Dusty and charmingly rustic, Bandoliers is a hand-drawn family of eight loud speaking fonts. Not quite sure which one to pick? Ask the dust... Or just take them all! (Be sure to put your earplugs in!)

Z-Rex looks like the copies I was getting from a lousy copier before I threw it out. You might think it has been eaten by a T-Rex, or maybe it looks like swiss cheese blech.

Floralissimo are flowery embellishments that I found in several old publishing books dating back over a hundred years. I thought they might be useful for some of you, so I digitized them. Your digitizing typedesigner, Gert Wiescher

Westin Black is a great alternative to Cooper Black. Heavily influenced by clarendon typefaces, Westin Black also has a slight humanistic touch. It comes with open type features like old style figures, tabular figures and some ligatures.

Himeka features a handwritten style with a revised, unique look. This font is suitable for a variety of uses including logos, clothing and anything that might compliment a feminine touch. It includes ligatures and multi-lingual support.

A dangerous charm. A death hex. A summoning. An Invocation. An enchantment. An incantation to raise the dead. A supernatural chant. Be careful what you spell out with this font, you might get what you wish for...

The typeface Wood Sans is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is a digital version of original wood letters from a german flea market find. 8 font-styles (Clean, Clean Invest, Clean Mix, Rough, Rough Misprint, Rough Alt, Rough Dark & Icons) with 450 glyphs (Adobe Latin 2) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Wood Sans ■ Font Styles: 8 font-styles (Clean, Clean Invert, Clean Mix, Rough, Rough Misprint, Rough Alt, Rough Dark & Icons) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.off (for Print) + .woff (for Web) ■ Glyph Set: 450 glyphs (Latin 2 incl. decorative extras like icons) ■ Lan­guage Sup­port: 69 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena ,Breton ,Catalan ,Chiga ,Cornish ,Danish ,Dutch ,English ,Estonian ,Faroese ,Filipino ,Finnish ,French ,Friulian ,Galician ,German ,Gusii ,Indonesian ,Irish ,Italian ,Kabuverdianu ,Kalenjin ,Kinyarwanda ,Luo ,Luxembourgish ,Luyia ,Machame ,Makhuwa-Meetto ,Makonde ,Malagasy ,Manx ,Morisyen ,North Ndebele ,Norwegian Bokmål ,Norwegian Nynorsk ,Nyankole ,Oromo ,Portuguese ,Quechua ,Romansh ,Rombo ,Rundi ,Rwa ,Samburu ,Sango ,Sangu ,Scottish Gaelic ,Sena ,Shambala ,Shona ,Soga ,Somali ,Spanish ,Swahili ,Swedish ,Swiss German ,Taita ,Teso ,Uzbek (Latin) ,Volapük ,Vunjo ,Welsh ,Western Frisian ,Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

Fadista is an eccentric experimental typeface, inspired by the Portuguese fado music and letterings by the artist Stuart Carvalhais (1887–1961), created throughout the 1920ies and 1930ies. A strong and clean presence with a touch of quirky gives the typeface its overall character. Fadista includes various OpenType features that allow tailoring the type to custom needs, encouraging graphical exploration. Fadista is the result of meticulous research, graphic reinterpretation and systematization of the glyph palette, taking into account modern font standards. Balancing between a historic heritage and „hipster“ contemporary looks, Fadista represents a discourse about aesthetics, trends and currentness in graphic design. The stylistic variations of the glyphs in fadista work in an additive fashion, rather than completely altering the look of the typeface. This means that a basic framework of glyphs remains unaltered, while certain subgroups of characters are affected by the style choices. Through this behavior, stylesets in fadista work as a switch for the type of contrast you’d like entwined in the overall look of the typeface. Other unique features include stylistic alternates for specific glyph combinations, ligatures that allow internal character spacing and tiny diacritics that flow within cap height along normal height glyphs. Please note the lowercase characters within Fadista are uppercase alternates. Math operators are fully supported, as well as a wide range of symbols and punctuation. Supported Languages: Albanian, Danish, Dutch, English, Finnish, French, German, Icelandic, Italian, Malagasy, Norwegian, Portuguese, Romansh, Spanish, Swedish and Turkish. For further language support don‘t hesitate to get in touch. Fadista was awarded the Art Directors Club Bronze in the junior competition 2014 and the DDC Award 2014 in the category "Future“.

Introducing Restore, the headline typeface that pays homage to the early 20th century German sign lettering. Its geometric structure and logical design might fool you into thinking it’s straightforward. But take a closer look, and you’ll see how each letter is visually adjusted and perfectly balanced, giving it a unique industrial edge. But what really sets Restore apart is its interlocking letterforms. The tight spacing and intentional overlap of certain letters, such as “RS” and “ST”, create a striking, dynamic effect that adds depth and dimension to any design. Whether you’re looking to create eye-catching headlines, bold logos, or sleek branding, Restore has got you covered. And with seven different weights to choose from, you can find just the right balance of strength and style for your project. So if you’re ready to elevate your designs with a typeface that seamlessly blends the past with the future, give Restore a try. Your audience won’t be able to take their eyes off it. 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.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.