Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). 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.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

Kake’s upper case letters are inspired by a hand-painted sign outside a temple in Ubud, Bali. The rest of the font is made to fit the style. The hand-made aesthetic is increased by the implementation of contextual alternates, which automatically swap glyphs to alternate forms to avoid the monotony of repeating letters. The amount of variations for each glyph is dependent on letter frequency in English; there are more a’s and e’s than q’s and j’s. Even with only two variations of some glyphs, the programming makes sure that no two matching glyphs are ever next to eachother, and for the most part they will rarely be even two letters apart. This all makes for type that looks like it isn't type. The glyphs bounce and subtly change weight with willful abandon. Some of the letters on that original sign are somewhat quirky. If you're not a fan you can engage stylistic alternates or stylistic sets to change the C, G, S, Y, c, s and y glyphs to a less idiosyncratic form. These variations still have variations themselves, so with contextual alternates on, they will look as random as all the rest. Case sensitive forms and automatic fractions are included, as are 98 ornaments, ranging from the useful to the (let’s just say) esoteric. These can be accessed from the glyph palette. I know you've probably never realized you need an anchor, a fuel pump, skull and crossbones and chess symbols in the same font before, but that doesn't mean you don't! Kake is full on display typography. It’s legible for small blocks of copy but don't go setting essays in it. Unless you really want to... in which case, go for it.

Harri Text is more than an extension of Harri. It shares its origin, a certain flavour and a great deal of its idiosyncrasies, but while Harri is an uppercase-only typeface intended for display uses, Harri Text is conceived as a text type family, including a new extra-light weight, italics, small caps and other additions that make it suitable for editorial purposes. As its predecessor Harri Text addresses several concerns regarding the dualism neutrality vs. idiosyncrasy, or in other words, how local features meet global design in the context of a modern society (as is the case in the Basque Country in recent times). The origin of Harri Text —vernacular Basque lettering for the most part— is full of idiosyncrasies and peculiarities that, while giving them its special character, may hinder readability in some cases. The default set in Harri Text tones its essence down a little bit. It is still present, although less obstrusive. Stylistic sets 1, 2 and 3 are a chance to recover gradually this essence modifying some characters —specially the characteristic design of letter A– for those who seek a more local flavour. Stylistic set 4, on the other hand, does the opposite job, this is, removes asymmetrical serifs and other small details in order to create a more neutral atmosphere. Any traces to its origin are this way diluted resulting in a crisp and clean incise variant. Stylistic set 6 is available in the italic styles. It provides a more fluid and cursive flavour to some letters in case a calligraphic mood is desired. Harri Text comes with 1054 glyphs in its character set (1078 in the italics) with support for more than 220 languages.

Madromit(ma-do-ro-mi) is a somewhat nostalgic display font. Do you remember computer advertisements in the 80s and 90s? Yes, it is the most excited period in the history of computer. We call the design in this period Primitive Digital Design. Madromit is, so to speak, the revival or reconstruction of the primitive digital type in the period. The structure and elements of this font are very simple and the key features are geometric shape and simple griddy design with rounded corners, oval bowls, and right‐angled joints which we used to see in the primitive period. In addition to this, Madromit has one more characteristic feature — classic engraving font —. It is called Open Style. Open style is one of the classic method to decorate and emphasize the font. Our aim is the synergy by the mixture of primitive digital design and classic engraving method. This mixture makes new impression we have never seen before. Madromit family consists of 5 styles for stacking color font. Please use Photoshop or Illustrator, or your favorite graphic design apps that can handle layers. Layers are the printing plates of wood type. You should be able to change text color for each layers. Madromit "Standard" style is the base of this font family. You can add open effect by stacking "Fill" layers over the Standard layer. Instruction 1. Type your text as you like. 2. Set font-name "Madromit" and font-style "Standard". 3. Set color of "Standard" layer. 4. Duplicate the "Standard" layer to make "Fill" layer. 5. Set font-style "Half Fill" or "Full Fill" and new color of upper layer. Madromit Standard, Half Open, and Full Open style can be used solely.

To Rafaella, a menina dos cachos. We, designers, have grown accustomed to seeing that lowercase letters—not only in calligraphy but also in typography (1)—may be very playful and decorative. Almost every part of them can become a potential swash, ligature or decorative accolade (2) if the designer has some expertise regarding this matter. However, since we are living in an era that elevates the status of handcrafts, lettering has gained a lot of ground in different kinds of mediums, and with it there’s a sort of overuse of capitals. This may be due to the reason that lettering pieces need a high impact to convey their messages and many times why big capitals are the only solution. With this in mind, I started Rafaella: A font consisting entirely of capitals which go from unadorned to very decorative. Rafaella has ductus and forms vaguely based on the 1970s Bookman-like styled fonts. The presence and behaviour of serifs and ball terminals in this style were the perfect excuse to make really attractive aternates which the user can choose from the glyphs panel. The result is a font full of life. Able to be both very playful and formal due to its roman style which can be combined with (and between) a wide range of other styles of expressive scripts or geometric fonts with nice results (3). Also try Rafaella Shade Solo combined with Rafaella or Rafaella Bold for a layer effect to emphasize any given word or phrase. NOTES (1) See my fonts Erotica from 2013 or Dream from 2014. (2) Accolades is a wonderful word that refers to the ornaments made around the words in the spencerian style of calligraphy (3) Combinations often seen in different pieces of lettering were usually a contrast of style is wanted.

The Ruthyne Handwritten Font is a captivating and versatile typeface that embodies the beauty and warmth of human handwriting. With its flowing strokes and authentic character, this font adds a personal and elegant touch to your designs, making it perfect for greeting cards, invitations, branding, and various creative projects. Features: 1. Authentic Handwritten Style: The Ruthyne Font captures the authenticity and charm of natural handwriting. Its flowing strokes and genuine character lend an intimate and genuine feel to your text, making it suitable for projects that require a personal and human touch. 2. Versatile Application: This font is versatile and well-suited for a wide range of design projects. Use it in greeting cards, invitations, social media graphics, branding materials, and more to add a touch of personal elegance to your designs. 3. Uppercase and Lowercase Letters: The font includes both uppercase and lowercase letters, providing flexibility and creative freedom in your designs. Mix and match the cases to create visually appealing and balanced typography. 4. Punctuation and Symbols: In addition to the alphabet, the Ruthyne Font includes a comprehensive set of punctuation marks, numerals, and common symbols. This ensures consistency and ease of use when incorporating the font into your design projects. 5. Ligatures and Special Characters: The font offers a variety of ligatures and special characters that add character and uniqueness to your text. These unique glyphs create interesting connections between letters and decorative elements, allowing you to create personalized and visually appealing typography. 6. Easy to Use: Installing and utilizing the Ruthyne Handwritten Font is user-friendly. It's compatible with both Windows and Mac operating systems and seamlessly integrates into popular design software such as Adobe Photoshop, Illustrator, and InDesign. This ensures a smooth and efficient design workflow. Elevate your designs with the authentic and personal touch of the Ruthyne Handwritten Font. Let its flowing strokes and genuine character add a touch of elegance and human warmth to your greeting cards, invitations, and branding materials. Embrace the natural beauty of this font and create designs that resonate with sincerity and authenticity.

Hurstmonceux is a distressed, antique Victorian-esque typeface. The eroded style is based on the aged quality of printed books from the Victorian time. Capitals are ornately decorated, with lowercase set in small caps.

This font is designed to create typographic textures. It's based on Ankara Display but not in the same family because of some of its different forms. Also, its angular forms give a digital impact.

Based on retro vinyl records in the middle of 20th century. There are three other fonts designed by in the same concept. -Word From Radio -African Elephant Trunk -Moon Star Soul -Rebel Train Goes

Longtime is drawn with thick font with a retro style and includes several swash characters. Longtime is suitable for product logos and labels, in cafes, restaurants, magazine titles, business cards, invitations, and product branding.

Longwood JNL is a condensed Roman typeface based on wood type examples. The nonconforming line and curves make this a unique font that can replace any of the "traditional" type designs used for titling.

The typeface was designed for ParaType in 1999 by Oleg Karpinsky basing on his Dublon typeface (1994). A decorative face in Op-Art style with slab serifs. For use in advertising and display typography.

A space-age headline font, Telstar explores a computer-readable sci-fi aesthetic based on an obround lozenge pierced with off-centre holes; the left-right weight switch derives from early optical recognition typefaces.

Raffia is derived from the Raffia initials designed by Henk Krijger and issued by the Typefoundry Amsterdam in 1952. Nine ornamental dashes based on designs by Crous-Vidal and issued by Amsterdam are included.

PT Sewed is based on a set of monoline vectors/ letters. Designed for a cultural project. The sewed look was generated for an encyclopedia about jeans. Recommended only for T-shirt Designs and Headlines.

Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les based the design on a turn-of-the-century typeface of the same name. The foundry is believed to be Soldans & Payvers, circa 1904.

San Pedro de Atacama is inspired by the north of Chile, which was based on rustic elements, 4 elements were added, which contains linear, filled and textured, also accompanied by "Ruina" for the titles.

Bang-Zoom! is a traditional comic book font based on lettering by award-winning illustrator and letterer Galen Showman. Its five weights and styles and smart OpenType features allow for professional comic book typesetting.

This funny script font based on the logo which we did. It will look great on the package, restaurant menus, logos and magazine headlines. A large number of ligatures help you vary your design.

Industriality JNL is a slab serif based on a classic typeface. Its condensed design allows for placing more copy inside a smaller area, and is best suited for ad headlines, titling or short blurbs.

An experimental type family designed at ParaType in 1995 by Alexander Tarbeev. Based on PT Hermes, 1993, by Tagir Safayev. Inspired by the art of Jackson Pollock. For use in advertising and display typography.

Altra Mano is based on the designer’s second style of handwriting, one that is more refined and controlled. Altra Mano is a decorative display typeface ideal for headlines, logotypes, magazines, posters and short text.

Nevins Hand is our first release of a new collection of fonts based on the designs of Peter Nevins, a San Francisco poster artist who does hand-lettered fonts in the Art Nouveau tradition.

Ardilas is a modern and flowing handwritten font. It features varied bases, smooth lines, gorgeous glyphs, and stunning alternatives. Fall in love with its incredibly versatile style, and use it to create spectacular designs!

Beautiful fern silhouettes. Ferns is a picture font with highly detailed illustrations drawn by hand from careful botanical study. Great anytime you need an organic feel, some nice plants or a touch of nature.

Slab Compact JNL was based on the printed title found on the box cover of a 1950s-era word games set called “Lex-O-Grams” and is available in both regular and oblique versions.

Another in a series of typefaces (Joost a Gigolo and Modern Art) based on the works of comic-book artist Joost Swarte, which continues in a long-standing Dutch tradition of unconventional lettering design.