The Core Sans G Family is a part of the Core Sans Series, such as Core Sans N SC, Core Sans N, Core Sans NR, and Core Sans M. Core Sans G is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans G Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black), 3 for rounded (Medium, Bold, Extra Bold) with matching Italics. It also includes 4 effects fonts (Outline, Neon, Shadow, Dimensional), Alternate Characters (a,g,t) and a bunch of ligatures. The Core Sans G provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

In 1968, Adrian Frutiger was commissioned to develop a sign and directional system for the new Charles de Gaulle Airport in Paris. Though everyone thought he would want to use his successful Univers font family, Frutiger decided instead to make a new sans serif typeface that would be suitable for the specific legibility requirements of airport signage: easy recognition from the distances and angles of driving and walking. The resulting font was in accord with the modern architecture of the airport. In 1976, he expanded and completed the family for D. Stempel AG in conjunction with Linotype, and it was named Frutiger. The Frutiger™ family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognized. Such distinctness makes it good for signage and display work. Although it was originally intended for the large scale of an airport, the full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets. The family has 14 weights and 14 companion fonts with Central European characters and accents. Another 14 Cyrillic companion fonts are available as well. See also the new revised version Frutiger Next from the Linotype Platinum Collection. Featured in: Best Fonts for Logos

Ferguson is a geometric slab serif which made with a mono-line concept and versatile style. Inspired by old western and magazine designs. Ferguson has a straight and consistent line to give neat looks. Ferguson is made for editorial and formal purposes. but still flexible to use it in other typographic projects. This font family has 6 weights and 2 widths that gives you many options on your designs projects. - Regular versions: Comes from Light, Normal, Medium, Bold, Black, and Ultra Black. Very recommended for editorial use such as body text, sub-headline, and tagline. The bolder weights are goods for headline too. Strong and geometric! Suitable for sports themes, social movement, masculine and logotypes. - Condensed versions: Available in Light, Normal and Bold. Great choice for a headline, and display. This condensed designed a bit minimalist than regular version to keep the readability. Also, there is Bold Shadow style to complete the vintage movement which happening now. Suitable for a poster, magazines, and clothing project. Ferguson font family has up to 28 accents: Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Romanian, Slovak, Spanish, Swedish, Turkish, Zulu. Fonts featured : - Uppercase - Lowercase - Numerals - Some symbols - Diacritics Thank you. Hope you like it and enjoy!

- Unique Modernist Look - 590+ characters per font - Standard & Discretionary Ligatures - Multiple Stylistic Sets - Old Style Figures - Case-Sensitive Punctuation - Multilingual - Cyrillic Included - Uppercase + Lowercase Porte is an elegant sans serif font inspired by stone carving and modernist typefaces of early 20th century. While at its core Porte is a display font, it can also be used for larger bodies of text and in a variety of projects. Thanks to its unique proportions and feel Porte is reminiscent of early 20th century type, wherein aesthetic qualities often overweighed matters of practicality and applicability. Porte is at once delicate and sturdy, subtle and unyielding. Porte is very OpenType friendly, boasting an awesome selection of useful OpenType features, precise and exhaustive kerning (around 1000 pairs) and lots of discretionary ligatures to make your designs look amazing. A selection of wider and narrower alternate glyphs allow the designer to modify the rhythm of the typeface, extending its application and impact. With 590+ characters on board, Porte supports all major Latin based languages as well as a number of Cyrillic languages. Porte received its first major update in fall 2022. Not only was the character set expanded considerably, but also some glyphs were re-drawn to fix visual inconsistencies, and a large number of stylistic alternates was added. The kerning, too, was re-done to accommodate new letterforms. Trials available upon request.

Chartu Poo is a stunning modern sans serif font that exudes a sense of luxury and sophistication. Its futuristic concept is truly unique, and makes it stand out from other fonts in its class. The sleek lines and bold curves of Chartu Poo give it a sense of elegance and refinement, while also conveying a sense of modernity and innovation. One of the things that sets Chartu Poo apart is its versatility. It can be used in a wide range of design projects, from logos and branding materials to website designs and advertising campaigns. Whether you're looking to create a bold and impactful headline, or a subtle and understated body copy, Chartu Poo is the perfect font for the job. Another great feature of Chartu Poo is its readability. Despite its bold and unique design, this font is incredibly easy to read, making it a great choice for both print and digital media. Whether you're designing a brochure or a website, Chartu Poo will ensure that your message is conveyed clearly and effectively. In short, if you're looking for a modern sans serif font that combines luxury, sophistication, and innovation, look no further than Chartu Poo. Its unique and futuristic concept, combined with its versatility and readability, make it the perfect choice for any design project.

Entendre Rough defies the conventions of most distressed typefaces, as it is an actual text typeface family. Sure, you can use it for your big display type, but you can also use it for body text. Entendre Rough is a stately, commanding and handsome distressed sans serif typeface family that pulls reference from Trajan capitals, the history of English calligraphy, and a variety of other sources to summon a sense of warmth, consideration, trust and authority. Entendre Rough spans 22 weights and styles including Regular and Condensed versions. The large x-height and refined characteristics of the family lend the family a sober and sophisticated appearance that is suitable for both print design and on-screen use. Entendre Rough includes Central and Eastern European language support as well as Western European language support, including Greek and Cyrillic. Entendre Rough’s generous x-height and medium-length ascenders and descenders offer pronounced readability, making the family useful for text typesetting both in print and on screen. Within, humanist elements are tempered with monumental construction, making the heavier weights go-tos for display design work. All of the Entendre Rough family of typefaces feature Western, Eastern and Central European language support alongside nuanced Greek and Cyrillic. Entendre Rough pairs well with our non-distressed Entendre family and our rounded sans serif family Elpy, sharing similar proportions and spacing.

A modern sans serif – large x-height, lively forms The Lech Sans Pro is businesslike-modern but at the same time present the effect of liveliness and movement. The shapes of the individual characters follow the "humanistic" form language of modern faces. In this way, Lech Sans Pro offers an attractive alternative to most of the sans serif fonts used today. The proportions have been selected to be very legible even as a body type for longer texts. The font is so robust in detail that a title in large capitals is very eye-catching. It can function positively as well as negatively and is also still legible from a great distance. Lech Sans Pro supports West European languages including Scandinavian, Central and Eastern European languages, also including Turkish, Vietnamese as well as Greek and Cyrillic. Along with ligatures for the letter combinations fi, ff, fl, tt and tz the font also includes stylistic alternates for N, R, f, l as well as for the German sharp s and the figure 3. Additionally, Lech Sans Pro offers several sets of figures: proportional standard figures of equal height lining figures in height of the capitals proportional medieval figures with ascenders and descenders disproportional tabular figures of equal width superior and inferior scientific figures and numerators resp. denominators for fractions circled figures

Introducing NEWS NOOK – a font family that captures the essence of newspaper headlines and front pages, with a rugged twist. This versatile sans-serif pairing is perfect for creating a modern, professional look that is both eye-catching and easy to read. With its unique ruggedness, it makes it stand out and suitable for outdoor designs. The font family includes two distinct styles: NEWS NOOK, a bold headline font, and NEWS NOOK MINI, a thin and stout sans-serif font. Together, they provide a range of options for creating headlines, subheadings, and body text that are sure to grab attention. The headline font is particularly great for creating bold and sturdy design elements. Inspired by the traditional newspaper style, NEWS NOOK brings a touch of nostalgia to any design project. But this font family is not just a replication of traditional newspaper style, it’s more of a modern take on publishing type with a handwritten spin. This makes it perfect for any print project, including magazines, newspapers, and more, creating a polished and professional look that is suitable for outdoor designs. NEWS NOOK (Regular) comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³ªº¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ NEWS NOOK MINI comes with the following glyphs: ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()`~♥❤✿•· ÷×+−±≈=≠≥≤[]:;’”,.|/?{}“”‘’-–—_ …‚„©®™‹›«»°¹²³ªº¡¿₱¢€£¥¶§№† ÁÀÂÄÃÅĂĀĄÆĆĈČĊÇÐĐÉÈÊËĖĒĘḞǴĜǦḠĠĤȞḦḢIÍÌÎÏĪĮĴḰǨŁḾṀŃÑŇ ÓÒÔÖÕŌŐØŒṔṖŔŘṘŚŜŠŞȘŤṪȚÚÙÛÜŨŮŬŪŰŲẂẀŴẄẆÝŶŸŹẐŽŻƵ áàâäãåăāąæćĉčċçðđéèêëėēęḟǵĝǧḡġĥȟḧḣıíìîïīįĵḱǩłḿṁńñň óòôöõōőøœṕṗŕřṙśŝšşșťṫțúùûüũůŭūűųẃẁŵẅẇýŷÿźẑžżƶ

Jumper is an optimistic sans-serif typeface family. Drawn and created by Mans Greback between 2019 and 2021, Jumper is a speedy, naive type for logotypes, headlines and body text. The geometric components merge seamlessly with the organic shapes, resulting in a professional but genuine lettering. With a sport character reminiscent of typography in famous brands such as Nike and Adidas, this type is active, happy and has great velocity. The twelve complementing styles gives great variety to your design: Thin, Light, Regular, Bold, Extra-Bold, Black, and each weight as Italic. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and slant. This gives you not only the 16 predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://www.mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

»COSMA« is an old greek word that stands for »beauty« and »order«, I thought it a very befitting name for my new font-family. My »Cosma« has that special high-contrast Renaissance beauty but is very orderly in appearance. »Cosma« is a classical beauty with modern touches that make it unique. You will love this font. It is a great everyday workhorse with seven weights from UltraLight to Bold and all the necessary weights in between. Great for body copy and headlines! With 964 Glyphs it is a truly European font designed for all Central European and Latin using countries. »Cosma« has a set of Cyrillic that is also good for Serbia, Macedonia and Ukraine. Sorry, no Greek! But it has oldstyle- and lining-, tabular- and tabular-oldstyle-figures, many alternative letters and ligatures. On top I designed two sets of alternative, decorated caps each in normal and oblique. »Cosma« comes in Normal, Italic and Oblique, sometimes you just don’t want to use Oblique instead of Italic that would be too playful for the occasion. »Cosma« doesn’t come cheap, but I start off with an 80 % reduction, so that is a good chance to get all 49 cuts for a phantastic price. Oh, I almost forgot, If you buy the whole family, you get the variable fonts to go with it for free, that’s a good investment into the future. Enjoy!

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular Extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant. In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, Cyrillic and Greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

Punto Poly is the layered type system of Punto for cromatic typesetting. Endless effects can be created by 11 stackable layers and different colors. The dots of Punto Poly are not made up of grid-based dots, they are optical corrected and there is always the same distance between the dots, with the aim to create more harmonic letterforms. The dots also vary gradually in size to reflect the thickening and thinning of strokes, giving the letterforms a sophisticated overall look. Punto Poly comes up with 11 layer system and is perfectly suited for logos, posters, brands and magazines. The language support includes Western, Central and Eastern European character sets, as well as Baltic and Turkish languages.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Donald DBXL Beekman lives on a ship in Amsterdam’s waters (well, the Amstel river, actually). Living on the water inspired him to design this ‘cruise ship’ typeface VLNL Decks. Available in several variations, it’s a fabulous cocktail of freshly caught fish typography. Decks is recommended for seafood restaurants, speed boats as well as slick city boys wearing overly expensive sunglasses or Ibiza sunset parties. Decks is the tiger prawn amidst sea foods. VLNL Decks has a distinct modern techno look but the rounded corners give it a warm and human feel. It is available in 3 monolinear weights (Light, Medium, Bold) and 3 weights with contrast between horizontals and verticals (Different Light, Different Medium, Different Bold).

Fluence is a calligraphic typeface designed by dooType. With generous proportions, rounded forms and outstanding endings, Fluence is the right choice for those seeking personality and rhythm. Available in three different weights, contains 15 ligatures, 26 swashes and multilingual support to over 30 languages. Enjoy it.

Toronto Gothic was developed from a headline in a 1920s issue of the Toronto Star. In a previous life, it was probably Condensed Titling Gothic #11, but in this form its rounded corners and irregular lines are meant to make it look worn from years of use.

Cryptolucre is a font specifically for all crypto currencies like Bitcoins, Litecoins, Ethereum, Ark, Siacoin, Golem and what else is there. The icon version includes some existing currency logos and newly invented currency logos. The sans serif font comes in 11 font styles with 1 graphic font.

Standing Miracle is a beautiful script font with a natural and unique design will make your project more beautiful and powerful. The font is suitable for your branding project and any design. Features: Multilingual Support PUA encoded 11 Alternates 6 Ligatures 52 Swashes Design by Yumnatype

Rufus Script is a connected script font inspired by Palmer method of business writing (classic commercial lettering of the 1900-1915). The Rufus Script family comes in five weights, with automatically loaded contextual alternates. Character set contain over 500 characters per font for wide range of Latin-based language support. Include proportional and tabular figures, ornaments and popular recycling symbols used for packaging. Rufus Script is great for product packaging, book covers, poster design, editorials and greeting cards. May be also freely used for long inscriptions due to its formal structure and added small irregularities simulate not fully-trained hand.

Buckthorn is a genus of about 110 species of shrubs and small trees, native to North America and Asia. Its uses are varied: it is used for dye, oil, printing ink and oil. That concludes the botany class for today, on with Buckthorn ‘The Font’. Buckthorn is a handmade typeface with a lot of character. It is severely eroded, giving your designs an authentic look. It comes in 4 styles, including a ‘hollow’ style, plus a dingbat font with very nifty shapes. Buckthorn is quite a pleasing font and comes with a rich harvest of diacritics.

K-haus 205 is inspired by the work of graphic designer and typographer, Herbert Bayer, during his time at the Bauhaus around 100 years ago — work that kick-started graphic design as we know it, to this day. It owes something to the simple geometry of Bayer’s hand-drawn, ‘universal typeface’, updated and expanded to deliver a clean, balanced, geometric sans for today. Also available as K-haus 105 , featuring a few different characters here and there, chiefly in the lower case set. Both variations include an extended character set, featuring accented characters for Central European languages.

Traiectum is the old Roman name for the city of Utrecht (in The Netherlands). When I started working on this font, I wanted to give it a Latin name and Traiectum sounded good! Traiectum is a hand drawn font with a regal and messy look. It was based on Goudy Old Style, a classic old-style serif typeface created in 1915 by Frederic W. Goudy. Traiectum is a multilingual, all caps font and I am sure you’ll find lots of uses for it. The city it was named after, Utrecht, is actually very nice! You should visit one day!

Drawn by master German calligrapher Hermann Zapf in the 1970s, Noris Script captures the magic of the irregularities of pen strokes. The idea behind Noris Script was to bring the spontaneity of a quick handwritten script using a broad-edged pen into the modern typesetting environment. Noris is the Latin name for the German city of Nuremberg, where Hermann Zapf was born and raised. Nuremberg has something special about it, aside from Hermann Zapf, it has a great tradition of writing masters, such as Johann Neudörffer (1497-1563), Wolfgang Fugger (1515-1568), and Rudolf Koch (1876-1934).

Maggot is crazy geometric display typeface. First 36 characters were designed during #36daysoftype 2021. Each letter of the typeface fits into a square composed of 49 modules. Maggot contains 112 letters - Basic Latin, Western, Central and South Eastern European diacritics. Each character that contains a mark has two versions: regular, where the mark is above or below the height of the character and alternate, where character with mark is the same height as characters without marks. Maggot is a display typeface, it works best as short inscriptions, for example on vinyl and book covers, posters, T-shirts, packaging.

The Nesobrite typeface is a striking representation of the modern, boxy design aesthetic. Its linear, mechanical structure is the perfect embodiment of clean and neutral, with an austere edge that adds a touch of sophistication to any design. This font has been inspired by classic square-sans fonts, such as Bank Gothic and Microgramma, but with a contemporary twist that sets it apart. One of the most remarkable aspects of Nesobrite is its ability to imbue your message with a clear, professional, and authoritative voice. Its scientific vitality is sure to make your text come to life, whether it is for a technical report, a research paper, or a business presentation. The font’s versatility makes it ideal for conveying complex data and analytical information in a concise, clear, and easy-to-read manner. Nesobrite is also packed with useful features that make it an invaluable tool for any designer. Its small caps function is a useful addition for those looking to create designs that exude an air of formality and elegance. The font comes in five different widths and weights, as well as italics, which allows designers to use it in various contexts and settings. But what truly sets Nesobrite apart is its boxy design. The typeface’s clean and geometric structure is an ode to the modernist design movement, with its minimalistic and uncluttered aesthetic. Its sharp corners, angular edges, and right angles give it a distinct and eye-catching appearance that is sure to capture the attention of anyone who sees it. In conclusion, the Nesobrite typeface is the perfect tool for designers looking to create a sleek, modern, and professional look for their projects. Its linear, mechanical design, scientific vitality, and boxy design make it a versatile and dynamic font that is sure to elevate any project to new heights. With its range of weights, widths, and italics, Nesobrite is the perfect font for any designer looking to make a statement with their work. 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.