Gallery" section. Ready to step in? Take a stab at your next design with Metairie. It could be just the color you need.

Enocenta is fully featured script face. Like a wild, untamed beauty in the moonlight, Enocentaís flowing calligraphy dances across the page. This contemporary typeface is not slavishly devoted to convention, and instead it defies it repeatedly. The face has bit more character than most high contrast script faces and attracts your readers eye. This spicy and flavorful collaboration between Jeremy Dooley and Cecilia Marina Pezoa. Enocenta is a five weight script typeface that offers a variety of options for you to design beautiful things. Enocenta is friendly and warm, and it's hairline weight is simple and clean while its bold is strong and draws attention. Its contemporary appearance is right home on the web or wherever your canvas may be, whether that is packaging, magazines and invitations. It's also a fantastic choice for branding and can be quickly converted into a distinctive logo when applying its options to customize the look and feel so the brand is unique. Enocenta is packed with alternates, swashes, ligatures, and also other techy perks. To discover its complete feature set, please use it with software that supports OpenType options for sophisticated typography. There are a number of purchase options for the face. The Pro fonts are loaded with the full set of alternates, ligatures and ornaments. The Standard types are contain no decorative alternates but are an affordable starting point for designers that don't need the full features.

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

Following the success of the Ashemore family, it became clear that a rounded version of Ashemore would be a great addition to the product line that would allow designers even more design choices. Ashemore Softened’s rounder forms compliment the face well as the original font eschewed straight lines. The rounded terminators give the face a sense of friendliness that is unsurpassed. The distinct and flamboyant style of Art Nouveau and the Arts and Crafts style remain, but the blunted terminators give the face a more technological and contemporary look and feel. The Ashemore Softened family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore Softened is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore Softened also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore Softened supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. The original Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.

Clean and welcoming, the distinct look of Yorkten is remarkably satisfying to the eye. Straight to the point, Yorkton features a fashionable, geometric composition with angled main stems. There are no fewer than fifty-four fonts in the family, all of which are characterized by one of three widths – extended, normal or condensed. Each individual subfamily is equipped with eight weights from Thin to Black with respective Italics, giving Yorkten a breathtaking range of fonts to boast. The greater value for you, though, is its members’ ability to work well together. With a deep toolbox of weights and widths to choose from, this family provides you with significant value and a broad number of design solutions, making sure you have the tools you need for each challenge. So where should you use the font? Jeremy Dooley designed Yorkten’s underpinning structure to be compact. Combined with its superior features and terrific legibility, this versatile font can be used effectively for many jobs, whether in print or on screen. Use it freely for e-books and apps. Yorkten is particularly great for headlines, banners, posters, and websites. As with all insigne fonts, fonts that are well received by the market are expanded into future variants such as rounded or slab serif types. Yorkten’s later expansions will increase the versatility and functionality of the family. There’s no need to wait for these future releases, though. This new face already complements a number of other insigne faces, such as Grayfel, Look, or the Cabrito Superfamily. So what are you waiting for? Get Yorkten today and bask in the rich potential it offers! Get Yorkten and luxuriate in its straightforward multifunctionality!

Dever’s brute, industrial lines are rounded up in this new typeface from Jeremy Dooley. Dever combines plenty of inspirations. It’s the flair of the Wild West melded with a shout out to the sign painters and package lettering artists of the 1800s. Dever’s big, bold, and handy frame moves through all three of the family’s strapping members. First is the sans. No doubts on what this brother’s like. Dever Sans is as straight-forward as you’ll find in this family with its four separate weights and numerous distressed options. The second of the kin’s a bit of half-breed, you might say. Pointed serifs bring a sharpness to this outfit. Rounding out the family is Dever Wedge, a bit of wild rodeo all its own. This poke’s a quick draw with any of its 107 font, and with it’s auto-replacing alternates, no two repeating characters are alike. You’re guaranteed a great show anytime Dever leaves the chute. The route to Dever was long, with many a switchback. The Wedge variant was designed first, shelved, then developed into Plathorn. But I wanted to return to those brutish forms and decided to round out the family with a sans, serif and plenty of other options. Any of the Dever family have an extended character set including Central and Eastern European languages. The strong faces have specially adapted sub-families, too, so they’re bound and determined to have an outstanding impact at whatever size you use ‘em. It’s a hard ride ahead corralling all those words. Be sure and add these able-bodied boys to your posse today!

The Schneidler Latein is a sharp and elegant Antiqua based on the ductus of the broad edged pen with a strong character. Running perfectly in paragraph text giving it something quite special and being effortlessly legible at the same time, Schneidler Latein works great in headings as well. Each glyph is a piece of art ready to be used in branding and blowup combining beauty and personality in a kick-ass blend. It is absolutely new to the digital world as it never has been digitized before. This new version digitized, further developed and extended by artist and graphic designer Lena Schmidt comes in nine styles from which there are four application-related ones like Subtext and Display and five weight-related ones like Bold and Heavy. Each style contains 948 glyphs, variations of numbers, three stylistic sets one preserving the historic forms of changed characters, small caps, open type features and superior and inferior characters. Designed by F. H. Ernst Schneidler the Schneidler Latein was released in 1916, the bold version in 1920 and the italics in 1921. Schneidler was born in 1882 in Berlin. He studied at the school for applied arts in Düsseldorf with professor F. H. Ehmcke and P. Behrens. He was as a painter, graphic designer and illustrator. In 1920 he was appointed as teacher in the school for applied arts Stuttgart. His students were Albert Kapr, Imre Reiner and Lilo Rasch-Naegele among others. Further well-known fonts from his hands are for example Legende, Amalthea, Schneidler Mediävel and Schneidler Antiqua. Lena Schmidt was born 1981 in Bremen. She is a german painter, graphic designer and illustrator mostly known for her huge wood carving paintings. From 2003 to 2011 she studied Fine Arts in Hamburg with professor Matt Mullican. From 2015 to 2019 she studied graphic design with a focus on type design at HAW Hamburg Department Design with professor Jovica Veljović. She lives and works in Hamburg, Germany.

Life’s always more fun when you reverse the stress. The same goes for the new member of the Cabrito family. Cabrito itself is a recently developed slab serif made for the kid’s book The Clothes Letters Wear. Cabrito proved to be more popular than I thought, and I promised I would create an inverted style for this new addition to the font world--a variant that would pair well with the original or even stand well on its own. And so now, here it is. Cabrito Inverto, which features the reversed stress of the strokes from a font’s “normal” traits. Inverted stress fonts are most often associated with cowboys and the Old West. The inverted stress gives it a happy-go-lucky appearance, not to be taken too seriously. It’s a pleasantly rounded, not-so-strictly geometric typeface with handwriting-inspired forms. Whew, that’s a mouthful! Inverto’s bundle of alternates is accessible in any OpenType-enabled program. It contains a workforce of alternates, swashes, and alternate titling caps to embellish the font. Also bundled are swash alternates, aged design and style figures, and compact caps. Peruse the PDF brochure to examine out these solutions in action. OpenType-enabled purposes such as Adobe suite or Quark will allow ligatures and alternates. This font family also includes the glyphs for 72 different languages. Cabrito Inverto does pair well with Cabrito. There is even an extra font weight, Black, for when you want to punch it up a bit. Jeremy Dooley designed Inverto to be a welcoming, day-to-day font family. Use it to express friendliness on just about anything, from candy to food to children’s toys. Cabrito Inverto’s one-of-a-kind visual appearance brings a bundle of fun to the party. Buy Cabrito Inverto to give a boost to your designs every day of the week.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Hear ye, hear ye! Adventurers of all realms, allow me to regale you with a tale of Mikadan, a font of great splendor and beauty. Behold, its letterforms are imbued with the grace and character of the medieval age, yet tempered with modern sensibilities. This typeface is a tribute to the great Verona of Stephenson Blake, a typeface of old that harks back to the days of yore, the age of kings and queens, and the rise of chivalry. Mikadan also draws inspiration from William Dana Orcutt’s Illumanistic, a font of great power and mystery from the turn of the century. Moreover, Mikadan possesses some of the accessible qualities of Morris Fuller Benton’s Motto, a font that has stood the test of time since 1915. Truly, Mikadan is a font that combines the best of old and new, of medieval fantasy and modern design. With its easy-to-read letterforms and medieval design, Mikadan is the ideal choice for all modern applications. Whether you’re designing a poster for a tournament, a sign for a market, or a banner for your guild, Mikadan will serve you well. And if your program supports OpenType alternates, you can access unique drop-down capital letters that will truly set your design apart. So come forth, brave adventurers! Embrace the medieval fantasy design of Mikadan and set forth on your journey to create designs that will endure through the ages. Most Latin-based European, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kalmyk, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Khalkha, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec, Zulu and Zuni.

Ashemore developed as a result of my visits to Barcelona, Spain and to Germany, followed soon after by a visit to Asheville, North Carolina. Blending the styles of art and architecture from these three areas may seem initially to result in an unusual formula, but the distinct and flamboyant style of Art Nouveau and the Arts and Crafts style combined with the more strict rules of a sans serif transfer well into a beautiful and very usable blend of these individually eccentric forms. The resulting font retains the Art Nouveau and Craftsman style flavors, which shine through the typeface despite its geometric base. One of the font’s defining characteristics is the unique terminators of its C, G and S. This face’s texture and rhythm also moves well in longer texts. These and other features give Ashemore a restrained bohemian vibe that seems particularly appropriate for a coffee house or an art gallery. The Ashemore family has a full range of six weights from thin to black and includes condensed and extended options for a total of 36 fonts. The typeface also includes some unique OpenType alternates that make the superfamily even more versatile. Ashemore is equipped for complex professional typography, including alternates, small caps and many alternate characters. The face also has a number of numeral sets, including tabular figures, fractions, old-style, lining figures and superiors and inferiors. OpenType-capable applications such as Quark or the Adobe Suite can take full advantage of automatic ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Ashemore also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Ashemore supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Ashemore was designed by Jeremy Dooley with production assistance from Lucas Azevedo and Marcelo Magalhaes. Kerning assistance from iKern.