Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Century Gothic™ is based on Monotype 20th Century, which was drawn by Sol Hess between 1936 and 1947. Century Gothic maintains the basic design of 20th Century but has an enlarged x-height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 1920s and 30s. The Century Gothic font family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Century Gothic family has been extended to 14 weights in a Pan-European character set from Thin to Black and their corresponding Italics. The already existing 4 weights of Regular and Bold with their Italics are additionally still available in the STD character set. For international communication, the W1G versions offer the appropriate character set. They contain Latin, Greek and Cyrillic characters and thus support all languages and writing systems that are in official use in Western, Eastern and Central Europe. Century Gothic Variable is features two axes: Weight and Italic. The Weight axis has preset instances from Light to Black. The Italic axis is a switch between upright and italic. Looking for the perfect way to complete your project? Check out Aptifer™ Slab, ITC Berkeley Old Style®, FF Franziska™, Frutiger®, ITC Legacy® Square Serif or Plantin®.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk 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. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

The mystic sadness of the sight Of a far town seen in the night. Like the poetry movement of the early 20th century, from which the font takes its name, Imagist relies on the power of concrete images and brings an organic vibration to the words it forms. Imagist is a lively and decorative serif typeface with prominent features that appear especially in the letters K, R, M, N, W, V, k, w, v and y. Powerful ball terminals also bring recognizable attraction. Imagist contains six weights and corresponding Italics. Italics have a cursive-style letter s for as Stylistic Alternate. Old Style Numerals and Small Caps can be found in all cuts. Poem by T. E. Hulme.

Gardens is a nostalgic arena font. Inspired by a soon-to-be demolished arena, this font was created to capture the memories and good times this building once contained. Upon hearing the news of the demolition, our team was struck with sadness and nostalgia. As youngsters we can recall attending a wide variety of events, such as hockey games, pro wresting and the circus. Our hope is that others can share in our nostalgic love of this once prominent arena. With curvy retro styling Gardens is unique and will fit in with many retro and vintage logos and design. Wether its t-shirts, posters or digital, Gardens will surely make your work stand out!

Al Harf Al Jadid is a traditional-style Arabic display typeface. Al Harf Al Jadid Two is an outline version of Al Harf Al Jadid One. Although their design is ultra bold, its forms remain a readable Naskh, in response to the needs of secular lettering for emphatic headlines and signs. Al Harf Al Jadid One and Two are characterized by a distinctive, strong baseline-stroke, reminiscent of a similar hand-rendered technique traditionally used in Arabic calligraphy to achieve a bold appearance. Initially developed as digital fonts by Linotype-Hell Ltd. in the mid-1980s, Al Harf Al Jadid One and Two have remained amongst the most popular heading faces used in Arabic magazine and newspaper publication.

In a specimen book from Stevens, Shanks & Sons, Ltd. of London (circa1930s) “Royal Gothic” was their version of a classic grotesk sans that had been in use as far back as 1899 when the Keystone Foundry called it “Charter Oak”. The terms "gothic" and "grotesk" were equally applied to early sans serif typefaces – at first not well embraced by printers as being too ugly (grotesque) for use. One familiar characteristic of early grotesk fonts (such as this one) is the numerous variations of character widths and shapes. By combining those two terms into a font name, the digital version of this design is called Gothic Grotesk JNL, and is available in both regular and oblique versions.

For that tight fit, STF Chevron is perfect. An ultra-condensed display font, with a complete character set. The name? It's named after an oil company, but the shapes of the serifs reflect that as well. With some art deco overtones, try Chevron in places that you might want a simple art deco typeface. How should you use it? It's perfect for posters, packaging and advertising, CD covers and publications. Fully hinted and exquisitely kerned, Chevron will be one of your favorite faces for tall copy that need to get noticed. It's really ideal for calendars, when you want big numbers without losing space for writing in the date fields. License it today!

LTC Kaatskill was made specifically for use in an edition of Rip Van Winkle for the Limited Editions Club. "I feel that Kaatskill owes nothing in its design to any existing face, and the type therefore is as truly an American type as anything so hidebound by tradition as type can be."- F. Goudy This face was one of the first digital typefaces released by the Lanston Type Co. Ltd. Jim Rimmer took painstaking measures in his faithful revival. Goudy had never designed a specific Italic to accompany this face. The Italic completed by Rimmer is a variation on Deepdene Italic. The font set was re-mastered in 2006 by Colin Kahn.

Senko Hanabi (線香花火 - Japanese: incense-stick fireworks) is a type of Japanese sparkler. These traditional sparklers are said to evoke “mono no aware” - “an empathy toward things”; the flash of sadness when reminded of the fleeting nature of life. I am always a bit melancholic this time of the year, so when I created this font, I wanted to give it a suitable name. Senko Hanabi was made using a brush and Chinese ink. It is a beautiful font, which comes with stylistic alternates, discretionary ligatures and a sparkling amount of diacritics. Remains for me to wish you all a very happy new year. Let’s do our best to make it one worth remembering!

La tipografía “Tipo Metro CDMX” fue desarrollada por Lance Wyman como parte del proyecto “Metro” desde los años setenta, y es uno de los elementos clave de la cultura visual del transporte del Sistema de Transporte Colectivo Metro (STC Metro). Este estilo se ha convertido en el icónico fundamental del trasporte público para los residentes de la Ciudad de México. En esta edición, los tipos minúsculas son una adaptación “no oficial” para el Tipo Metro CDMX, enriqueciendo la tipografía a un estilo visual de altas y bajas, por lo que se prescinde del diseño base como trabajo propio para enfatizar los tipos minúsculas exclusivamente, además de que se han añadido algunos caracteres de acentuación extendiendo su uso a otros lenguajes. Los tipos son una nueva propuesta por Ixipcalli en el presente año 2023. The “Tipo Metro CDMX” typeface was developed by Lance Wyman as part of the “Metro” project since the 1970s, and is one of the key elements of the visual culture of transportation of the Metro Collective Transportation System (STC Metro). This style has become the iconic fundamental of public transportation for the residents of Mexico City. In this edition, the lowercase types are an “unofficial” adaptation for the Tipo Metro CDMX, enriching the typography with a visual style of highs and lows, so the base design is dispensed with as my own work to emphasize the lowercase types exclusively, In addition, some accentuation characters have been added, extending their use to other languages. The types are a new proposal by Ixipcalli in the current year 2023.

Used Cars JNL is based on one of the many unique alphabets created by the late Alf R. Becker for Signs of the Times magazine from the 1930s through the 1950s. Special thanks to Tod Swormstedt of ST Media (who is also the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material for this design

Here’s another nostalgic beauty from the Central Type Foundry of St. Louis, originally titled Harpers, designed for the popular newsweekly of the same name. Its bouncy, quirky letterforms will add vitality and visual interest to your headlines and subheads. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Roadblock JNL is the solidified and slanted version of Patriotica JNL --a stars and stripes font based on lettering by the late Alf R. Becker as commissioned by Signs of the Times® magazine. Thanks to Tod Swormstedt of ST Publications, Inc. and the American Sign Museum in Cincinati, Ohio for providing source material for use as a work model.

Linem Up JNL is based on one of Alf R. Becker's alphabets for Signs of the Times magazine. With A-Z only and basic punctuation, it is best used in very limited text at larger point sizes. Thanks to Tod Swormstedt of ST Publications (and the curator of the American Sign Museum in Cincinnati, Ohio) for providing the reference material.

Nightspot JNL was modeled from one of many display alphabets created by the late sign painter and lettering expert Alf Becker. His work has graced the pages of Signs of the Times® magazine for decades. Special thanks to Tod Swormstedt of the American Sign Museum and ST Publications, Inc. in Cincinnati, Ohio for providing the source material for this typeface.

During trips to the Miami Beach Public Library as a youth, Jeff Levine first caught sight of the signs made with a product called the Webway Sign Cabinet, manufactured by the Holes- Webway company of St. Cloud, MN. Having purchased an old set, Jeff has carefully re-drawn the alphabet and unique contrasting numbers from the original assortment, adding in an extended character set to his font.

Karaoke JNL is one of the many alphabets created by the late Alf R. Becker that was showcased in Signs of the Times magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (and who is the curator of the American Sign Museum in Cincinnati, Ohio) for providing Jeff Levine the research material from which this font design was modeled.

If you liked Holiday Doodles you will love Holiday Doodles Too as it is more of the same. 42 icons to decorate your year. Birthdays, babies, Summer, weddings, presents, St. Pat’s Day, 4th of July, Valentine’s Day, Fall, Christmas, Hanukkah and more. This font is a great clip art addition to the Doodles font family from Outside the Line. For best results use in larger point sizes.

General Chang JNL is one of a number of fonts redrawn by Jeff Levine from the creative output of the late Alf R. Becker. Becker's alphabets were a monthly feature of Signs of the Times Magazine from the 1930s through the 1950s. Thanks to Tod Swormstedt of ST Media (who also is the curator of the American Sign Museum in Cincinnati, Ohio) for the resource material.

American type designer Michael Abbink created this serif FontFont between 2009 and 2010. The family has 12 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as small text. FF Milo Serif provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and fractions. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. FF Milo Serif received several awards: the ISTD award in 2011 and the Letter.2 award in 2011. This FontFont is a member of the FF Milo super family, which also includes FF Milo.

A pixelated typeface with asymmetrical serifs intended to depict emojis in coarse mosaic shapes and represented in two styles that perfectly complement each other – Mono (casual font) and Mosaic (color font). The main font feature is a large set of pictograms, which are activated using the Stylistic Set and typed right in a text with a keywords like :smile: :happy: :sad: :pear: :rose: :horse: :bike: :house: and so on. Read more about Depicto font family concept, features, pictograms, color font, emoji skin tone, how to use it, and the applications support: https://michaelrafailyk.com/depicto See the complete list of 600+ pictograms: https://michaelrafailyk.com/typeface/specimen/Depicto.pdf Scripts: Latin, Greek, Cyrillic, Hebrew Languages: 480+ The promo image “Serpant Mosaics” used a photo of Nick Verlice from Pexels

CHARACTERISTICS The fresh and unique character of the typeface are awesome BOOM! The letter-forms are associated urban graffiti tags and pieces. Many Dingbat symbols like microphone, tape deck, ghetto blaster, vinyl, etc. make this font really fresh n HOT! APPLICATION AREA The handwritten, sloppy, square, shaky and fresh urban script font »Tag Hand Graffiti Trash« BANG! would look good at display size for headlines in magazines or websites, movie posters, music covers artworks or music webbanner. TECHNICAL SPECIFICATIONS Headline Font | Display Font | Fancy Font – Tag Hand Graffiti Trash OpenType Font with 393 glyphs - alternative letters and ligatures like Mr, Mrs, Ltd, Co, Dr, Mc, Dj etc. (with accents & €) & 2 styles (regular & fat) + dingbats like diamant, tape deck, microphone, vinyl etc.

American type designer Michael Abbink created this sans FontFont in 2001. The family has 9 weights, ranging from Thin to Black (including italics) and is ideally suited for advertising and packaging, book text, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Kievit provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super—and subscript characters. It comes with a complete range of figure set options—oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. FF Kievit received several awards: the Bukva:raz award in 2001 and the ISTD award in 2001.

TT Severs useful links: Specimen | Graphic presentation | Customization options TT Severs is a geometric grotesque with emphasized elements of internal brackets. A distinctive feature of TT Severs is the unusual form of internal ovals, which refers us to the style of traditional Arabic writing. TT Severs has a strong character and is great for use in high tech (IT), the web, in robotics, computer games, and sports. TT Severs is a 2-in-1 font family. In a large body size, it works great as a display font, creating a distinctive character for logos and headings. At the same time, when TT Severs is used in a small body size or in large text arrays, the font’s peculiarities of bracket construction fade, and it perfectly functions as a text font, thanks to both the low contrast between vertical and horizontal strokes and the detailed logic of interaction of black and white letter elements. The font family TT Severs includes 18 fonts, each of which consists of 558 glyphs. The family has standard and discrete ligatures, which include experimental ligatures for the Cyrillic alphabet. In addition, TT Severs can be made a little more humanist—it is enough to turn on stylistic alternates, and due to them the font takes the form of a humanist grotesque, which refers us to traditional broad nib writing. As part of the font family, you will also find old-style figures and a large number of OT features such as case, ordn, sups, sinf, dnom, numr, onum, tnum, pnum, liga, dlig, salt (ss01), frac.

There are many script typefaces but there is only one Scripticus. Scripticus is like a chameleon: In whatever surroundings you put it, it adapts itself and looks like it couldn't be anywhere else. Be it a sales advertisement, a music Website, a comic strip or a journal with complex chemical formula – Scripticus always solves the problem in a natural and leisurely way. And it never makes compromises concerning clarity. But where does Scripticus come from? … From the good old high school blackboard! Blackboards have become almost obsolete in teaching, but be it a black or white background – clear, strong characters placed on the board while the facts are explained are still one of the best ways to make and keep things understandable. Scripticus is dedicated to my high school chemistry teacher who was an expert in just this. While the letterforms come from different inspirations, its aim is the same as the pedagogical aim of my teacher: Combining clarity with a strong personality. Scripticus has a special trick to give it its natural look: Four alternates for each letter and each number plus rotation coding make the glyphs appear in lively melodic flow. In this way even mathematic equations look nice! Scripticus has a lot of OT-features that help it do its job. They are: capital spacing, localized forms, subscript, scientific inferiors, superscript, numerators, denominators, fractions, ordinals, tabular figures, historical forms, ligatures, stylistic alternates, stylistic set and ornaments. Finally, as is my general goal in type design – Scripticus supports close to one hundred languages from Latin extended to Cyrillic extended.

‘Technical Scripture’ 2015-2021 A manuscript look, Pixel labyrinthine Display Type System… Plus, an Optical “Layered Game”, Retro Futuristic Sci-Fi Digital interface evolving placeholder… Now with 3D Styles! It was designed as a pair to its brother font ‘Technical Signature’ a Small Caps Font, both inspired by antique Greek, mosaics zig-zag ornaments “ancient times computer” intentionally as a Romanic variation with same metrics... Searching for Technical Solutions, it resulted in many combined styles by matching the primary ones so there’s plenty variations for multi-purpose texting like layered typesetting or simply monochromatic designs… Plus got accurate streaming resolution, therefore some sub-families like Stamp and Texture implicates greater points for minimum size as Regular and Light is appropriated to Small Optical Text reductions. *The New 3’s Upgraded Edition Improvements consisted of Correct ‘Font Info’ (verified data-debugging) rescaled glyphs, quick design review, better style linking with correspondent renamed fonts, addition of automatic OT features encoding, 3D Styles and Italics. Ps. This actual Typeface was quickly re-edited for technical reasons and hasn’t yet reached the intended design, it will soon receive a more tangible redesign upgrade, mainly in lowercases to enhance cursive style. Due to other priorities. Tip: Give preference to THE LYSERGIC UPPERCASES! Multilanguage Support: Western & Eastern European, Baltic, Turkish, Greek, and Cyrillic. This Type is pleasant to Technician Compositions, Such as Briefs layouts manuscript, Old Engineering & Crafts Logos or Support Text, Op-Art Posters, Stamps, Labels, movies and Cartoons Ludic Scripts, sites and of course Video Games! Try ‘Technical Scripture’ & Have some Power to the Pixel! Padang!

Elido (Odile in reverse) is the sans counterpart to the Odile type. Together they form a sans/serif superfamily with a wide range of variations for editorial use. Elido follows Odile’s proportions and matches the weight and typographic color of its serif twin. Elido is a sans with classical proportions. A slight geometric hint and open counters convey an airy feel. Elido’s family structure and relations within echo the conceptual approach of Odile. The arched stroke low off the stem reveals a script characteristic most pronounced in the Elido Upright Italic. This particular interpretation is gradually diminished in the Italic and becomes even less emphasized in the Regular. Six balanced weights, from an elegant Light to a pronounced Black, are in tune with three display solutions and a set of beautiful Ornaments. These variants allow for a diverse and multifaceted typography for the discerning type user. Sans serif initials amount to a rare finding. The charming monolinear Elido Initials come in two flavors, elaborate and rational, designed to hold their own in editorial and headline sizes. This type design boasts an extensive character set, many OpenType features including roman and italic Small Caps, five sets of numerals, beautiful ligatures, and many more. OT stylistic variants (with accents) offer a one-story “a” for the roman weights, alternate “g” and “s” designs for the italics, and a variant glyph “s” for the Upright Italic. These distinct qualities with its versatile and sincere traits make Elido an excellent choice for text and display use.

It was the original work of fifteenth century designer Nicolas Jenson that formed the basis for this roman serif style developed by Ernst Detterer in 1923. Similar in spirit to other early twentieth century revivals such as Centaur, Cloister Old Style, and Italian Old Style, Nicolas Jenson is distinguished by its pristine and delicate nature. A gifted young apprentice to Detterer, Robert Hunter Middleton, greatly expanded the family. And by 1929, bold, italic, and open were part of the Ludlow Foundry’s beautiful Nicolas Jenson Series. It was reintroduced under a new name, Eusebius, in 1941. This digital version includes a new medium and extrabold weight with intermediate small caps and swash alternates throughout the family. There is also a regular expert version with a variety of currency symbols plus a regular petite caps (regular x-height small caps) and old style figures version. Nicolas Jenson is now available in the OpenType Std format. Small caps, old style figures, and swash alternates have all been combined into one style for ease of use. You will also find an additional regular petite caps version included with the regular style. Some new characters have been added as stylistic alternates and historical forms. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Pontifica is based on ‘protogothic’ calligraphy, a style developed at the monastery of St. Gall in the 12th century to replace Carolingian minuscule with a more efficient and compact system of lettering. Ultimately it became the progenitor of the gothic lettering styles of the late Medieval period. Also available to go with this font is a special swash version with a very different style, but compatible overall appearance.

Incus is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Incus family consists of 6 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 3 types of thickness in each subgroup. Incus fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing

Lazycat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Lazycat family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Lazycat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The “Kiez“ is an old school style font designed by Elena Albertoni in 2016. Inspired by shop and bar signage of the sixties and seventies, which can still be found today in the so called “Kiez“ in Hamburg St. Pauli or in one or another “Kiez“ in Berlin, which means neighborhood here. It also has a cinematic touch, again: think of the sixties and seventies or your favorite b-movie.

Lokko is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Extended symbols and other. The Lokko family consists of 8 fonts, divided into 2 subgroups (according to the type of style - St, Cut), and have the 4 types of thickness in each subgroup. Lokko fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

The display typeface that is based on the shapes of traditional Chinese hieroglyphic characters. Designing the font for imitations in the Chinese style the author nevertheless demonstrates serious attitude and thoroughness using the table of keys of the regular Kaishu script. As a result the font looks stylistically authentic and genuine. The typeface was designed by Aleksandra Egorova, the young type designer from St. Petersburg, and released by ParaType in 2008 .

Urbancat is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. The Urbancat family consists of 8 fonts, divided into 4 subgroups (according to the type of style - St, Rg), and have the 4 types of thickness in each subgroup. Urbancat fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.

Fozzy is a modern sans serif geometric font, includes upper and lower case characters, Latin, Cyrillic, Latin Eastern Europe, Turkish, Baltic and other. Fozzy family consists of 9 fonts, divided into 3 subgroups (according to the type of style - St, Rg, Op), and have the 3 types of thickness in each subgroup. Fozzy fonts will be useful in developing a brand, creating posters and other graphic products, and for word processing.