A tessellation is a pattern in which a shape or tile fits together with copies of itself to fill the plane with no gaps or overlaps. One type of tessellation is formed with sides of center-point rotation, that is, one half of an edge is rotated 180 degrees to form the other half. If a square template is made with sides of identical center-point rotation, there are exactly four shapes that are possible. If these shapes or tiles are fit together not edge to edge but vertex to vertex, the result is a checkerboard-like pattern of tiles and voids. However, the voids have four edges formed by the four possible shapes that the tiles can have, so the voids are limited to the same four shapes that that make up the tiles. The FabFours have 22 tile families that allow a wide variety of fascinating patterns. They form one, two, three, and four tile tessellation. Eleven of the seventeen symmetry groups can be formed with these patterns. In each tile family two of the shapes have two possible orientations, one shape has four possible orientations, and one has eight, for a total of 16 tiles. Each font has two families, one on letters A-P the other on a-p. For some of the families there are also other tiles using the same edge but using triangular and hexagonal templates. To get proper results, the leading must be set equal to the point size of the font. I discovered these fabulous families and their decorative possibilities as I was working on a book about tessellations. I have not been able to find anyone else who has written about these families of four and their decorative possibilities when arranged vertex to vertex.

Caroni is a cute handmade typeface, which was originally created in 2018 as a free font. It has a simple and clean look, and works great for longer texts. Caroni has already been used in numerous children's books, so now it was time to extend Caroni's look, and add more styles. The Caroni Family at a glance If you like Caroni, you will love the Caroni font family! Caroni now comes in bold and italic, and it has nine awesome siblings: Avenue (all dressed up with stylish serif strokes) Lime (the skinny version of Caroni) Avenue Lime (the skinny version of Caroni Avenue) Tabanca (dark and heavy, this is Caroni's brush version) Doubles (enhanced with fine lines) Fete (with fun little dots) Coconut (Caroni's outline style) Soursop (Outline with dots, a great display font) Carnival (a quirky and fun all-caps version) Caroni was created while staying with a friend in Trinidad, hence the names :) Languages supported: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Cebuano, Chiga, Colognian, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Ido, Inari Sami, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kurdish, Latvian, Lithuanian, Lojban, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Morisyen, North Ndebele, Northern Sami, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Turkish, Turkmen, Upper Sorbian, Vunjo, Walloon, Welsh, Western Frisian, Wolof, Xhosa, Zulu

“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827. At first glance, the upper case letters of Austin Antique look very much like Figgins Antique. But, upon examination, one will note that the Austin face is much darker. In general, the letters designed and cut by Richard Austin have fatter strokes, larger serifs and smaller counters -- more metal and less daylight. The premise was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and “bills” -- competing for the attention of the passerby. Morris and Updike aside, the early nineteenth century marked the beginning of a commercial as well as industrial revolution. Patterns of commerce were changing. With new methods of marketing came the need for new typefaces to support the new methods. Foundries found the display types were very profitable and competed most energetically and creatively for the trade. There was a lot of trial-and-error. Some ideas faded away. Others, like the Antiques or Egyptians, were refined and developed. From them came the Clarendons that were to prove both popular and long lasting -- because they worked. Their job was to sell goods, not please the aesthetic sensibilities of the critics. They did their job well. Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Surprisingly readable.

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “Standard” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

Listen up! Got a font that’s gonna give your text that raw, tough edge you’re lookin’ for. Burnaby Stencil, baby. This typeface is all about the spray-painted stencil vibe, with bold headlines that’ll grab attention like a bear trap. But don’t think it’s all bark and no bite. Burnaby Stencil packs a punch with a gritty tone that’ll make your message feel like it’s coming straight from the streets. And if you’re worried about it looking too cookie-cutter, no need to fret. This font switches up custom letter pairs in OpenType savvy apps, giving your text a natural, hand-painted feel. So if you’re ready to unleash the rugged, urban vibes in your designs, Burnaby Stencil is your new best friend. Let your words speak loud and proud with this font that’ll make ’em stand up and take notice. 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.

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects. Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again. WHAT'S INCLUDED: Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

Introducing Enamel Brush—the perfect typeface for adding a touch of vintage charm to your design projects. With its bold and expressive brush strokes, Enamel Brush takes inspiration from Emil Klumpp’s Catalina typeface from 1955, a classic typeface that embodies the spirit of post-war optimism and creativity. Enamel Brush has been designed with the modern designer in mind. Thanks to its OpenType features, certain letter pairings are automatically replaced with ligatures, ensuring that your text has a more natural and authentic feel. Whether you’re creating a logo, poster, or website, Enamel Brush is the ideal choice for adding personality and style to your messages. Its bold, confident strokes are perfect for grabbing attention and making a statement. So why not give your next project a touch of vintage flair with Enamel Brush? Get your copy today and start creating something truly special. 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.

Pseudonym is a low-contrast, subtly-flared serif available in four weights across three styles in both roman and italic. As with all of my typeface designs, I am creating fonts that I would use myself for branding purposes—typefaces with style and purpose that are intended for use in creating logos and distinctive branding typography. I wanted to create a typeface that had incisive flared serifs combined with the strength and solidity of modern grotesque faces. The result is Pseudonym, which I feel has great presence, style and legibility. Although I must admit, I had to tone down the flared serifs during the design process in order to achieve that :) I’m sure you will have great fun playing with some of the Open Type features that I’ve added to Pseudonym. There’s a full set of true small caps with their corresponding diacritics and figures. There are also a number of discretionary ligatures, these are chosen from the glyphs palette in your layout app to replace pairs of standard characters. You’ll also enjoy making use of the catchwords – these have been created to harmonise with each style, again, giving you more flexibility and scope to create some innovative typography. Finally, there are some alternate characters for /C/D/O/. You may wish to use these when creating logos that include standard contractions for limited, number, incorporated, etc. Key features: • Pseudonym is a low-contrast, subtly-flared serif that has great presence, style and legibility • 3 styles – Narrow, Regular and Wide • 4 weights in roman and italic: • Light | Regular | Medium | Bold • Full set of small caps with diacritics and figures • 30+ discretionary ligatures, catchwords and alternate characters • Full European character set • 600 glyphs per font

The sister fonts Andron 2 English and Andron 2 Deutsch provide a groundbreaking new possibility to render literature text bodies in a sophisticated traditional and yet modern way of type. In German typographic history there has once been a long-lasting struggle called the Frakturstreit (the blackletter quarrel). It was about wether German text ought to be composed in blackletter or rather in Roman type, a question upon which even Goethe, Schiller and other period celebrities got grey over time. However, blackletter type remained alive and has just recently seen an astonishing renaissance. This is not about a blackletter revisionism or some ‘mixture’ concept arguably bridging the gap between either worlds. Andron 2 English and Andron 2 Deutsch offer a new approach to circumvent that old antagonism. As for the lowercase letters I applied certain features of blackletter type onto the glyphs – but entirely abandoned the principle of the broken stroke as such. The result is a lowercase alphabet in the classical Andron style which may be considered an attractive alternative for text in English, German or even other languages. So it’s no longer entirely about choosing between ‘modern’ Roman or ‘ancient’ blackletter only. Andron 2 English Regular and Andron 2 Deutsch Regular feature the same lowercase glyphs but differ in the majuscules (Andron 2 English has normal Latin capitals). ++++ 2012 + NEW! +++ In response to its growing popularity we now present five new fonts as part of the Andron 2 series. Andron 2 English is completed by an Italic and a Bold font. Andron 2 Deutsch now contains three interesting alternative fonts: Italic, Scriptive and Laendlich. Last but not least – A new set of wonderful classical typographic ornaments is part of the Italic and Scriptive fonts. – You can also purchase these ornaments separately as “Andron Ornamente”.

A geometric Art Déco multi-widths type family Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette is built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Déco spirit is mainly capitals. Gérard Blanchard has pointed to Jean François that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. A simple sentence will be as diverse in its representations, as the number of Anisette variables available to the user. With Anisette, typography becomes a game, as to design any title page as flamboyant as if it has been specially drawn for it. Two typefaces, many possibilities The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Anisette Petite proposes capitals in a square proportion, intermediate between the two other sets, all of which are interchangeable. In addition, Anisette Petite also includes a set of lowercase letters. Its style references shop signs present in our cities throughout the twentieth century. Anisette, an Art Déco typeface Anisette: Reveal your typographic expertise Club des directeurs artistiques, 46e palmarès Bukva:raz 2001 Slanted: Contemporary Typefaces #24

Any typeface has two intrinsic elements that does´t work at the same levels, form and appearance. These peculiar visual behavior generate a wide range of graphics games. At reading level, we observe a uniform gray spot, but large bodies allows us to appreciate their shapes and counterforms. Milio takes this duality to offer unparalleled service in newsprint and magazine publishing, specially in small bodies but hard and formal cogency in titling. Its wide variety of weights, 10 in total, together with a slight condensation allows us to save space without losing legibility, even under poor printing conditions. Its basic quasi humanistic forms include support for a wide range of details that give great originality and strength. A friendly appearance, but a strong, all-road typeface with internal forms that reinforced visibility in small sizes thanks to its high average eye and the contrast that generates its soft curved external and internal squared angles. The nuances here are fundamental and explain its powerful large sizes, where you can see these contrasts between the curved, organic, humanistic, and straight, angled, almost mechanical shapes. Milio has the bonus of a large multilingual support for all alphabets based on the Latin and Cyrillic, as well as large Opentype features for expert users, among which we have true small caps, ligatures and automatic contextual alternates. Several sets of numerals for use on tables and other “delicatessen” as fractions are also included. Having in mind the daily struggle in newspaper and magazines´ edition, Milio has been designed with the idea of being Cinta´s perfect couple, a similar contrast and proportion typographic san serif family produced by the same Foundry as Milio, to cover almost all the graphic needs in actual DTP.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. 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.

Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simple—and very good—reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless. This toolkit family includes a wide range of styles including the standards such as Light—which is open and elegant—and a Regular that, with its flat-bottomed d, flat-topped p and q and triangular-topped t, has a more compact and muscular appearance. Its Bold styles tend to echo the softer, more open style of the light while the extra bold and ultra bold have their own vivid personalities, but each of them would make for an eye-catching headline. Take into account the family’s many weights, including condensed and extra condensed designs, and extended language support and you have yourself a tool you’ll be thrilled to return to, time and again. Gill Sans was designed by Eric Gill: a versatile, brilliant, and prolifically successful designer of the early part of the last century. One of the main reasons for the enduring success of his namesake design is that it is based on Roman character shapes and proportions, making it unlike virtually any other sans serif out there. Gill also worked his own warmth and humanity into his design, resulting in a typeface in which each weight retains a distinct personality of its own. Pair with serif fonts like Gill's own Joanna; or more modern offerings like Frutiger® Serif, Malabar™, Syntax® Serif, FF Scala®, or DIN Next™ Slab.

Introducing Inkarus a playful font with a bold and all uppercase characters style. This font is perfect for posters designs, packaging, logotype, title, label, print ads, gift card, magazine title, movie title, sign, and the beautiful and curvy shape will give your designs that alternative look to your creative work looks innovative. Amazing curvy was hand-drawn and make the outlines look irregular and beautiful. This font has a lot of hand-lettered looks and the characters give a retro or urban feel. Inkarus has a serif style but can collaborate with sans-serif style together because the modern bold sans serif typeface has been the alternatives and ligatures of this font. Combine that bold shapes together will make your work a more unique, retro attitude. Ligatures Inkarus has 32 ligatures that you can turn on via the glyphs panel in Adobe applications. The ligatures make a innovative difference in the look of this font. It switches out between serif and sans serif styles that make your designs look still unity. Opentype The Alternatives and Ligatures use OpenType features. First, you will need a design app to access these options an application such as Adobe Photoshop, Illustrator, or InDesign. Alternatives All lowercase a,d,e,h, I, j,k,l,m,n, p,r, t, r you can switch out letters for other and makes your design look more like hand-lettering and innovative although you using in a repetitive way. Inkarus font includes; All uppercase characters 32 ligatures option Support for multi-languages characters Punctuation, Symbols, and Numbers Alternative lowercase characters ( a,d,e,h, I, j,k,l,m,n, p,r, t, r ) The font format is OTF So what you are waiting for? Grab it fast this font and make your innovative design. If you have any questions drop me a message.

Introducing The Loud & Proud Bobby Jones Font Collection Inside you'll find 16 quirky handcrafted fonts, oozing with personality, ripe and ready to take center stage within a variety of creative and fun design projects. If you're looking to grab eyeballs with an ad campaign, a logo design, apparel, printed stationery, and all that other good stuff, then worry not. Bobby has you covered. We all come with imperfections and Bobby is no exception! His outlines are slightly off, his corners are irregular, his straights aren't straight, but he's cool with it. In fact, he's too busy strutting his stuff. - What's Inside? Each of the fonts listed below boast multilingual glyph ranges and their own individually handcrafted outline style! (16 fonts in total!) - Bobby Jones - The original Bobby.J - Bobby Jones Soft - A rounded version of the above - Bobby Jones Condensed - The thinner and leaner sibling to Bobby Jones - Bobby Jones Condensed Soft - A rounded version of the above - Bobby Rough - A high-res textured version of the original - Bobby Rough Soft - A textured version of Bobby Jones Soft - Bobby Rough Condensed - A textured version of Bobby Jones Condensed - Bobby Rough Condensed Soft - A textured version of Bobby Jones Condensed Soft Designed a little over five years ago, the original Bobby Jones Font was my first ever product. This new and improved version has been entirely redesigned from bottom to top. Holding dearly to the punch that the original had, while adding a whole lot of extra power. I hope you enjoy the Bobby Jones Family as much as I do and have, and as always if you have any questions or comments, please do not hesitate to get in touch. I'd love to hear from you. (tom[at]tomchalky.com)

The Engraver’s Square Gothic—like its rounder cousin, the engraver’s sans serif, Sweet® Sans,has been one of the more widely used stationer’s lettering styles since about 1900. Its minimal forms, made without curves, were popularized long ago by bankers and others seeking a serious, established feel to their stationery. One might argue that the design is a possible precursor to Morris Fuller Benton’s Bank Gothic® typeface. Sweet® Square is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century remain both familiar and appealing. Referencing various masterplates, Mark van Bronkhorst has drawn Sweet Square in nine weights. The sources offered just uppercase, small caps, and figures, yet similar, condensed examples had a lowercase, making it possible to interpret a full character set for Sweet Square. Italics were also added to give the family greater versatility. The fonts are available as basic, “/fonts/sweet/square/” character sets, and as “Pro” character sets offering special characters, a variety of typographic features, and full support for Western and Central European languages. Sweet Square gives new life to an uncommon class of typeface: an early twentieth-century commercial invention that brings a singular verve to modern design. Its unique style is as useful as it is novel. Bank Gothic is a registered trademark of Grosse Pointe Group LLC.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

Aure Teddy emanates the trusting tenderness of a favorite teddy bear. The hand-penned look of these forms engages the reader with a subtext of comfort. Teddy is delightfully legible as a text font and works well where a more organic look is wanted. It brings an unassuming charm to text and titles and a welcome empathy to astrological expressions and chartwheels. Its engaging charcter serves well in labeling diagrams and personalizing nametags. Teddy is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets in regular, italic, bold, and bold-italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Teddy fills a unique niche, being a modestly decorative font as well as a competant text font. Like Aure Jane, Aure Teddy serves well paired with the decorative touches of Aure Brash and Aure Sable. Give Aure Teddy a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

Introducing Raymond, the typeface that dares to be imperfect. With its rough, textured script and unevenly stamped letters, Raymond exudes a raw, unapologetic energy that will inject your message with a sense of authenticity and personality. But don’t be fooled by Raymond’s rough exterior—underneath its imperfect surface lies a sophisticated and classy design. Each letter has been carefully crafted to give your text a touch of elegance and refinement, while the worn-out edges and misaligned characters add just the right amount of character. Whether you’re looking to create a bold statement or simply want to add a touch of edge to your design, Raymond is the typeface for you. So why settle for the same old cookie-cutter fonts when you can embrace the beauty of imperfection with Raymond? Give your message the unique and candid style it deserves with this one-of-a-kind typeface. 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.

Monarda™ is Terrance Weinzierl’s take on the loud and splashy brush scripts of the 1950s. It’s energetic, playful, and equally at home in hardcopy headlines as it is in interactive banners. In addition to the basic alphabet, OpenType® fonts of Monarda are also awash in super-sized swash caps, contextual alternate characters and ligatures. Pair Monarda with a mid-century structural sans like Trade Gothic® or a sturdy slab serif like Egyptian Slate™ to create typographic counterpoint that’s confident, compelling and memorable! Named for a riotous bright red flower that attracts butterflies and humming birds, Monarda is a rare combination of flamboyance and effortless beauty. Weinzierl describes it as “casual yet precise: a stiff denim jacket or perfectly white sneakers at a formal event.” Monarda clearly stands out – and always fits in. Well, almost always. Drawn for print, the design’s robust x-height, open counters and wide apertures also make Monarda screen-friendly. Monarda can be perfect for a wide variety of food and lifestyle applications as well as travel, stationery and packaging projects. Advertising campaigns and product branding are also well within its reach. Monarda works best when used large – but economically. Two or three words are its sweet spot. Think: product name, print headline or the lettering on the side of a truck. It could easily become your go-to design for projects that call for a script with a bright personality and fearless demeanor. The excellence of Weinzierl’s work has been recognized by the Type Directors Club and Print Magazine. When not working on creating new typefaces, he augments his professional practice through calligraphy, lettering, and letterpress printing. Monarda is another winner from Weinzierl’s creative mind and talented hand.

A modern Sans Serif — prosaic, designed geometrically, beautiful in large sizes All the dimensions of the font are based on Factor 10. The general principle of construction leads to slim forms and nearly equally wide characters. So the font appears very solid but is actually difficult to decipher in longer texts. Along with the ”normal“ Guhly Regular there are also the two versions Guhly Light and Guhly Bold, whereas in each only the vertical strokes [Guhly Light] or horizontal [Guhly Bold] have been changed in strength. The result is a very individual decorative effect which slightly reflects old circus and western scripts. The lower case characters in the version Guhly Book are, therefore, optimized to be suitable for longer texts in smaller font sizes — because after all, sometimes you should read a bit more than just the headline… The design of a shampoo bottle stands behind the creation of this sans serif display font. Prominent, clearly constructed forms with circular arcs define its appearance. This is a font primarily designed for use with capital letters — for all sorts of advertising purposes, headlines and titles. But lower case letters also belong to a good functional font; so, of course, Guhly includes them and ligatures for the more ”critical“ letter combinations as well as stylistic alternates for the letters K (or k), V (v) and o. As a decorative “encore”, the Guhly family also contains the “normal” weight in two variants: on the one hand the Guhly Cutout – these are letters without counter, as if the letters were cut out and the internal surfaces fell out; and on the other hand the Guhly stencil – as the name suggests, a stencil font with the typical bars that give a stencil the necessary cohesion.

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Antique Tuscan No.9 was one of the earlier wood-type designs by William Hamilton Page. It was first shown among the specimens produced in 1859, shortly after Page entered into a new partnership with Samuel Mowry, owner of the Mowry Axle Company. The new company was named Page and Company and was located at the Mowry facility in the Greenville section of Norwich, Connecticut. Antique Tuscan No.9 is an extra-condensed version of the tuscan style that had been released in moveable type by Vincent Figgins of London in 1817 and had become so popular for advertising in the intervening years. Because of the extreme compression in the design, we might be tempted to describe it as "Triple-X," but that might be misleading. The analogy would, of course, be to clothing sizes, not movie ratings. Because of the compression, this typeface reads best when set extra-extra-extra large. For printing, we recommend 36 points or larger. For the screen, we suggest at least 72 points. An unusual and distinctive design, it is best used with discretion. If I were doing a term paper for school or submitting an article to a magazine for publication, I might use it for the title page, to grab someone’s attention. I would certainly not use it for the main body of text - not if I expected anyone to read what I wrote. If you wonder why we make this recommendation, take the Ten-Point challenge. Print this paragraph using Antique Tuscan No.9 and set the font size at 10 points. If you are young and blessed with good eyesight, you will probably be able to read it - with effort. So, here is the challenge: hand it to your Grandmother and ask HER to read it.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. The proportions and letter shapes are flexible, escaping from tradition to increase expressivity and personality in the design. For instance, variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. For instance, this is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The typeface has a wide range of ligatures that enhance movement and fluidity in text making look text alive.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The engraver’s sans serif—strikingly similar to drafting alphabets of the early 1900s—has been one of the most widely used stationer’s lettering styles since about 1900. Its open, simple forms offer legibility at very small sizes. While there are digital fonts based on this style (such as Burin Sans™ and Sackers Gothic™, among others), few offer the range of styles and weights possible, with the versatility designers perhaps expect from digital type families. Sweet Sans fills that void. The family is based on antique engraver’s lettering templates called “masterplates.” Professional stationers use a pantograph to manually transfer letters from these masterplates to a piece of copper or steel that is then etched to serve as a plate or die. This demanding technique is rare today given that most engravers now use a photographic process to make plates, where just about any font will do. But the lettering styles engravers popularized during the first half of the twentieth century—especially the engraver’s sans—are still quite familiar and appealing. Referencing various masterplates—which typically offer the alphabet, figures, an ampersand, and little else—Mark van Bronkhorst has drawn a comprehensive toolkit of nine weights, each offering upper- and lowercase forms, small caps, true italics, arbitrary fractions, and various figure sets designed to harmonize with text, small caps, and all-caps. The fonts are available as basic, Standard character sets, and as Pro character sets offering a variety of typographic features and full support for Western and Central European languages. Though rich in history, Sweet Sans is made for contemporary use. It is a handsome and functional tribute to the spirit of unsung craftsmanship. Burin Sans and Sackers Gothic are trademarks of Monotype Imaging.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "