Motopica was born when I watched a show, namely "the pickers". At that time I realized that there were still many communities or people who really loved Western culture (Cowboy), Vintage Style in the 40s - 60s era and Classic Motorbike style (Caferacer). So I intend to combine these three concepts into a single font, and Motopica was born, which brings the spirit of the three styles, namely Western Cowboy, Vintage, Beer and motorbike. Motopica can be used as a Vintage Poster, Vintage Signage, Vintage badge What's Included Motopica Reguler Motopica Italic Motopica College Motopica Bold How to install your new font This font can be used with all software that can read standard fonts. Check out my instagram for update: https://www.instagram.com/anomalikreatif/ Thanks so much for checking out my shop! All the best, Krisna

Penitentiary Gothic is a digital recreation of the letters used on California state license plates, designed in order to make props for movies and television shows. The regular style is meant to be used on its own, but the other four styles are meant to be used one on top of another in different colors to create an embossed 3D effect. For best results, use the fill style in a dark color on top of a light colored background. Put the lolite style directly on top of the fill style in 10 - 30% of the background color. Put the hilite style directly on top of that in 10 - 30% of your fill color. Put the shadow style directly on top of that using your background color plus 50 - 80% black.

Street Explorer - Graffiti Font. Street Explorer A Graffiti Style Font. Inspired by the graffiti art on the city streets, so I made it into a font. So that it will make it easier for you to make graffiti writing or designs. There are 54 ligatures that will make this font even cooler. so enjoy it! Suitable for many design project, branding, packaging, logo, wall art, headline, template, banner, poster, and so much more! The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Probably one of the most unusual applications of a stencil took place in 1964 when Union Carbide [then-owner of the still-new line of "Glad" brand plastic wrap and storage bags] sponsored a $100,000 contest to match up a stencil of their logo in order to win a prize. The magazine ad told of how one thousand lucky participants would win $100 by simply taking a die-cut stencil of the brand name to the store and overlaying it on the logo printed on the food wrap box to see if it aligned perfectly. The hand-lettered title proclaiming "match the stencil and win" was done in a casual sans design and reflected the cheerfulness of many typestyles found in ads during the late 50s and early 60s.

This typeface combines the rhythmic movement of Mincho and the simplicity of Gothic, with a rounded finish for a touch of elegance and style. 明朝のリズム感とゴシックのシンプルさに加え、ラウンド処理することでエレガントでおしゃれなイメージを求めた書体です。タテ画は太く、ヨコ方向はそれより細く、ハネなどはさらに細く、という三段階処理が施されています。昭和50 年（1975 年）頃、レタリング文字として開発。その後デザイン調整を経てフォント化されました。

The type­face “Netherlands Dirty Numbers Vol 1” is desi­gned for the Typo Gra­phic Design font foundry in 2017 by Manuel Vier­gutz. The playful dis­play font is designed on holiday photos of different numbers (house numbers, graffitis, handwritten menu cards …) from the Netherlands. An alphabet built with numbers. 342 gly­phs with A–Z, a–z, 0–9 and 40+ deco­ra­tive extras like arrows, ding­bats, emojis, sym­bols, geo­ma­tric shapes, catch­words, deco­ra­tive liga­tures (type the word “LOVE” for ❤ or “SMILE” for ☺as OpenType-Feature dlig ) and of course many many numbers (20+ 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!

Postmark Display is a clean geometric display font with one basic and three special styles: Postmark Display Postmark Display Style 1 Postmark Display Style 2 Postmark Display Style 3 Special styles were created to complement the main font and to differentiate words or sentences. Postmark Display is ideal for headlines, headers, logos, labels, packaging, magazines, invitations, etc. FEATURES Basic latin alphabet A-Z Three special styles (each with 50 basic glyphs) 56 Accented characters Numbers, Punctuation, Currency, Symbols, Math symbols & Diacritics Old style figures LANGUAGE SUPPORT Latin 1 + Latin 2 Western Europe and Americas: Afrikaans, Basque, Catalan, Danish, Dutch, English, Faroese, Finnish, French, Galician, German, Icelandic, Irish, Italian, Norwegian, Portuguese, Spanish and Swedish. Latin-written Slavic and Central European languages: Czech, German, Hungarian, Polish, Romanian, Croatian, Slovak, Slovene. Enjoy Postmark Display!

Elegant, graceful and timeless. Hattori is a versatile font with timeless classic appeal, over 50 alternatives & ligatures, multilingual support, (And we think this is our best work so far!) Each letter has been hand-drawn and made with great care. The variety of weights provides a variety of options that will help you find the best typographic character for your project. All 3 weights are perfect for big screen use and high impact headlines. The available binding and style alternatives offer a number of different options that give your logo or business card a unique look. This high-contrast serif typeface has a glyph and offers comprehensive language support. If you have any questions, just send us a message and we'll be happy to help! Stay sweet, Sweetest Stuff

The rasterized square (clear, therefore 4 as part of the font name) was the constructive basis. The intention was to put all characters within this grid and produce a highly structured, yet lively, resting in itself, display font. Relaxed but exciting, just. An absolutely noteworthy detail are the classical construction principles (based on a typography book from the 50's for poster designers), the so-called optical weighting, derived and slightly exaggerated character elements: The characters are not purely symmetrical and the curve shapes do not close justified with the surrounding square. Loops and tongues slightly hang over; the upper bows are slightly less protruding than lower ones, etc. The kerning is tuned to fit these design details: the white space between the characters match the same filling space.

ZT Klotin is a serif display font characterized by a strong, Classic vibe, with straps, special alternate glyphs, and soft Curves. Perfect for branding, weddings, social media, product design, stationery, and advertising. ZT Klotin is flexible enough to add these classic elements to almost any project requiring a special class touch. ZT Klotin features over 178 unique ligature and alternatives, ZT Klotin is crafted to be Soft and interwoven to create a stunning display of its subtle hypnotic curves, making it the perfect choice for impactful editorial layouts and bold Bold creations. FEATURE — 644 Glyphs — Uppercase & lowercase letters, numbers — Old-style figure — 40 Discretionary Ligatures & Standard Ligatures, — 178 Alternatives (Uppercase & Lowercase) — Symbols, punctuation marks I hope you have fun using ZT Klotin Thanks for using this font ~ Khaiuns X zelowtype

NT1972 is a display font from the future. Font in the era of cyborgs and cyberpunk. This is a sharp, brutal font with futuristic shapes. It combines style and functionality, so the font will look great in your futuristic design in any environment, be it a logo or a merchandize. The angle of inclination in each glyph is 50 degrees, all glyphs also have the same stem sizes to create a good font system. All this is done to get a good futuristic cyberpunk font that will give style to your design, be it a logo, poster, banner, merchandize, title, packaging or product design. In addition to all this, there is support for many languages and alternative characters. In case of any questions, problems or suggestions, please email: bunineugene@gmail.com

This beautiful font explores 3 very individual styles of one typeface. Each style pays homage to classic sans serif typefaces while adding contemporary flair to its characteristics. With both formal and informal styles, Aestetico explores how the shapes and curves of letters change their perception and focus. The informal letters are rounder and more quirky while the formal style utilizes more traditional sans serif letterforms. The whole set (54 styles) consists of 3 sister families, each in 9 weights with matching italics. The 3 variants ensure every design project is covered by Aestetico; its versatile nature is perfect for a huge variety of applications from editorial design to branding, advertising, publications and digital. As you would expect from Latinotype, this font comes with a standard character set (395 glyphs) and supports over 200 languages.

Decoral Soft depicts the character of Art Deco period typography and reinterprets it into modern approaches. This typeface is a friendly and flexible family that is fun to use. It comes with a set of 670 characters per weight, supporting over 50 different languages using the Latin alphabet. Decoral Soft also comes with special stylistic sets and swash characters that allow the user to be creative and playful with the type, helps enhance many different possibilities that certainly will spice up your design. Decoral Soft will satisfy all your typographic needs, from book jackets to monograms to packaging, logos, and even wedding invitations—timelessly elegant, with a distinctive flair that exudes Art Deco typography in a fresh, modern way. The wide selection of titling alternates and ligatures make copyfitting a delight.

Slacker is a carefree brush script with soft features, low contrast and well balanced character forms. Slacker is excellent for creating easygoing yet catchy headlines, logotypes or even longer texts. Slacker is equipped with Standard Ligatures and Contextual Alternates - they help to keep the flow lively and balanced and connections smooth so you should normally keep the features on. In addition Slacker has Stylistic, Swash and Titling Alternates for more showy letterforms. If you want to keep letters connecting to one another at maximum try turning on Stylistic Set 01 (SS01). On top of these Slacker has even more alternates in the Character Window making the total glyph count to 660. Slacker Extras is a set of 50+ brush strokes with the same style as the brush and a set of catchwords.

Start a good day for a new font! present to you, Sunny! Brilors is a stylish font. It has a modern and retro look - clear, modern and fun. Help create layout designs in 60's or 70's design projects. This font has over 50 unique alternatives and binders that give your logo, business cards and other projects a unique vintage look. Unique fonts Works on PC & Mac Simple installation Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even works in Canva! PUA Coded Characters Fully accessible without any additional design software. I really hope you will enjoy using the Brilors font and that it will be the perfect addition to your font collection! If you have some questions, please write me a letter! Please try! Zane Studio

Introducing Loving Ambros - Luxury Typeface Loving Ambros typeface is a Luxury beautiful typeface and inspiring mix of classic calligraphy with 50 unique alternates and 69 unique ligatures. come with 2 versions regular & italic. Loving Ambros is made mainly for headlines, titles, and other short texts and is well-suited for advertising, vintage mood board, branding, logotypes, packaging, titles, editorial design, modern logos, websites, social media quotes, wedding branding, modern and vintage design. These a fonts are perfect for designs with the concept of elegant, luxury, romance, fashion and so on. What you get: Accessible in the Adobe Illustrator, Adobe Photoshop, Coreldraw, even work on Microsoft Word. PUA Encoded Characters – Fully accessible Fonts include multilingual support. If you need a custom license or have questions, please email to: romandpio3793@gmail.com

Book Jacket is arguably the most famous of all typefaces done in the Typositor era. Designed by Ursula Suess over an entire year, and published in 1972, Book Jacket became an instant success story that lasted well into the 1980s (even though it was copied by Phil Martin who published it under the name Bagatelle shortly after its release). Almost 40 years later, Ursula Suess and Canada Type consolidate their talents to bring you a revised, improved and expanded digital version of this film type classic, including small caps, additional swashes and new alternative forms. Book Jacket is available as a 4-font package in Mac PostScript and universal TTF format, or a single Pro OTF which includes features for small caps, swashes, caps to small caps, stylistic alternates, and class-based kerning.

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

TE Nastaaliq Font It is one of the Persian calligraphy or ta'liq line that appeared in Persia in the seventh century AH (thirteenth century AD), as it was extracted from the lines of naskh, patch and thuluth. It is a beautiful font whose letters are distinguished by precision and extension. It is also characterized by its ease, clarity and lack of complexity. It does not tolerate diacritics, despite its difference with the line of the patch, as it is one of the best fonts in the world and the best without a competitor and admires many Arab calligraphers, and no cultural or literary exhibition is devoid of a painting written in Persian script. It is one of the most beautiful lines that has a special character that distinguishes it from others, as it is characterized by gracefulness in its letters, so it appears as if it descends in one direction, and its beauty is increased by the soft and rounded lines in it, because it is more flexible in drawing and more flexible, especially if it is drawn with precision, elegance and good distribution, and the calligrapher may baptize In his use of decoration to reach strength in expression by taking advantage of arches and circles, in addition to the grace of painting, the artist may link the letters of one word and the two words to reach the composition of a frame or curved and wrapped lines in which he shows his genius in imagination and creativity.

Introducing Hidden Gem Serif font - latin and Cyrillic Hidden Gem is elegant and abstract font loaded with 95 languages support, alternate and ligature glyphs to make you typography truly unique! I had so much fun creating this one and I really hope you will enjoy it! Language Support : Belarusian, Bosnian, Bulgarian, Chechen, Macedonian, Russian, Serbian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estronian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwadna, Litvian, Lithuanian, Lower Sorbian, Luo, Luxembourish, Luyia, Machame, Makhuwa-Meetoo, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokm ål, Norwegian Nynorsk, Nyankole, Ormo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Ukrainian, Upper Sorbian, Uzbek (Latin), Volap ük, Vunjo, Walser, Welsh, Western Frisian, Zulu FEATURES Uppercase, numeral, punctuation & Symbol ligature glyphs alternate glyphs Multilingual support - 95 languages Cyrillic support No special software is required to type out the standard characters of the Typeface. How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Heller Sans JNL is based on the main letterforms of an experimental alphabet designed by Steven Heller; noted author of over 170 books on design and visual culture. Some modifications were made in turning his design into a digital font. In his own words, here is the background to this typeface: “I recently recovered this from the junk heap. It is a yellowing photostat of my first and only typeface design (1969-70). Total folly! At the time I was smitten by Art Moderne lettering. I called it “Klaus Boobala Bold” because I liked the K and B. I’ve lost the letters S through Z, which were made. The letters were drawn with compass, Techno pen (that frequently clogged). as well as a triangle and T-square. The inline and outline made no real logical sense. I based the design, in part, on Kabel, Avant Garde and it was a product of whatever I could accomplish with those tools. The caps-only alphabet was photographed and produced as a film negative that was cut in foot-long strips and spliced to fit on a Typositor reel. Sadly, the negatives made for the font were too brittle and the splice snapped apart in the Typositor. I worked on it for well over a month and used the face only once. I realized with this attempt, like so many other times I attempted different challenges, that type design — indeed mechanical drawing — was not my strong suit.” Heller Sans JNL is available in both regular and oblique versions.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family using the Greek word for minister. It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro—released in 2004. It was still rough (though I impressed myself). Now, with 4-font Biblia Serif family 13 years later, I’ve cleaned up, made the fonts more consistent internally, added more functional OpenType features, and brought the fonts into the 21st century. I used the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads. Finally, in 2021, I went over the fonts entirely and remade them in Glyphs.

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

Introducing Akoodi, the ultimate superhero font for all your design projects! This bold and stylish serif font features a superhero theme that’s perfect for creating eye-catching titles and headlines for movie posters and graphic design projects. With its strong, prominent serifs and unique character design, Akoodi is a versatile font that can be used for a wide range of projects, from branding and marketing materials to book covers and packaging designs. The font includes a full set of upper and lowercase letters, punctuation, and numerals, making it a complete solution for all your design needs. With its superhero theme and stylish serifs, Akoodi is a font that will make your projects stand out from the crowd. So why wait? Grab your copy of Akoodi today and start creating designs that are as bold and daring as a superhero! Furthermore, Akoodi is equipped with advanced features that make it easy to use and customize. The font comes with a full set of alternate characters, including a range of ligatures and swashes, which add an extra touch of style to your designs. Additionally, the font is fully compatible with a wide range of design software, making it simple to use no matter what your design process looks like. What’s Included : - File font - All glyphs Iso Latin 1 - Ligature, Alternate - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Japanese Pro family has 6 fonts in total. It spans four weights from ultra light to bold, and has two condensed weights to further expand the family’s vast range of uses. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability, combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects — pose no stumbling blocks to the family’s typographic dexterity.

Christmas cookies have already slowly crept onto your local supermarket's shelves -- the Linotype Xmas Fonts just can't wait any longer! Ravishingly friendly and universally applicable: Fuenfwerken -- a design studio from Wiesbaden, Germany -- is proud to present its latest Fun Font Family. Bringing variety to the dry Christmas card genre, these fonts can also be used on posters to spread holiday cheer at home. No limits are placed on your creativity here! The family has three different fonts, each with more than 60 symbols inside: Xmas Story includes the whole figure palette necessary for a classical Christmas story. From a cute little Baby Jesus to the Three Wise Men and woolly Aramaic sheep and everything that one needs to add special flair to a letter to grandma, or to set up a Nativity Scene at home for the kids is included. Customers who aren't searching for a biblical font should check out Xmas Essentials. This font contains typical non-denominational end-of-the-year holiday ornaments, such as snowflakes, decorated Christmas trees, nutcrackers, and stars. Last but not least is the Xmas Modern font. Just as global warming poses severe risks to snowmen, this font will make recipients of your holiday and New Year's cards melt. Glyphs such as Santa Claus riding on a Vespa -- complete with iPod -- speed away from normal, stuffy holiday seriousness, and signal that the Fun Generation has arrived! The best choice, of course, is to treat yourself to all three fonts this Christmas. Then you'll be prepared for every situation. Happy Holidays!

Big News! Tenez has been selected for the Tipos Latinos Biennial 2016 and Typographica’s Favorite Typefaces of 2015! Tenez is a Grand Slam display didone typeface from Plau. We designed it for a branding project, further developing the resulting logotype into a typeface we felt could solve many designers’ needs. Its origins are rooted in pointed nib calligraphy which can be seen in contemporary Didot and Bodoni inspired typefaces. But Tenez’s shapes are organic (these modern typefaces were originally cut by hand after all) – in fact that was the challenge we set from the start: to make a typeface as organic in construction as possible. This echoes some of late 19th century typefaces and advertising, yet we thought of it for contemporary uses. One of the several unique features of Tenez is its unusual Thin weight, in which the contrast between thin strokes and the black area left by the serifs makes for a typewriter-like personality. The italics provide a perfect counterpoint to the roman weights. Tenez was unapologetically conceived as a display typeface meant to be used large as in magazine openings, drop caps or everywhere there’s a need for elegant impact. The family includes support for almost all Latin languages available, figure sets for almost every conceivable occasion (tables, text, you name it), alternates for the quirky beautiful R (sometimes simpler is better, but not always!) and Q (with a nice big tail for that article opener). Tenez pairs really well with our no-frills sans-serif Motiva Sans and our cute vertical connected script Primot.

Haarlemmer is a recreation of a never-produced Jan Van Krimpen typeface that goes one step beyond authentic: it shows how he wanted it to be designed in the first place. The original, drawn in the late 1930s, was created for the Dutch Society for the Art of Printing and Books and was to be used to set a new edition of the Bible, using Monotype typesetting. Hence the problem: fonts for metal typesetting machines like the Linotype and Monotype had to be created within a crude system of predetermined character width values. Every letter had to fit within and have its spacing determined by a grid of only 18 units. Often, the italic characters had to share the same widths as those in the roman design. Van Krimpen believed this severely impaired the design process. The invasion of Holland in World War II halted all work on the Bible project, and the original Haarlemmer never went into production. Flash forward about sixty years. Frank E. Blokland, of The Dutch Type Library, wanted to revive the original Haarlemmer, but this time as Van Krimpen would have intended. Blokland reinterpreted the original drawings and created a typeface that matched, as much as possible, Van Krimpen's initial concept. While Van Krimpen's hand could no longer be on the tiller, a thorough study of his work made up for his absence. The result is an exceptional text family of three weights, with complementary italic designs and a full suite of small caps and old style figures. Van Krimpen would be proud.