This set of typefaces was produced in conjunction with the Guggenheim Museum and the Josef Albers Foundation. Josef Albers was one of the most important artists and educators of the twentieth century. He was a member of the Bauhaus first as a student and then as a teacher from 1920 until its closing in 1933. He then moved to America, where he continued making art and teaching at numerous institutions until his death. Known principally as an abstract painter, he was also an accomplished designer, draftsman, typographer, and photographer. His works explore permutations of form, color, and perception using a restricted visual vocabulary. Created when he was at the Bauhaus, his Kombinationschrift alphabets exemplify the school's ethos. Using 10 basic shapes based on the circle and the rectangle, he created a system of lettering that was meant to be efficient, easy to learn, and inexpensive to produce. These 10 shapes in combination could form any letter or number. The letterforms of this computer version were taken directly from Albers' drawings and notes.

Herschel ventures into the elaborate world of late 19th-century typography to bring its winsome charm and compelling aesthetics into modernity. Staying true to the spirit of its historical era of inspiration, Herschel was designed with extreme attention to detail. Although its aesthetic roots are firmly planted in the treasury of Gilded Age typography, it has been technically constructed to withstand all the rigorous demands that modern technology places on type today. Herschel’s nostalgic, flared, and gently bifurcated serifs shine brightest when employed as display type, but are suited well for any application where inimitable character is needed. Named after designer Brian Brubaker’s maternal grandfather, a retired dairy farmer of more than 60 years, Herschel is available in six delectable weights: Skim, One Percent, Two Percent, Whole, Creamline, and Butter. Features overview: • 800+ glyphs per weight • 120+ stylistic alternates • Upper and lower case • Titling/Drop capitals with multiple and contextual ligatures • Lining, oldstyle, proportional, and tabular figures • Standard and discretionary ligatures • Unique dingbats and special characters • International language support for 200+ latin-based languages, including Vietnamese

The award-winning Conrad was created by Japanese type designer Akira Kobayashi. Its design was based on the fifteenth-century type by Conrad Sweynheym and Arnold Pannartz, two German printers active in Rome at that time. They produced a unique, slightly unbalanced yet attractive type. Kobayashi says of his typeface, “I have designed a couple of typefaces inspired from the past, but this time the original print acted merely as a reference. The distinctive lowercase ‘a’ and some other letters were inspired by Sweynheym and Pannartz’s second roman type, but I revived the type in a more informal way. Here I used the historical type as a springboard. The resulting type looks different, taking on a rather temporary and lively look. I assume that the Conrad is the first revival of the Sweynheym and Pannartz type, though it does not closely resemble the original.” Conrad won first prize for the text typeface category in Linotype’s Third International Typeface Design Contest (2000) as well as the Certificate of Excellence in Type Design from the Type Directors Club (2001).

Argentinean designer Eduardo Manso created the Bohemia type family in 2003. Bohemia's cunning and elegant essence shows off refined letters that evoke the Transitional style typefaces like Baskerville, though most Baskerville-like designs tend not to be as curvaceous as Manso's! True to form, Bohemia shines in smaller text sizes, like 9 point and above, while still maintaining a unique character and spirit. Bohemia is a great alternative to better-known text faces. The critics have been raving. Bohemia came to Linotype via its fourth International Type Design Contest (ITDC) [Link] in 2003, where it received one of the three top awards. Under the name Argot, this typeface received a Certificate of Excellence in Type Design from the Type Directors Club of New York in 2004. Bohemia was also selected for inclusion in the 21st International Biennale of Graphic Design 2004 in Brno, Czech Republic, and was later named one of the most relevant works in the Bienal Letras Latinas 2004 exhibition, which traveled through Buenos Aires, San Paolo, Santiago, and Vera Cruz."

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

The infield dirt is raked, the outfield grass is mowed and the baselines chalked. So grab a beer, smother a stadium dog with mustard and relish, take a seat on the bleachers and get ready -- that handsome devil SPILLS is back on the mound and ready for a comeback! It’s true, Manager [the person who coaches a baseball team is a ‘manager’ not a coach] John JG Roshell has coaxed the wily veteran out of retirement, and he’s returned to the field with the wisdom of extra years and the addition of five new pitches (fonts): Stadium, Dugout, Outfield, Infield, Pennant and Base. The stadium is packed to capacity and we're pretty sure the first time he’s at the plate, it’s gonna be strike-out city! [to continue the logic of the baseball pitching ace as font metaphor, the pitcher would hopefully prevent a home run not facilitate one.] See the families related to Spills: SpillProof .

The Socho (Song Dynasty-style) typeface is based on a style used for woodblock printing in Song-period China. The SEIBI Socho typeface updates the Song style by making it simpler and sharper. With minimized size variations between kanji and kana, the design is readable both in vertical and horizontal typesetting. 宋朝体の起源は中国の宋の時代に木版印刷に使われた書体です。セイビ宋朝体は、さらにシンプルでシャープなイメージを目指しました。かな、漢字の大小があまりない、タテ組でもヨコ組でも組みやすくデザインしました。本来の宋朝体は骨が細く、右上がりの斜体がかった長体ですが、セイビ宋朝体はそのシャープな特徴を生かしたまま正体に近く、タテでもヨコでも組みやすい書体に仕上げています。毛筆とは違う、木版用書体の彫刻的な堅いエレメントも特徴です。

The font Steamfunk is based on Steampunk. A form of science fiction that couples Victorian era style with futuristic devices operated by early industrial age technology. Each Steamfunk letter is constructed in two symbolic parts. A thick stroke, for the machine’s outer shell, and a second, wire-like, stroke for that machine's delicate inner workings. The result is a look that is Steampunk in appearance, without it being exclusively so. Steamfunk has a glyph count of 398 and supports the following languages; Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu.

Black Wagon This pair was inspired by poster design that i saw on street, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. If you need a decorative serif font style, Black Wagon font is great choice for you to make your design looks better and unique. Opentype features Black Wagon font has 204 character set included Black Wagon Font is very good looking in logo, movie poster design, youtube thumbnail, labels, product packaging, invitations, advertising and others. This decorative serif fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Shorelly This pair was inspired by beutiful lettering design that i saw on some coffee shop, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. If you need a serif decorative font style, Shorelly font is grat choice for you to make your design authentic and unique. Opentype features Shorelly font has 201 character set included Shorelly Font is very good looking in logo, movie poster design, youtube tumbnail, labels, product packaging, invitations, advertising and others. This serif decorative fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Walkingblue This pair was inspired by old motorcycle poster design that i saw on some gellery, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. We add some rough to make it retro feel, this font is bold so it can look strong if you use it for branding or even title for your retro poster design. Opentype features Walkingblue font has 204 character set included Walkingblue Font is very good looking in retro rough logotype, labels, t-shirt prints, product packaging, invitations, advertising and others. This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Alstera is an Oblique Serif Modern Display Type. Inspired by a luxurious & elegant brand that use minimalist design language. Alstera created in a simplicity, a minimalist, luxury and also looks elegant. Designed for a Display fonts that perfectly fits for Headlines, Logo, Branding, Packaging, T-shirt, or any design with a stand out or big typography. Alstera Comes with an option for alternate characters Uppercase and Lowercase. It's great when use for Title Case or Sentence Case. Ligatures are also available on the capital combination letters. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Chiga, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Greek, Gusii, Icelandic, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Welsh, Western Frisian, Wolof, Zulu Thank You !

Rilley Hwick Rilley Hwick is a decorative font that was inspired by lettering design that i saw on instagram, and it was crafted by hand to add a natural handmade feeling and i make it clean with pentool. If you looking for decorative font that have a unique style for your title or even branding and logotype, Rilley Hwick is a great choice for that purpose. Opentype features Rilley Hwick font is very good looking in logotype, labels, decorative lettering, playful design, product packaging, invitation titled, advertising and others. This decorative font works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu. Thank you for using this font. LS

Introducing Westerland Grotesk, a sans serif font family that seamlessly harmonizes classic simplicity with contemporary sophistication. Its slight contrast, which can be found throughout the weights, gives it a unique and warm character while maintaining the sleekness of a true grotesque. The family consist of eight weights in roman & italic, coming up to a total of 16 styles. This variety enables a range of uses, from elegant lightness with the thinner weights to loud expressiveness with the bolder ones. Language Support Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål Norwegian, Nynorsk, Nyankole, Oromo, Portuguese, Quechua, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western, Frisian, Zulu Open Type Features Standard Ligatures, Alternates, Fractions, Superscript Figures

Croftler This pair was inspired by old motorcycle poster design that i saw on some gellery, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. We add some rough to make it retro feel, this font is bold so it can look strong if you use it for branding or even title for your retro poster design. Opentype features Croftler font has 201 character set included Walkingblue Font is very good looking in retro rough logotype, labels, t-shirt prints, product packaging, invitations, advertising and others. This fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Karlburns This pair was inspired by unique t-shirt design that i saw on some store, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. If you need a decorative serif font style, Karlburns font is great choice for you to make your design authentic and unique. Opentype features Karlburns font has 201 character set included Karlburns Font is very good looking in logo, movie poster design, youtube tumbnail, labels, product packaging, invitations, advertising and others. This decorative serif fonts works with folowing languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu Thank you for using this font. LS

Will Ransom designed the exemplar for this series for Barnhart Brothers & Spindler in the early 1900s. The typeface was originally named "Parsons", after the advertising director of a Chicago department store (evidently a very BIG customer of BB&S). Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Nouvelle Vague is a display script typeface of a distinguished look defined by a steady rhythm, only broken by its offbeat, dynamic uppercase initials. It's directly inspired by french advertising scripts from the fifties, particularly by Roger Excoffon's Mistral. In order to accentuate this influences and to reproduce their graphic impact, simply structured connections between letters are preferred over OpenType fanciness.

ABTS milk is fresh and fun script typeface with a unique blend of masculine, feminine, slab, serif, and sans-serif characteristics. The combination creates endless possibilities for different applications and breathes more personality into the typeface itself. With 384 glyphs, ABTS milk covers a wide range of languages and dialects, and also includes symbols, as seen in the gallery images.

Paris Serif is an avant-gardist serif handwritten font designed in Paris. It’s an all-caps thin font, with Art Deco ornaments and extended glyphs for many languages. But the little difference of Paris Serif from other handwriting typefaces is the Art Deco feeling that brings it a retro and directly familiar look. We hope you will enjoy our work. Merci beaucoup!

South Picene (also known as Paleo-Sabellic, Mid-Adriatic or Eastern Italic) is an extinct Italic language belonging to the Sabellic subfamily. It is apparently unrelated to the North Picene language, which is not understood and therefore unclassified. South Picene texts were at first relatively inscrutable even though some words were clearly Indo-European. The discovery in 1983 that two of the apparently redundant punctuation marks were in reality simplified letters led to an incremental improvement in their understanding and a first translation in 1985. Difficulties remain. It may represent a third branch of Sabellic, along with Oscan and Umbrian (and their dialects), or the whole Sabellic linguistic area may be best regarded as a linguistic continuum. The paucity of evidence from most of the 'minor dialects' contributes to these difficulties. The corpus of South Picene inscriptions consists of 23 inscriptions on stone or bronze dating from as early as the 6th century BC to as late as the 4th century BC. The dating is estimated according to the features of the letters and in some cases the archaeological context. As the known history of the Picentes does not begin until their subjugation by Rome in the 3rd century, the inscriptions open an earlier window onto their culture as far back as the late Roman Kingdom. Most are stelai or cippi of sandstone or limestone in whole or fragmentary condition sculpted for funerary contexts, but some are monumental statues.

Whether with pen on paper, or in digital, realistically connecting vertical handwriting is never an easy task to accomplish. After working with many handwriting fonts, and after intently dissecting so many different handwritings, one tends to expect such things to be quirky, disconnected, and almost never upright. In fact, in spite of vertical handwriting’s academically-sung virtues of rationality, efficiency, clarity and logic, very few people manage to deviate from the natural slant when writing. Even fewer manage to make the vertical handwriting connect and keep its natural flow. Calligraphy and upright cursive aside, it is almost impossible to make a vertical letters connect and maintain a real handwriting appearance. This is where the genius of this design comes in to bridge the gap between upright handwriting and calligraphy. Sincerely is based on one of the most fascinating handwriting designs to ever come out of Germany: Karlgeorg Hoefer’s 1968 Elegance for the Ludwig & Mayer foundry. It is a handwriting with the full meaning of the word, yet it possesses the rare, very commanding and appealing trait of being both vertical and connected while managing to remain realistic. It is the ultimate branding iron of handwriting fonts. When set and printed, Sincerely simply cannot be ignored. Ideal for humanity-asserting poster designs, lettering of short wording with plenty of space, poetry, notes, greeting cards, craft literature, book covers, history-related designs, and a whole range of other applications.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Thai family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

The Trump Mediaeval Office family is designed after the model of the original serif family produced by Georg Trump in 1954. Trump released this typeface through the C.E. Weber type foundry in Stuttgart, and Linotype quickly cut the face for mechanical composition. Thereafter it became popular around the world. One of the most prolific German type designers of the 20th century, Trump created numerous typefaces in several different styles, but Trump Mediaeval is often regarded as his best work. Trump Mediaeval is an old style serif typeface, with new inherent quality that could only have come about after centuries of variation on this theme. It bears some resemblance to the classic Garamond typefaces, yet its characteristic letters set it apart in a positive way. Akira Kobayashi, Linotype’s Type Director, released his own revived design, Trump Mediaeval Office, in 2006. Trump Mediaeval Office has two weights, each with an italic companion. Unlike the original design, Kobayashi has harmonized the varying letterforms across the two weights, allowing Regular and Bold text to stand side by side harmoniously. Trump Mediaeval’s numbers now match across weights as well, optimizing their legibility in sizes large and small. Decades ago, Trump Mediaeval was a popular choice for setting book texts, because of its robust serifs. These are exactly what make the face a good choice for office application today; on lower-resolution printers, these serifs will still remain a strong feature on the letterform, increasing legibility along the line of text.

Designed for global branding and supporting 93 languages, the SST® typefaces blend the organic readability and controlled structure of modern sans serif designs. In combining these attributes, the SST family is understated, versatile – and sure to be a timeless design. The SST Vietnamese family has 4 fonts in total. It spans four weights from light to bold. SST’s subtle design traits provide a quietly handsome and consistently friendly typographic presence that can be used for just about any typographic application. Broad range branding applicability combined with coverage for almost a hundred languages, makes SST one of the most widely accessible and usable typefaces available. Originally designed in partnership with the global consumer brand, Sony, the SST family is one of the most comprehensive type families available. Since extensive multi-lingual support was a critical design goal from the beginning, Akira Kobayashi, Monotype type director and primary designer on the project, turned to a network of local designers around the world for their individual language expertise. As a result, the details – which could be as subtle as stroke curvature and width – are consistent across Latin, Greek, Cyrillic, Arabic and multiple Asian languages. SST performs equally well in print and on-screen and the designs can be used at very small sizes in packaging and catalogs; while massive print headlines – even complicated wayfinding projects pose no stumbling blocks to the family’s typographic dexterity.

Marchioness is a typeface that was built on the same basic structure as Lady Edith. I considered making it a subset of Lady Edith but felt that its overall appearance projected a uniqueness that allowed it to stand on its own. Although still maintaining a definite Art Deco form, it differentiates itself from its parent font by possessing a more opulent, if not regal, construction. The bones may be that of Lady Edith, but the typeface itself is most certainly Marchioness. There is no lower case for Marchioness as it is a decorative font. The Upper case version serves both the upper and lower case keys. Marchioness has a glyph count of 389 and supports the following languages; Supported Languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkmen, Upper Sorbian, Vunjo, Walser, Zulu

Introducing Hipweee Layered Font Hipweee, A new carefully crafted layered rounded Typeface. The Ideas of this fonts are from wide range of reference, baby, kids, school, cafe, food desert & beverages are our main focus for this fonts. So the looks of this fonts must be in the wide range of the reference above. It’s Versatile, Fun, Cute and Beauty feel that you get in Hipweee Typeface Hipweee Created with 7 Layer : Base, Extrude, Shadow, Dot, Flower, Hatch & Inline. Perfect fitted layer to give you a more contrast, more bold look of the title. Our creation on the display to give you a reference what it looks like on your project. such as Branding, Header, Logotype, Poster, and etc. It shows that Gemoy clearly can accommodate various design style. Language Support : Afrikaans, Albanian, AsuBasque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Indonesian, IrishItalian, Kabuverdianu, Kalenjin, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa, Meetto, Makonde, Malagasy, Maltese, Manx, Morisyen, North Ndebele, Norwegian , Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Western, Frisian, Zulu

A few bold caps drawn by Albert Du Bois for the 1906 Henderson Sign Painter book started me in the direction of looking at how sign painters approached slabs after the industrial revolution. The usual happened from there. My exercise in the early lettering roots of what eventually became the definition of geometric typography ended up having a life of its own. The majuscules led to minuscules, one idiosyncratic bold weight led to six more, and uprights led to italics. What was kind-of-interesting in the early twentieth century persuaded me to make it interesting enough a century later. This of course meant alternates, swashes, the standard baggage that keeps calling my name. Henderson Slab is a family of seven weights plus italics, all full of open features and extended Latin language support. Part of this family’s appeal is its coverage of nearly the entire of the slab serif through the last 100 years — the basis is the manual, humanist origins, the swashed forms come right out of the phototypesetting era, and the alternates and mostly modern constructs of contemporary ideas. The result is a set with the ability to function in modern spaces, from corporate to editorial, in text or display, while both winking and nodding at the roots of what is now considered a geometric endeavor. (Basic version do not include alternates, swashes, etc).

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.

The first weights of Neue Haas Grotesk were designed in 1957-1958 by Max Miedinger for the Haas’sche Schriftgiesserei in Switzerland, with art direction by the company’s principal, Eduard Hoffmann. Neue Haas Grotesk was to be the answer to the British and German grotesques that had become hugely popular thanks to the success of functionalist Swiss typography. The typeface was soon revised and released as Helvetica by Linotype AG. As Neue Haas Grotesk had to be adapted to work on Linotype’s hot metal linecasters, Linotype Helvetica was in some ways a radically transformed version of the original. For instance, the matrices for Regular and Bold had to be of equal widths, and therefore the Bold was redrawn at a considerably narrower proportion. During the transition from metal to phototypesetting, Helvetica underwent additional modifications. In the 1980s Neue Helvetica was produced as a rationalized, standardized version. For Christian Schwartz, the assignment to design a digital revival of Neue Haas Grotesk was an occasion to set history straight. “Much of the warm personality of Miedinger’s shapes was lost along the way. So rather than trying to rethink Helvetica or improve on current digital versions, this was more of a restoration project: bringing Miedinger’s original Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible (albeit with the addition of kerning, an expensive luxury in handset type).” Schwartz’s revival was originally commissioned in 2004 by Mark Porter for the redesign of The Guardian, but not used. Schwartz completed the family in 2010 for Richard Turley at Bloomberg Businessweek. Its thinnest weight was designed by Berton Hasebe.

Inspired by the streets of Brazil, Just Pixo is a display typeface that mimics pixação, Brazilian graffiti. In his book Pixação: São Paulo Signature, François Chastanet says, “This alphabet, with its vertical inscriptions axis, is to be directly classified in the king-size, monumental category; the systematic use of capitals, meticulously aligned and justified, their extreme verticality, are symptomatic of this architectural dimension”. As such, we designed Just Pixo for monumental type sizes and vertical alignments—a family with seven weights, alternate glyphs, multiple ligatures and is provided as a Variable Font too. Unique decorative serif capitals and lowercase sans serif versions make Just Pixo the perfect option for large displays, strong headlines, urban logos, and contemporary concepts. Despite its controversial use on the streets, this often politically charged style will typeface will take your next project to the next level.

Goudy Forum is a revival and dramatic expansion by Tom Rickner, type designer at Ascender Corporation, of Frederic W. Goudy’s 20th typeface design, "Forum Title". The Pro font began twenty years ago while Tom Rickner was a student at the Rochester Institute of Technology (RIT). Tom printed a type specimen using the Forum Title foundry hot metal types. Then in 1993 Tom began to digitize the font from that specimen while working as an independent type designer. Fifteen years passed before Tom dusted off the digital data and began working in earnest on font with a full Latin 1 character set. Steve Matteson, type director at Ascender, encouraged Tom to take this font further still, and soon the glyph repertoire and feature set blossomed to a robust Pro font with a myriad of advanced typographic OpenType features.

From the dainty light weight through to the striking UltraBold, Otama raises the bar to a new level of dangerous sophistication. Although easily classified alongside Modern typefaces such as Didot and Bodoni, Otama was purposely developed with minimum reference to these two visual heavy weights. In search of something more than a mere historical revival, Otama instead draws proportional reference from popular 20th century Transitional and Garalde typefaces with visual inspiration coming from calligraphic studies. Many characteristics from Tim Donaldson’s 2010 display face Pyes Pa were directly passed on in execution of Otama — The shoelaced k, e and a being the most obvious examples of this family relation. Refined over 2 years with well over 8,000 characters over 28 styles, Otama certainly deserves its place as a comprehensive and versatile typeface in any designer’s font library.

Rombi Technocrat is a geometric, heavy font that features a unique combination of square shapes and slanting angles. Inspired by the dynamics of forward movement and the rigidity of structured design, this italicized font family brings a sense of purpose and direction to your creative projects. The Rombi Technocrat font family includes five weights: Thin, Light, Regular, Bold, and Black, providing a broad range of stylistic options for designs that call for a distinct, angular touch. 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 Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Just as its eponymous ancestors graced vast Western vistas, Buffalo fills broad horizontal typographic topography with distinctive dignity. Buffalo’s migration across a visual landscape that straddles two millennia saw it survive the threat of extinction similar to its mammalian ancestors and emerge with rotund relevance. Now fortified with modern character sets and digital flexibility, nothing espouses an artisanal post-western industrial craft renaissance quite like Buffalo. Legendary lettering artist and type designer Ed Benguiat created the original film version of Buffalo for Photo-Lettering Inc. Working under the direction of the current Photo-Lettering partners, Dutch type designer Donald Roos digitized and expanded Buffalo while expertly maintaining the organic nuances found in the original version. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Neuzeit Grotesk was originally designed by Wilhelm Pischner (1904-1989) and was released by the font foundry D. Stempel in 1928-1939. In 1970, the German Standards Committee advised the standard use of Neuzeit-Grotesk for official signage and traffic directional systems, and the abbreviation DIN was added to the name of the font. DIN" stands for Deutsches Institut für Normung (The German Institute for Industrial Standards). Neuzeit Grotesk was also once the standard in the German printing industry. It has been seen as a straightforward and utilitarian typeface, with no unusual or distracting features. Like other typefaces from the 1920s, it reflects the philosophy of those times, "Form is Function." Today, however, because of its familiarity and practicality, Neuzeit™ Grotesk has acquired an almost cheerful and reassuring aura. Try it out for signage, magazine headlines, or flyers. See also Neuzeit S for text weights of Neuzeit Grotesk.

'Brokken’ is the Dutch word for ‘chunks’. They are the hearty specialty of the house, prepared by the ship’s cook Donald DBXL Beekman. Nice'n'greasy and monospaced, you'll always find a decent way to cram the letters in. Brokken is straightforward, straight-lined with beveled corners, and all caps. For the ones who have to watch their weight, or who simple don’t like their fonts to be too fatty, DBXL designed a diet version called Brokken Light. With their big contrast, both weights combine very well and are great for making ultra-compact ribbon headlines or stacking vertically.

Sacred Geo is a Dingbat font, containing the basic principles of geometry, perpendiculars, bisections, partitions of angles, curves joints aligned and asymmetric, thus the construction of the main spirals, construction of polygons as a square, rhombus, pentagon, hexagon, octagon and how to combine them into ornamental shapes. Discover the magical world of sacred geometry. Winner in the TL2012 International Biennial of LatinAmerican Typography, Tipos Latinos.

The combination of some Bodoni extra-wide wood type letters and an image redrawn from a 1940s package label from the long-defunct Railway Express Agency form the characters in Letter Delivery JNL. These initials are perfect for personalizing notes, gift labels, personal stationery and other creative projects. For retail commercial products, please consult the information within the Font License Agreement and contact the font's author directly.

Gawain Douglas was my co-worker and eventually my boss when I worked for the Tucson Citizen. He’s director of production and design for a children’s book publisher now, a very talented and creative guy and Gawain’s Hand is what his writing looks like. A shame, isn’t it? Just kidding, Gawain; I wouldn’t have featured it, if I hadn’t liked it. Really. No, really. :-)