Hedley New is a reconstructed relative of Hedley, originally released in 2004. Building on its clean, original, simple charm, Hedley New has grown to be an elegant, clean, usable sans. Having been completely re-drawn, with new spacing and kerning, Hedley New is now an Opentype font containing small caps, tabular, proportional and old style numerals and ligatures.

This font is a late work of the famous Berlin font artist Martin Wilke. Presented by Linotype AG in 1988, Wilke is a lively font with eccentric, playful forms. Wilke was influenced in part by the letters of the Irish handwriting in the Book of Kells, written in the late 8th century, while the pronounced contrast in strokes goes back to the styles of the 18th century. the font’s uniqueness is particularly emphasized when used in larger point sizes.

Steve Jackaman and Ashley Muir. It was our initial intention to develop a suitable lowercase for Les Usherwood's 'Elston' typeface, based on a few characters from an old German typeface called Hermes Grotesque (Woellmer, Berlin). However, the new design quickly took on a life of its own, and we decided to call it ‘Creighton’. Originally released as a four font family, we have now added eight more weights and made the entire family into 'Pro' versions for good measure.

Inspired from Cambodia’s alphabet, Khmer. I tried to explore the visual of the original character in Latin characters. Inspired by 2 gothic fonts, Old London (for the modern/straight feel) and Berliner (for the dynamic between thin and bold line). The letters are made with pencil in a millimeter block book, then scanned into clean vector format. And the result can be use for Display or a Headline with traditional or ethnic theme, including film, game, event, etc.

Blockrock is an OpenType typeface that lets you build letters right away. Use the different weights to construct 3-dimensional letter-buildings. It is inspired by the apartment living blocks in the center of East Berlin built in the 60s. The regular font contains more complex letter buildings, while the simple font has simplified and plain letters in two different levels. Blockrock comes with kerning and a full Western and Central European language support, including Baltic and Turkish.

This typeface was created as a personal project. Inspired by places like Chattanooga and Berkley, I wanted to create a bespoke typeface family for the US Virgin Islands. I noticed that the typeface Berlin Sans was in use all over the islands, in signs, logos, even on the side of police cars. So I built this typeface from the ground up with the goal of updating an old tried-and-true font into a family with versatile potential.

TT Berlinerins useful links: Specimen PDF | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Berlinerins: TT Berlinerins is a contrast pair of typefaces which is basically our tribute to Berlin. Just like in the city itself where historicity and modernity are intertwined, the elegant script in our font family symbolizes the modern Berlin, and the grotesque inspired by the wood-type poster types of the first third of the 20th century is responsible for the historic component of the city. The idea of this project emerged in the beginning of 2016 when we've met Evgenia Pestova, a calligrapher from Berlin, who shared the contemporary perspective on calligraphy and the city impressions with us. The wood-type grotesque appeared later, after our another colleague had visited Berlin and told us her fascinating story about the things she had seen. The city is full of contrasts—it is very modern and very vintage at the same time. The photographs and the impressions from the trip have also become the basis of our project. That is how we've added a little of old Berlins roughness and inhomogeneity. TT Berlinerins Script contains 998 glyphs, including more than 240 swashes for which we've written a special feature. We've also drawn a large number of ligatures for TT Berlinerins Script and integrated wide support of OpenType features: ordn, frac, case, sups, sinf, numr, dnom, tnum, pnum, calt, liga. TT Berlinerins Grotesk consists of uppercase letters, includes a set of unusual ligatures and wide support of OpenType features: ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, salt and two stylistic sets ss01, ss02 for the ampersand. FOLLOW US: Instagram | Facebook | Website TT Berlinerins language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Printers Impressions JNL is an assortment of various letterpress ornaments, corner pieces, catch words and other designs, along with some shipping labels with perforated edges; all re-drawn from vintage source material. For the shipping labels, print them in red and you will recreate the standard form of gummed label so popular for years before self-adhesives took over the market.

Brother Dreams is a captivating brush font that exudes a raw and artistic vibe. With its bold capitalized letterforms and ragged edges, this typeface brings a unique and rebellious touch to your designs. The defining feature of Brother Dreams lies in its rugged and ragged edges, giving the font a handcrafted and slightly distressed appearance. This font is designed with expressive brush strokes, capturing the essence of brush calligraphy. The bold capitalized letterforms command attention, making a powerful statement with their unconventional and untamed style. Inspired by the untamed spirit of artistic expression, Brother Dreams embodies a sense of creativity and authenticity. The rough and ragged edges add a touch of uniqueness and individuality to each letter, as if they were painted with passion and emotion. This font embraces imperfection and celebrates the beauty of artistic spontaneity. Each letter of Brother Dreams is meticulously crafted to maintain its boldness and legibility while embracing the rugged and ragged edges. The resulting composition is a balance of artistic expression and readability. This font allows your message to stand out with its raw energy and rebellious charm. Enjoy the various features available in this font. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Brother Dreams is ideal for headlines, titles, logos, and any design that requires a lively and energetic display. Whether you're working on posters, packaging, branding materials, or any project that needs a touch of liveliness, this font will bring a contagious sense of cheer. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The typeface Weiner Grotesk, designed by Rudolf Geyer for the H. Berthold AG foundry of Berlin in 1912, provides the pattern for this classic Jugendstil font. The design is very versatile: used as all caps, you can create elegant, compact headlines; and, as upper and lower, you can create subheads with decidedly dramatic contrast. Either way, this one is a "Weiner". All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Vonnes was designed by David Berlow working closely with Neville Brody on corporate redesign for Jim Von Ehre at Macromedia. Core weights are loosely based on Bauer’s Venus, 1907–1910. Berlow expanded the ideas behind the series to 56 fonts, the heart of the redesign. The Macromedia program was hailed as one of the most successful models of modern total design for innovative cutting edge companies; FB 2007

Aux Mono is a display monospaced font designed with tech industrial taste and solid font style by Radinal Riki. Inspired by airline tickets and airport sign, and created for electronic displays found in our modern techie world such as postal packing slips, airline tickets, informational video displays, coding, ads, logos and more. It comes in single weight with uppercase and lowercase and with a character set that covers over 100 languages.

Linotype Ho Tom is part of the Take Type Library, which features winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by Thomas Hoffman, this font’s historical roots are easily traced to the slab serif style. Ho Tom was originally intended as a lettering system for a project in the center of the old East Berlin. This explains the stable, angular characters and the consistent rectangular base forms, which also makes Ho Tom a very legible font, suitable for longer texts.

She’s tall and thin with elegant, long legs and striking features. She can be seen in Comicraft’s COMIXOLOGY ORIGINALS series, ASK FOR MERCY. No, not Mercy herself — we’re talking about the ASK FOR MERCY font! Yes, you asked for Mercy -- begged for it even -- and now we are granting it to you! Mercy Mercy Me. ASK FOR MERCY contains alternate uppercase alphabets, auto-ligatures for a more random, hand-drawn appearance, and Comicraft's revolutionary Crossbar I Technology™, which puts that tricky character in exactly the right places.

In 1994, Apple® Computer, Inc., asked David Berlow for “a future gothic” to replace Chicago®, their system font. Now called Charcoal®, the design was released with Mac® OS 8 in 1996. Through operating system bundles it found its way into every form of design. Released from constraint, Berlow designed Truth FB, a radical series with a spectrum of seven weights. Like its forbear, Truth FB opens new design avenues; FB 2005

Jan Tomáš studied at the Universität der Künste, Berlin. He is a multi-talent – the author of many ideas, a font creator, designer, modeller, technician and web designer. In 2011, he founded Future Typo, the first web portal for advanced typography with original design typefaces and 3D typefaces. When you look closely to Linotype Alphabat, the figures start to change from letters into flying bats and scary faces. Linotype Alphabat can be used for very short texts however it is particularly effective for headlines in larger point sizes so that its details are emphasized.

Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg). It was based on Sorbonne (H. Berthold, Berlin, 1905), which represented the American Type Founders rework Cheltenham of 1896 (designers Bertram G. Goodhue, Morris F. Benton) and Russian typefaces of the mid-18th century. A low-contrast text typeface with historical flavor. The modern digital version was designed at Poligrafmash type design bureau in 1989 by Lyubov Kuznetsova. Corrections and additions were done later in ParaType in early 2000th. Reworked version with Bold Italic style was released in 2009.

In 1938, Frederic W. Goudy designed California Oldstyle, his most distinguished type, for the University of California Press. In 1958, Lanston Monotype issued it as Californian. Carol Twombly digitized the roman 30 years later for the University of California; David Berlow revised it for Font Bureau with italic and small caps; Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, Berlow designed the black and the text and display series; FB 1994–99

Worn Gothic, a typeface from the Grit History™ B family, creates rock solid text-- characters that are weathered, defined and strong, like the body of a gargoyle. Worn Gothic is rugged but legible, whose words stay firmly liquid, like dates stamped in concrete. Disjointed K legs create an unnerving look that makes you stare into the structure of the type. Oddities like this complement the integrity of its fluctuating strokes and consistent X-Height. It offers a few stylistic alternates to maintain readability at any size, in many languages. Worn Gothic offers full Greek character support as well as all punctuation.

Graublau Slab is the latest addition to the popular Graublau type family designed by the Berlin-based type designer Georg Seifert. Since its release in 2008, the Graublau Sans Pro typeface has been a popular choice for corporate designs, books, magazines, websites and much more. With Graublau Slab Pro, the type family becomes even more versatile. With its contemporary and expressive design, it’s perfect for editorial design, web headlines or any other text use, that should really draw the reader’s attention. And since Graublau Slab Pro comes in the exact same 7 weights as Graublau Sans Pro, both typefaces work together perfectly.

Designer Nick Curtis found the inspiration for this typeface on a 1920s poster for a German bookseller, by Berlin poster artist Paul Scheurich. ITC Jeepers retains the spontaneity and playfulness of Scheurich's original lettering and adds a few surprises of its own, one being the somewhat exclamatory ear on the lowercase "g". It was, in fact, the excited look of this particular character that gave rise to the font's name. Not to be outdone, the exclamation point takes on an even more startling demeanor. The monoweight, slab serif design has a friendly personality, perfect for headlines and other display uses.

Core Sans is a simple and modern sans-serif font. Core Sans's Latin alphabet has good legibility and is designed simply. Spaces between individual letter forms are adjusted in detail so that it makes perfect typesetting. Supported codepages are MS Windows 1252 Latin1, MS Windows 949 Korean(Hangul) consisting of 11,172 letters and KS Symbols (Korean Symbols). We recommend to use for books, web, screen displays and so on.

Ralf Herrmann, the designer of Wayfinding Sans, started this project with extensive field studies, driving tens of thousands of miles to explore the legibility of road signage typefaces in dozens of countries around the world. After building his own theoretical framework of relevant legibility parameters, the design process used a unique custom real-time simulation software, which could simulate difficult reading conditions (distance, fog, halation, positive/negative contrast) while the letters were actually being designed. This process made it possible to optimize even the tiniest details of each letter for maximum legibility. Being made specifically for wayfinding purposes, this type family does not compromise on any aspect of legibility — and yet, the typeface is a beautiful, clean and modern sans serif. With its broad language support and the large number of available styles it is perfectly suitable for any possible signage project anywhere in the world. In an independent empirical study at the University of Applied Sciences “htw” in Berlin different typefaces were recently tested when used on signs and Wayfinding Sans Pro was the winner in all conducted tests, being significantly more legible and therefore superior to all other styles of the tested typefaces. Check out the PDF specimen for more information: wayfinding-sans-pro.pdf

946 is a multilingual techno-style family developed by Berlin-based type designer Roman Wilhelm (RomanType). While more and more text families have recently been extended to a multilingual and multi-script level, not so much attention has been given to the more decorative styles. The 946 family does exactly that. A lot of care has been given to the various diacritics: they were designed a little more brutal, a little more European than with some other fonts of this category. Do also watch out for the non-Latin legs of this family. 946 is inspired by electronic music. When Roman found a second-hand Roland TR-606 drum machine in a store in his hometown back in 1995, he started to hang out with would-be DJs and musicians, trying to play the beats that went around the globe. When he started to study visual communication three years later, he was assigned the matriculation number of 946, which has now become the name of this family. Language support: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Slovenian, Spanish, Swedish, Turkish, Vietnamese, Zulu. Do also watch out for the other script versions of this family!

I set out to create a solid, bold, strong, rugged font, one that would lend itself to any industrial type of use, and by that I mean industry in general, but probably sectors that would still be considered male preserves such as carpentry or metalwork. I thought specifically of mortice & tenon joints, whilst toying with shape and form for this self imposed challenge. I was also visualizing a router tool used for producing most wood joints nowadays. I think the general premise worked out well; in the end I settled on the name Mortice, referring to the slots or negative spaces that the matching part, or tenon would fit into.

Joseph Kaspar Sattler, one of the great German art nouveau artists created these nice initials in 1897 for the famous royal monumental book project Die Nibelunge for the Reichsdruckerei Berlin. Only 200 exclusive signed masterpieces were printed in four years from 1900 till 1904. Joseph Sattler was the art director, typographer and designer in one person. The Reichsdruckerei showed samples of the unfinished work in 1900 at the world exhibition in Paris to advertise the high craftsmanship of the German presses. Style Initials A uses the OpenType features Superscript and Scientific Inferiors to change the fill layer. You can combine up to three different color inks.

Herold is a bold Art Nouveau advertising face released by H. Berthold, Berlin, Germany in 1901. It is also seen under the name “Herold Reklame.” The design is attributed to Hermann Hoffmann by the Klingspor Museum. A herold (‘herald’ in English, ‘heraldus’ in Latin) is one who delivers proclamations and announcements. Medieval heralds are often pictured with a horn with which to get everyone’s attention prior to performing his function. His only PA system was his own voice. Left and right glyphs of a herald with horn may be found at positions 137 and 172. Herold is quite compact with a high x-height, just right for making -- what else? -- announcements.

The typeface Brush Poster Grotesk is designed in 2017 for the children exhibition 1,2,3 Kultummel from Labyrinth Kindermuseum Berlin by xplicit, Berlin (Annette Wüsthoff, Alexander Branczyk, Mascha Wansart (illustrations)). Manuel Viergutz extended the font with some further glyphs & extras. The rough sans serif display typeface is created analogous by hand and brush. 875 glyphs incl. 150+ decorative extras like arrows, 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: Brush Poster Grotesk Font Weights: Regu­lar + Misprint + EXTRAS (Illustration) + DEMO (with reduced glyph-set) Font Cate­gory: Dis­play for head­line size Glyph Set: 875 glyphs Lan­guage Sup­port: 28+ for extended Latin. Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Zulu Spe­cials: 150+ deco­ra­tive extras like arrows, 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), German Capital Eszett Design Date: 2017 Type Desi­gner: Annette Wüsthoff, Manuel Vier­gutz, Alexander Branczyk, Mascha Wansart (Illustration)

The Diamond Negative and Diamond Positive fonts feature sans serif capitals and figures in a diamond shaped background, in positive and negative form. Diamond Negative and Diamond Positive are useful in labelling, on invitations and certificates and for short headlines and intros in advertising. Diamond Bodoni features condensed Bodoni-style capitals and figures reversed on to a diamond shaped background.

Hortensia, designed around 1900 by Emil Gursch for his own Berlin foundry, is a typeface most expressive of the post-Victorian aesthetic that was all the rage in both Europe and America during the second half of the 19th century and up until the Great War. It is a reduced aesthetic of sharp points and natural curves that almost want to apologize for their own elegance, but clearly embody the simple excitement about the blossoming of industry and crafts during the period. This deco script trend would get a re-run for about a decade on either side of the second World War — especially in the entertainment and financial industries — before giving way to art nouveau and big brush faces. Hortensia was Gursch's most popular typeface, used extensively and prominently in many beautiful type catalogs, and a commonly seen design element in Germany for quite a while after its release. This digital version brings plenty of fixes and additions to the original metal Hortensia design, including many alternates sprinkled throughout the character set, and support for a wide range of Latin-based languages (including Central European, Baltic, Turkish and Welsh).

Rugged distressed look, tough look good for display.