American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The other weights of the Metro family, Metromedium #2™ and Metrolite #2™, were designed by Mergenthaler Linotype's design office under Dwiggins' supervision. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype Originals, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments."

A classic “American” sans serif with a kink Desphalia belongs to the kind of sans serif fonts that were created in the 19th century. You could also name it “American Gothic”, a sans serif in the style of fonts like Franklin Gothic, News Gothic and similar. Above all, the high x-height characterizes this typeface style, as do the identical heights of uppercase and ascenders. However, I allowed myself a few peculiarities ;-) On the one hand, there is the gently sloping horizontal middle line on letters such as H, E, F, A and e. The M also got gently slanted sides. Some of the lower-case letters have an up- or down-stroke: a d m n p u. This "kink" on the shaft also serves to better distinguish the small l from the capital I — as can be seen clearly with the term »Illinois«. In keeping with the tradition of American typefaces, Desphalia does not have a true italic. Rather, the letters of the “Italic” have the same character forms as the normal upright variant, but in oblique — and so it is not called “Italic” but “Oblique”. Style Set 01: Another American peculiarity is the capital I with dashes above and below. It is included in the Desphalia as an alternate character form. An alternative small l with the “kink” in the ascender is also included — as is a y with the “kink” in the descender. Style Set 02: The corresponding “straight” forms a d l m n p u without the break are included as alternatives in a separate style set. Small caps are uppercase letters that are optically the same size as lowercase letters. They offer a very classy way of emphasis. Desphalia is available in the widths Condensed, Normal and Expanded, the weights include Thin, Light, Book, Bold, Black. Using the variable font, all intermediate levels can be freely selected. The figures are optionally available as tabular figures, proportional lining figures or old style figures.

Introducing TT Norms® Pro Serif, version 1.100! The updated font now has new OpenType features and localization for the Serbian and Bulgarian languages. TT Norms® Pro Serif is a functional serif based on our studio's main bestseller—the versatile sans serif TT Norms® Pro. Together, they form an ideal font pair. Although these typefaces are made for each other, they can easily be used independently and paired with other fonts. So, TT Norms® Pro Serif is a self-sufficient and elegant serif, neutral at the same time. It is easy to recognize due to its gentle proportion dynamics, open aperture, slanted oval axis, and low stroke contrast. Another distinctive feature of this font is brutal serifs that adjust in length according to the weight of the font. As well as TT Norms Pro, there are Italic font styles in TT Norms® Pro Serif. However, for this serif, we have designed true italics instead of simple slanted font styles. Their key feature is the ability of the lowercase letterforms to change in reference to the roman font styles. They become more rounded, moving towards handwritten shapes. The nature of the italics turned out sharper than that of the roman font styles. It can be used to place accents that would attract attention without interfering with the process of reading. TT Norms® Pro Serif is capable of solving multiple design tasks. It is highly readable, which makes it convenient for small point sizes. This serif's application range is broad and diverse: it can be used for websites, printed materials, and packaging design. The font is well-suited for projects in the domains of culture, art, history, or literature and can be implemented into the designs of signs, posters, or premium products and services. TT Norms® Pro Serif, version 1.100, consists of: 24 font styles: 11 roman, 11 italic, and 2 variable fonts (one for the roman font styles and another—for italics); 1380 glyphs in each font style; 31 OpenType features, including options for localization.

Our Binder Family is a revival and expansion of Binder-Style, a typeface designed by Joseph Binder and released by D. Stempel AG in 1959. It originally was a single weight. In later film type adaptations, a bold style, and an outline with drop shadow style were made available. However, this typeface never really had a true sense of family or larger language compatible character set. The original Binder-style typeface found revived popularity with its super condensed style when it appeared on the movie poster for "Silence of the Lambs". It was always a disappointment to me how this typestyle had never gained more traction in use. And so, many years later, we decided to revive the original typestyle, and expand it with a range of weights and obliques to pair with those weights. We've moved most of the unusual lowercase forms to a Stylistic Alternates feature, along with unicast alternates for the Capitals. The family includes a full standard character set with expansive international support of latin based languages, and 4 weights jumping from Thin to Bold, along with 4 accompanying obliques. This family is ready for you to eat it up with a nice glass of Chianti. Here's what's included with the Binder Family: 538 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 4 weights: Thin, Light, Regular, & Bold. Accompanying Obliques with each weight/width style. TTF formatted fonts have been hinted for optimal performance. Here's why the Binder Family is for you: You're in need of a stylish condensed font with a variety of weights and obliques for your designs You're a fan of the typographic works of Joseph Binder, but wish there was more to them You love the style of Agency and Bank Gothic, but want something uber-narrow You are desperate to recreate the movie poster from Silence of the Lambs You just like to collect quality fonts to add to your design arsenal

“Kindah” is a Yemeni ancient tribe with evidence of its existence going back to the second century B.C.E. The kings of Kindah exercised an influence over a number of associated tribes more by personal prestige than by coercive settled authority. The Kindites were polytheistic until the 6th century CE, with evidence of rituals dedicated to the gods Athtar and Kahil found in their ancient capital in south-central Arabia. It is not clear whether they converted to Judaism or remained pagan, but there is a strong archaeological evidence that they were among the tribes in Dhu Nuwas' forces during the Jewish king’s attempt to suppress Christianity in Yemen. They converted to Islam in the mid-7th century CE and played a crucial role during the Muslims' conquests of their surroundings. Among the most famous figures from Kindah known as Kindites are Imru' al-Qays (526-565?), al-Ash'ath ibn Qays (599-661), Hujr ibn 'Adi al-Kindi (?-660), al-Miqdad Ibn Aswad al-Kindi (589-653), and Abu Yusuf Yaíqub ibn Ishaq as-Sabbah al-Kindi (805-873) known as the Philosopher of the Arabs. "Kindah" font is a modern Kufic font comes in three weights (i.e., bold, regular, and thin) which is mainly designed to be used as a display Arabic font. The main feature of this typeface is the mixture of curves and rectangular shapes used in the designed Arabic characters. Kindah font was inspired by the design of the Yemeni modern windows of houses in which only top part of the arc is used for building such windows which reflects the originality of the architecture preserved in this part of the world. "Kindah" font is extremely outstanding when used in printed materials with big sizes especially for headline, titles, signs, and names of brands. Hence, it is suitable for books' covers, advertisement light boards, and titles in magazines and newspapers. It has also a Latin character set and it also supports several Arabic character sets which makes it proper for composing alphabetical and numerical words in Arabic, Urdu, and Persian.

Film Fiction Semi Expanded has been updated and will now beautify your designs under the name TA Film Fiction Semi-X. We've already updated and revitalized TA Film Fiction Semi-X to ensure it perfectly matches your evolving creative vision. The inclusion of tabular figures, old-style figures and alternative glyphs expands your design palette and allows you to adapt the font to your unique style. TA Film Fiction Semi-X has been updated experience the appeal – this can be your font of choice to enhance your brand identity, cinematic efforts and editorial design. This brilliant typeface is not just a typographic tool, but a creative catalyst for headlines, logos, web elements, signage, posters and fashion apparel, packaging. TA Film Fiction Semi-X does not follow trends, it defines them, imbuing each project with a true modern essence. Embrace the possibilities with 9 different styles, each boasting a large set of 758 glyphs. Discover OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Subscript, Superscript, Tabular Figures TA Film Fiction Semi-X supports Khinalyg (Xınalıq) alphabet Test your alphabet, explore the nuances and witness the transformation. And if you're at any creative crossroads, I'm here for you. If you want to customize TA Film Fiction Semi-X, need font files or have any other questions, please reach out to me at t@taft.work. TA Film Fiction Semi-X be the cornerstone of your creative journey. Elevate your designs, embrace innovation and redefine possibilities with TA Film Fiction Semi-X, where each character tells a story. Questions? Contact us at t@taft.work Instagram @taft.work or @tural_a Visit us https://taft.work/

The world of aviation is filled with clean and iconic logotypes, yet some of the earlier logotypes were friendly and simple. The Tailwind family finds its origin of inspiration in an early Air Jamaica company logo, and from there is expanded into a small but comprehensive font family. Tailwind celebrates the typographic stylings of the 70’s, with the soft rounded terminals and open geometric feel, transcending its brand inspired origin to give birth to a family that feels both retro and modern. It inherited the friendly stylings of the mostly lowercase logo that inspired it, and goes on to include a full standard character set with expansive international support of latin based languages, small caps styles, and three weights jumping from light to regular to a heavyweight black. This family is ready to chart a course for your designs towards that of a modern, comfortable appeal. Here's what's included with the Tailwind Collection bundle: 382 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) 6 fonts in 3 weights: Light, Regular, Black . Small Caps versions available in all weights. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Tailwind Collection is for you: You're in need of a soft rounded font with a variety of weights with small caps for your designs You're a retro airline junkie and have to have anything inspired by Air Jamaica You love VAG Rounded, but you really want something just a little different You really dig the Akademics & Bloomingdales logos, but would like a softer type in that genre You just like to collect quality fonts to add to your design arsenal

Paralucent is versatile all-purpose modern sans. Available in seven weights, from Thin to Heavy, and in two widths each with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. There are two additions to the core 28-weight family: a three-weight stencil set, and a four weight text family. The text weights have been adjusted for use at small point sizes, and feature more open character shapes, looser inter-letter spacing for improved readability, and lining numerals for use in listings and tables. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. A perennial Device bestseller.

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005."

TT Bricks useful links: Graphic presentation | Customization options Do you love the early Soviet visual culture as much as we do? We’ve tried going back a hundred years and rethinking the constructivist era. We’ve created an extensive font family that consists of the simplest triangle and rectangle forms. TT Bricks font family includes 16 typefaces: Hairline, Thin, Light, Regular, Medium, Bold, ExtraBold, Black and Italics. Regardless of its Soviet past, TT Bricks is a very fresh and visually powerful font family that perfectly fits the contemporary media landscape. TT Bricks is perfect for mobile apps and corporate websites, as well as for printed press layout. Thanks to the exaggeratedly simple forms of all signs, TT Bricks looks great in very small type sizes. FOLLOW US: Instagram | Facebook | Website TT Bricks language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Poeta Color is an ornamental font for making patterns and decorating text. It contains floral and nature motifs. The symbols are versatile enough for simple decoration or thematic seasonal and holiday moods. Designers can use Poeta to make unique lines, fields, borders, or ornamentation within or around text. Try replacing a basic straight line with repeated symbols. Make a background to add visual interest to a design. Use the forms to decorate a chapter title or to mark the end of a magazine article. Replace a letter in a word with a symbol to create a memorable statement. This font began with sketches of patterns seen in ceramic tiles around Sicily. It is named Poeta because Sicily is an island rich in poetry traditions. Below is some helpful technical information. Using this font is simple. Install it and type. Symbols will appear instead of letters. Choose the precise symbols through a software’s glyph palette. Use the type/character menu controls to vary the spacing and density of patterns. All fonts are vector-based, OpenType, and fully scalable. Six of the fonts have different color or grey combinations. One of the fonts (solid) is a standard font. The font previews on this website will only display the font in black. See the slides to get an idea of the colors. Be assured that the colors are present in the files and will appear when loaded on the computer. The colors that are in each font: Primary: red, yellow, blue Secondary: orange, green, purple Tertiary: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, red-violet Diverse: many different warm and cool colors Grey: three different greys from light to dark Gradient: a greyscale gradient Solid: standard font and can be colored normally Software that supports color SVG fonts: Photoshop, since 2017 llustrator, since 2018 InDesign, since 2019 QuarkXPress, since 2018 Pixelmator Sketch

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

Introducing Nipsey - a unique display font inspired by vintage albums and posters from 1970s music bands. With its classic typeface and groovy impression, Nipsey brings a fun and retro vibe to your designs. What sets Nipsey apart is the combination of various alternates, such as swashes, stylistic sets, stylistic alternates, contextual alternates, and ligatures, making this font even more distinctive and versatile. Nipsey is perfect for a wide range of display purposes, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, logotypes, and more. Its eye-catching design adds a touch of nostalgia and personality to any project, making it stand out in a crowd. To access the alternative characters in Nipsey, you can use OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. The OpenType features allow you to easily switch between uppercase and lowercase letters, as well as apply alternates and ligatures to create unique and customized lettering compositions. In your zip package, you'll find the Nipsey font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Nipsey also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Nipsey has got you covered. If you have any questions, feedback, or comments, feel free to reach out to PutraCetol Design Studio via PM or email. The team is happy to assist you in your creative endeavors. In conclusion, Nipsey is a unique and versatile display font that brings a fun and retro vibe to your designs. With its alternative characters and multilingual support, Nipsey offers endless possibilities for creating eye-catching designs for various display purposes. So, let your creativity flow with Nipsey and elevate your design projects to the next level! Thanks for choosing Nipsey from PutraCetol Design Studio. Happy Creating!

An inline adaptation of a distinctive slab serif, Cesium is an unusually responsive display face that maintains its high energy across a range of different moods. The Cesium typeface was designed by Jonathan Hoefler in 2020. An energetic inline adaptation of Hoefler’s broad-shouldered Vitesse Black typeface (2000), Cesium is named for the fifty-fifth member of the periodic table of the elements, a volatile liquid metal that presents as a scintillating quicksilver. From the desk of the designer, Jonathan Hoefler: I always felt that our Vitesse typeface, an unusual species of slab serif, would take well to an inline. Vitesse is based not on the circle or the ellipse, but on a less familiar shape that has no common name, a variation on the ‘stadium’ that has two opposing flat edges, and two gently rounded sides. In place of sharp corners, Vitesse uses a continuously flowing stroke to manage the transition between upright and diagonal lines, most apparent on letters like M and N. A year of making this gesture with my wrist, both when drawing letterforms and miming their intentions during design critiques, left me thinking about a reduced version of the typeface, in which letters would be defined not by inside and outside contours, but by a single, fluid raceway. Like most straightforward ideas, this one proved challenging to execute, but its puzzles were immensely satisfying to solve. Adding an inline to a typeface is the quickest way to reveal its secrets. All the furtive adjustments in weight and size that a type designer makes — relieving congestion by thinning the center arm of a bold E, or lightening the intersecting strokes of a W — are instantly exposed with the addition of a centerline. Adapting an existing alphabet to accommodate this inline called for renovating every single character (down to the capital I, the period, and even the space), in some cases making small adjustments to reallocate weight, at other times redesigning whole parts of the character set. The longer we worked on the typeface, the more we discovered opportunities to turn these constraints into advantages, solving stubbornly complex characters like € and § by redefining how an inline should behave, and using these new patterns to reshape the rest of the alphabet. The New Typeface The outcome is a typeface we’re calling Cesium. It shares many of Vitesse’s qualities, its heartbeat an energetic thrum of motorsports and industry, and it will doubtless be welcome in both hardware stores and Hollywood. But we’ve been surprised by Cesium’s more reflective moods, its ability to be alert and softspoken at the same time. Much in the way that vibrant colors can animate a typeface, we’ve found that Cesium’s sensitivity to spacing most effectively changes its voice. Tighter leading and tracking turns up the heat, heightening Cesium’s sporty, high-tech associations, but with the addition of letterspacing it achieves an almost literary repose. This range of voices recommends Cesium not only to logos, book covers, and title sequences, but to projects that regularly must adjust their volume, such as identities, packaging, and editorial design. Read more about how to use Cesium. About the Name Cesium is a chemical element, one of only five metals that’s liquid at room temperature. Resembling quicksilver, cesium is typically stored in a glass ampule, where the tension between a sturdy outer vessel and its volatile contents is scintillating. The Cesium typeface hopes to capture this quality, its bright and insistent inline restrained by a strong and sinuous container. Cesium is one of only three H&Co typefaces whose name comes from the periodic table, a distinction it shares with Mercury and Tungsten. At a time when I considered a more sci-fi name for the typeface, I learned that these three elements have an unusual connection: they’re used together in the propulsion system of nasa’s Deep Space 1, the first interplanetary spacecraft powered by an ion drive. I found the association compelling, and adopted the name at once, with the hope that designers might employ the typeface in the same spirit of discovery, optimism, and invention. —JH Featured in: Best Fonts for Logos

Patches is a multi-faceted, victorian-era serif typeface for when you need something more than plain text. Get that extra attention while adding a genuine, original appearance to your message. Patches was designed from scratch to give a sense quality and depth. Its designer Mans Greback has created a typeface with a complex structure, yet one that will be easy to master. This work will suit every style, taste and skill level. It is a decorative and completely hand-drawn design in vintage lettering, with the perks and flexibility of present-day technology, which is exactly what you'd expect from a modern typeface. Whether you are making a decorative floral headline, drawing a cowboy logo, or creating a unique design based on this ornamental font, the hopes are that Patches can give you a set of tools and inspiration to bring out the best of your artistry. Standing on the shoulders of giants, it was inspired by a wide range of works, and will hopefully be able to continue to teach and inspire future artists. Or at least help you become a better designer when you're designing an elegant and classic headline. Set the coloring of Patches to light gold and cream tones to apply a luxurious look, or in dark tones for a more rugged impression. Bold, bright colors will make it appear In the mid-1800s, decorative design flourished in the Western major cities. Victorian style thrived and encouraged techniques such as enamelling, embroidery and calligraphy. From the 1880s onwards, there were a series of reactions to higher Victorian tastes, with Art Deco reaching the heights of the 20th century. However, the Victorian art persisted popularity, as it changed to more sophisticated designs which made it more attractive to specific professions and groups. The evolution of the Victorian style in the mid-20th century was a key factor in the succession of the movement. Classic shops and salons, sport designs and traditional festivals, and later Rock'n'Roll and Harley Davidson-themed graphics ​inspired the continued development of the art. Aspiring to carry on this tradition, this typeface family consists twelve different high-quality variations. The main ones are Patched and Patched In – an outlined variation – and each one provided in five weights: Thin, Light, Medium, Bold and Black. Additionally, the two rough fonts Hangaround and Prospects, that tries to grasp the rough, earthy atmosphere of a shady motorcycle club. 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 Europa to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.