Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

Five years into the 21st century and the promise of nanotechnology, high-end popular culture design seems to thrive on combining opposites and drawing a fine line between traditionally contradictory ideas. This is seen in modern society's usual cultural frontrunners - like consumer electronics, fashion items, music packaging and publications, where it is evident that traditionally complex marketing statements of fashionability and lifestyle are attempted with simple minimalism. But at the typographic end of this realm, the creative majority still uses old faces that help the modern statement only in passing. Some of the more adventurous creative professionals actively seek new elements to emphasize contemporary impact in their modern design. To those adventurous types (pun intended), Canada Type presents this new face called Go. It is very much a child of the new millennium, inspired by the unmistakable minimalist style of modern 21st century corporate logos, recent design shifts in electronic music and club-marketing collateral, and disc jockeys who have enthusiasm, energy, precision and total control of each and every vibration traveling from mixer to speakers. Go is an original modern techno-lounge face that offers the eyes pleasing collages of friendly minimal forms that give the words an impression of simplicity and depth at once. This is a font that prides itself on its precise grouping of elements and just enough original creativity in combining those elements. The precision builds the sharp edge sought for modern statements, while the creativity keeps the message rejuvenated, clear and interesting. Go's character set consists of a versatile and unexpected, yet mild mix of the uppercase and lowercase forms, with multiple variations on the majority of the letters. The e being a vertical mirror of G is only the first of the pleasant surprises. More than 30 alternates are inside the font. All the accented characters in Go have been meticulously (perhaps obsessively) drawn to be unusual for logos and short statements. Take a look at the character map and be ready for a space-age surprise. To borrow a Star Trek cliché, this font can Go where no font has gone before.

Ernie is a new animated typeface by Jim Ford, intended as a complimentary serif design to Freeman Craw’s fun retro hit, Ad Lib. The serif drawings mimic the behaviors of Ad Lib, on a Clarendon-esque structure. The application of Ad Lib’s behaviors to a serif design highlights it's quirky characteristics; notably in the added contrast, the bending of serifs and the translation to Ernie’s ball terminals. The lowercase g is probably the most extreme example of this "translation." Ernie has a savvy system of text animation built in; with dualing lowercase alphabets, 34 ligatures, and an extensive glossary of custom words, all programmed to automatically make intelligent pseudorandom wordshapes. It's called RMS, aka the Randomagic System. The glossary of “buzz” words is based on the most common and powerful words in marketing and advertising, as well as words that are specific to Ernie’s intended uses.. Additionally, Ernie Alt provides the opposite randomization effects in lowercase text, thus reversing the rhythm of the bounce. Ernie Sorts is a bonus font which includes fun printers fists, expandable banners and other graphic elements. The Ernie character and cartoons were created by Johnny Sampson, as a visualization of the typeface, it's character and it's unique features.

Smart Sans is a personal tribute to Leslie (Sam) Smart, the first type director to be hired by a major typesetting house in Canada. Smart was a twentieth century design pioneer who raised the standards of Canadian typography. Together with three of his peers, he established the first Type Directors Club in Toronto. After Smart's death in 1998, type designer Rod McDonald decided that something should be done to commemorate Smart's life and achievements. I had first thought of establishing a scholarship in Sam's name, but a typeface design soon replaced this idea," says McDonald. "Once I decided to design a typeface, however, it became a foregone conclusion that it would be a sans serif - for no other reason than that I loved the name Smart Sans." Two typefaces served as inspiration for McDonald's work. "Like thousands of designers, I'm keen on Matthew Carter's Helvetica Compressed series. And, when I was younger, I also loved Fred Lambert's Compacta," says McDonald. "I thought there might be a place for a small range that could take over from these 'old workhorses' and, in the process, bring a fresher look to the genre." McDonald drew three weights for the Smart Sans family, all ideally suited for setting attention-getting headlines and powerful display copy. The two-storied 'g' contributes to the design's lively personality, and the short 'r' helps maintain tight, even spacing. Smart Sans is the perfect homage to a great typographer, because it raises the bar on what to expect from condensed sans serif typefaces. Sam Smart would be pleased."

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

Houschka Alt Pro is a carbon copy of the Houschka Pro family with one key difference: the rounded signature glyphs A & W on the default positions swap places with their straight alternates. Houschka was named after Georg Houschka, a sadly defunct confectioner’s shop in Salzburg, Austria, which had a wonderful 1930s frontage and distinctively rounded letterforms in the sign above the door. Houschka Pro is the follow up to the original Houschka type family which first appeared back in 1999. Character shapes have been improved, kerning and spacing refined, and OpenType features include CE, Baltic, Turkish & Cyrillic language support plus small caps, 3 stylistic sets, contextual alternates, ligatures and 4 sets of numerals. Houschka is a clean and legible modern sans serif typeface which shares the humanist qualities of Gill Sans and Johnston but retains a uniquely charming character of its own (particularly in signature glyphs A, G, Q, W, u & w). The monolinear structure, rounded corners and rolling curves give Houschka a soft and friendly appearance.

Drystick is a Sans Serif typographic family of Geo-Grotesque style with 8 pesos plus the italic versions all include small capital letters the symbol of Bitcoin (b #) and other cryptocurrency symbols. It is a geometric typography, minimalist, with neo-grotesque modulations. The typeface has alternative letters and numbers, small caps and advanced OpenType functions. The Italic versions have some of their own characters (&, @, Q, a, g, y), these versions have many optical corrections to balance the deformations created in many curves by the mere inclination of the letters, which in the case of This typography is 9 °. The drawn of the vectors is careful to obtain smooth curves and elegant appearance, the thicker versions have ink traps in the joints of the joints to use in small sizes. The Metric and the Kerning of all the versions I have reviewed individually to obtain maximum readability in any type of text and size.

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Over the course of 50 years, the charismatic and enterprising Frederic W. Goudy designed more than 100 typefaces; he was the American master of type design in the first half of the twentieth century. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Modern was designed by Goudy in 1918; its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. They continue to pop up all over the world, and still look reassuring to our modern eyes."

Although Andi AW. Masry designed his Coomeec typeface with one eye on comic books, this is more than just another cartoon font. Even in our short profile of the font below, we're sure you'll find enough to be surprised by the calligraphic aesthetic and the wide range of potential uses of Coomeec. Typography had been one of Andy AW. Masry's hobbies before he turned professional in 2008 and formed his own agency in Jakarta in Indonesia. The former construction engineer had already spent many hours of his leisure time in following his pastimes of designing, photography and Latin typography. Fascinated by the close interaction between text and image in comic books, one of his first projects was the development of his font Coomeec™. The condensed letters of Coomeec seem to have more in common with a calligraphic brush typeface than a more conventional cartoon font. With the characteristic line forms of a brush font, the not unextensive variations in line thickness and numerous small embellishments to the glyphs, Coomeec can be used to enhance your projects with animated effects. You can achieve this not just in the larger font sizes; the font is also very legible in small sizes thanks to its large x-height. There are certain unusual letter forms, such as that of lowercase 'g', 's' and uppercase 'Y', that provide Coomeec with a touch of the exotic. As Coomeec has numerous character alternatives, you can use it not only to create diverse designs but also to ring the changes with the character of the text itself. There are variants for most lowercase letters, some of which exhibit only minor differences, such as the lack of a curlicue on the 'b', a modified downstroke on the 'h' and an elongated base for the 'k'. In the case of other letters, such as the 'q' and the 'r', there are significant disparities between variants. The uppercase characters are also available in a lively swash style with significantly extended terminals. Among the range of characters of Coomeec are oldstyle and lining figures designed for proportional and tabular setting. All alternatives are available in the form of the corresponding OpenType versions. Coomeec comes in two weights; Regular and Bold, each with its Italic version. The form of the slightly inclined Italic characters is identical to that of their upright counterparts with the exception of the lowercase 'f', which has an ascender in its Italic version. As an OpenType Pro font, the glyphs available for Coomeec ensure that it can be used to set not only western European but also central European texts. Coomeec is not just at home when used to set headlines. The excellent legibility of this individual and vibrant typeface means that it's also ideal for setting shorter texts. The various alternative letters provide the designer with the opportunity to vary the textual appearance, and to choose between creating a more formal or more light-hearted effect. Coomeec is not only available in an OpenType version but is also obtainable as a web font, so that you can employ its exotic features to good effect when creating internet pages.

Kaytek™ Slab is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Slab’s details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Slab draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Kaytek Slab is robust and solid. Kaytek Slab comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Sans, Kaytek Headline and Kaytek Rounded, are also available.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

Another variation on the Renaissance-Baroque Roman face, it extends the selection of text type faces. In comparison with Jannon, the contrast within the letters has been enhanced. The dynamic elements of the Renaissance Roman face have been strengthened in a way which is illustrated best in the letters "a", "b" and "s". These letters contain, in condensed form, the principle of this type face - in round shapes the dark stroke invariably has a round finial at one end and a sharp one at the other. Another typical feature is the lower-case "g"; the upper part of this letter consists of two geometrically exact circles, the inner of which, a negative one, is immersed down on the right, upright to the direction of the lower loop and the upright knob. The vertical strokes slightly splay out upwards. Some details of the upper-case letters may seem to be too daring, but they are less apparent in the text sizes. It has to be admitted that typographers tend to draw letters in exaggerated sizes, as a result of which they stick to details. Serapion Italic are italics inspired partly by the Renaissance Cancelleresca. This is obvious from the drop-shaped finials of its lower-case descenders. The type face is suitable for illustrated books, art posters and short texts. It has a rather ugly name - after St. Serapion.

American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists. A must-have for autograph collectors, desktop publishers, history buffs, fans, or anyone who has ever dreamed of sending a letter, card, or e-mail "signed" as if by one of these famous literary figures. This font includes signatures from the following literary figures: Joel Barlow, Charles Brockden Brown, J. Fenimore Cooper, Stephen Crane, Richard H. Dana Jr., Theodore Dreiser, W.C. Bryan, Timothy Dwight, T.S. Eliot, Ralph Waldo Emerson, William Faulkner, Eugene Field, Philip Freneau, Robert Frost, Hamlin Garland, Alexander Hamilton, Bret Harte, Nathaniel Hawthorne, Lafcadio Hearn, Ernest Hemingway, W.D. Howells, Henry James, John P. Kennedy, Washington Irving, Oliver Wendell Holmes, Julia Ward Howe, Francis Scott Key, Sidney Lanier, James Russell Lowell, Edgar Lee Masters, Cotton Mather, Herman Melville, George John Nathan, Henry W. Longfellow, Edna St. Vincent Millay, Eugene O'Neill, Thomas Paine, Edgar Allan Poe, J.K. Paulding, Sydney Porter (aka O. Henry), Carl Sandburg, Samuel Sewall, John Howard Payne, W.H. Prescott, W. Gilmore Simms, Captain John Smith, Gertrude Stein, Harriet Beecher Stowe, John Trumbull, Daniel Webster, Noah Webster, Samuel L. Clemens (aka Mark Twain), John G. Whittier, Thomas Wolfe, Henry D. Thoreau, Walt Whitman, Emily Dickinson, Jacqueline Susann, Louisa May Alcott, Wystan Hugh Auden, Pearl Buck, Edgar Rice Burroughs, F. Scott Fitzgerald, Erle Stanley Gardner, Horace Greeley, Zane Grey, Sinclair Lewis, Jack London, Norman Mailer, Ogden Nash, Beatrix Potter, Ezra Pound, John Steinbeck, Leon Uris, Thornton Wilder. This font behaves exactly like any other font. Each signature is mapped to a regular character on your keyboard. Open any Windows application, select the installed font, and type a letter, and the signature will appear at that point on the page. Painstaking craftsmanship and an incredible collection of hard-to-find signatures go into this one-of-a-kind font. Comes with a character map. Article abstract: American Authors is a unique collection of signatures of 75 famous American authors, poets, writers, and novelists in a high-quality font.

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

Minigap is a geometric sans serif family that has a minimal height difference between upper and lower case. In other words for those who are into typography, it has a very high x-height. The choice was made to finally have a typeface that could appear very neat, reducing ascending and descending parts of the glyphs (b, d, g, j, l, ...) that could interfere with the lines above and below. All of that without going to extremes in a unicase style but also without renouncing to a great legibility. This aesthetic, in fact, translates into a pleasant visual effect that creates well-defined lines and enhances the layout, looking excellent also on small screens. The pointed corners of capital letters and numbers have been kept even in the heavier styles, to give consistency to the family. Stylistic alternates are included: “i” and “j” can be set to the x-height, to have a more common aesthetic; by default they are set in the lower version, fitting better the purpose of this typeface. the two-story “a” is also available, to give you one more customizable option and extend the range of use. Minigap is available in 14 styles (7 uprights + matching italics), has OpenType features and supports multiple languages. The Regular weight is offered for free, try it!

C.P. Company is a group of types including 4 different forms and it is a complementary sign of communication for the C.P. Company clothes maker. C.P. Company communication makes use of media such as the press and the web and that’s the reason why we have always felt the need for a font that would not show incongruities through the monitor. Therefore we have decided to change the structure of glyphs like a, e, g, s… in the most contrasted versions to prevent the serifs from touching the internal parts of the letters and in this manner we have made a really unusual stylistic choice for a group of types. The difference between the height of caps and smalls is very low (about 20%) so that the smalls are easy to read even when their dimensions are on a very small scale. Moreover this stylistic solution gives the possibility to avoid using the small capitals in case of charts and catalogue codes (i.e. Tricot M5) and provides more vertical compactness between the lines. Even a sentence written in capital letters next to another one written in smalls does not look so much contrasted from a typographical point of view and then it is not unpleasant. The limits due to different constructive principles have been overcome by means of a grid based on the automatic division of EM square of 9-point type and in this manner the letters have a wider face. The font is even more unusual owing to the style chosen that belongs to the classical tradition of hair-lined types for glyphs like e and also thanks to ligatures like ? in the characters set. CP Company is a geometrical font whose alphabet makes use of the style of types that preceded the Helvetica, matched with more experimental and updated solutions. Numbering is monospaced. The bending of number 2, the slight raising of the oblique serif of number 4 and the presence of a hair-line in number 7 are the solutions adopted to make the types match in a more balanced manner.

In the sketches that formed the basis for his typeface Biome, Crossgrove experimented with inner and outer shapes in different styles, adapted letters to the form of the super-ellipse, and added curves only to remove these again. His challenge was to find a harmonious and coherent approach that provided sufficient contrast with existing fonts. Biome is essentially in the sans serif tradition and the letters exhibit only minor variations in terms of line thickness. There is still a suggestion of the super-ellipse at many points, but this never becomes the predominant design factor. While most of the terminals of the vertical strokes are only slightly rounded, the horizontals and diagonals have pronounced arches and it is these that basically determine the round and soft character of the typeface. The more unconventionally shaped letters, such as the lowercase 'g' with its two semi-open counters and the 'k' and 'x' with their crossbars, provide Biome with an individual personality. And this effect is emphasized by the generously rounded links in the 'v' and 'w' and the uppercase 'M' and 'N'. Biome has been designed as a typeface super-family. From the near hairline Extra Light to the amply proportioned Ultra, there are seven clearly differentiated weights and three tracking widths. There are oblique italic versions of all variants. The range includes small caps and numeral sets containing lowercase and uppercase digits. With its available range of characters, Biome can be used to set texts in all Eastern European languages. Although the remarkable individuality of Biome is most clearly apparent in the larger point sizes, this typeface is not just suitable for producing headlines and logos. Biome's elegant visual effects mean that it is equally comfortable in short texts while its large x-height and generous counters make it readily legible even in the small font sizes. Biome is a contemporary typeface that employs mid-20th century futurist elements which ironically give it a retro feel.

This adorable, blocky font features monster elements and fur on each letter. Great for Halloween or just fun projects for kids.

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped with the right attributes for setting paragraphs and headings, and perfect for branding and text use. Some typefaces are a rough tool, like a pumice rock: abrasive to the senses, unforgiving, and unhelpful for most reading situations. Postea is an obsidian: smooth and classy, with attractive nuances in any light. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of geometric font needs. Because of these qualities, Postea makes normal reading in paragraphs a cinch and your branding memorable. Compared to midcentury attributes of restraint and a sparse appearance, Postea’s deliberate play between character widths injects life and distinctiveness into its personality. The default ‘t, f’ have lyrical doses akin to a robust evening drink and are rounded out with a serpentine ‘s’ and rotund ‘o, g, b’. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the expected, slightly looser spacing for text. Setting the test word ‘bogarts’ brings all this together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Postea is opinionated and its modern stylistic sets allow it to be accommodating with softer, specially-designed alternative characters. SS01 replaces ‘b, f, M, m, t’, while SS02 changes only the lowercase ‘a’ to the round style, and SS03 swaps out the angled ‘y’ for a straight version. The fourth and sixth stylistic sets are packed with wallpaper-worthy geometric patterns, ornaments, arrows, and symbols aplenty. Postea’s 14 styles (seven upright and italic) and two variable fonts are accompanied by an all-new family of icons in three weights, which we developed a new, easy way to activate. Simply bookend the desired icon name with colons (:arrowUp: :chargingStation: :aid: :firstAid:), making sure to capitalise each word after the first word, then highlight and activate SS05. Icons include wayfinding, social interface, sanitary precautions like face masks, thermometers, and hand washing, and much more. Postea is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. Beginning with midcentury virtues, Postea is the rational response for text — a lyrical take on geometric sans serifs.

Mymra fonts – an upgraded version of Mymra Forte and Mymra Mono (2009), with a careful re-dress of glyph shapes, and the extension of glyph amounts – which enables support of more Latin languages. One more weight – Black – has been added to the original three of Mymra Forte fonts. Fonts are intended for use in a vast variety of publications.

Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra Sans is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height. In designing Ambra Sans, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs, Ambra Sans develops around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats. Both subfamilies of Ambra Sans develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.

Fonts can make or break a design, so why not use the best? The ideal Gothic font is QIUBA! You should use this professional-grade font to create labels, retro, stamps, badges, Oktoberfest posters, and other things. It’s ideal for any project that calls for a little gothic flair. Plus, it comes in a variety of beautiful, harmonious forms so you can use the perfect word for your project. This Blackletter font is the way to go whether you’re looking for a font for your logo, label, badge, or your newest music video or movie!

Erik Spiekermann, working in collaboration with Ole Schäfer, originally designed FF Info® Display for use in the context of wayfinding systems. The variants FF Info™ Text and FF Info™ Correspondence were developed later for text setting and office communication. FF Info Display The sober and clear forms of the sans serif FF Info Display have been deliberately molded to make them perfect for use on wayfinding systems. The font by Ole Schäfer and Erik Spiekermann not only takes the problem of lack of space into account - it is some 15% narrower than comparable typefaces - the characters have also been designed to ensure they remain legible even in adverse conditions for reading. As text on signs often contains words with which readers are unfamiliar and which are thus deciphered letter for letter rather than perceived as whole words, it is essential to provide for a clear differentiation between glyphs. Additional serifs on the lowercase "i" and uppercase "I" and a small arch on the terminal of the lowercase "l" ensure that it is possible to readily discriminate between these particularly problematic letters. Moreover, sharp corners on glyphs can also make it difficult to read signs with backlighting or when driving past. The rounded corners of FF Info Display counteract this effect and make sure that the character forms remain well defined.FF Info Display is available in five carefully coordinated weights, from Regular to Bold. In the corresponding italic variants, the letters appear overall more rounded while the lowercase "a" has a closed form and the "f" has a descender. Also included among the glyphs of FF Info Display are several ligatures and arrow symbols. Pictograms with different themes that complement the typeface are also available in four weights. FF Info Text Thanks to his know-how gained through designing other typefaces, Erik Spiekermann became aware that fonts created for use in problematic environments can be used in many different situations. In smaller point sizes, FF Info Display cuts a fine figure when used to set longer texts. So Spiekermann carefully reworked FF Info Display to produce FF Info Text, a font perfected for use in this context. Not only can the characters be more generously proportioned, certain features, such as additional serifs to aid with the differentiation of problematic letters, are also no longer necessary in textual surroundings. The upright styles have a double-story "g" while Spiekermann has added oldstyle figures and small caps. FF Info Correspondence FF Info Correspondence has also been designed for setting block text although it recalls the style of old typewriter characters and is specifically intended for use in office communication. The characters of this third member of the family are thus more formal, without rounded terminals but with rectangular punctuation marks. The narrower letters are provided with large serifs to give them more space although, at the same time, this reduces the differences in terms of letter width among the alphabet. In contrast with its two siblings, FF Info Correspondence has only three weights, each with corresponding italic.The three styles of the FF Info super family cover an extensive range of potential applications. If the different kerning is adjusted manually, the three styles harmonize happily with each other and can be readily used in combination to set, for example, headlines and texts and also creative display options.

K-Type’s ‘Banks & Miles’ fonts are inspired by the geometric monoline lettering created for the British Post Office in 1970 by London design company Banks & Miles, a project initiated and supervised by partner John Miles, and which included ‘Double Line’ and ‘Single Line’ alphabets. The new digital typeface is a reworking and extension of both alphabets. Banks & Miles Double Line is provided in three weights – Light, Regular and Dark – variations achieved by adjusting the width of the inline. Banks & Miles Single Line develops the less used companion sans into a three weight family – Regular, Medium and Bold – each with an optically corrected oblique. Although the ‘Banks & Miles Double Line’ and ‘Banks & Miles Single Line’ fonts are based on the original Post Office letterforms, glyphs have been drawn from scratch and include numerous adjustments and impertinent alterations, such as narrowing the overly wide Z and shortening the leg of the K. Several disparities exist between the Post Office Double and Single Line styles, and K-Type has attempted to secure greater consistency between the two. For instance, a wide apex on the Double Line’s lowercase w is made pointed to match the uppercase W and the Single Line’s W/w. Also, the gently sloping hook of Single Line’s lowercase j is adopted for both families. The original Single Line’s R and k, which were incongruously simplified, are drawn in their more remarkable Double Line forms, and whilst the new Single Line fonts are modestly condensed where appropriate, rounded letters retain the essentially circular form of the Double Line. Many characters that were not part of the original project, such as @, ß, #, and currency symbols, have been designed afresh, and a full set of Latin Extended-A characters is included. The new fonts are a celebration of distinctive features like the delightful teardrop-shaped bowl of a,b,d,g,p and q, and a general level of elegance not always achieved by inline typefaces. The Post Office Double Line alphabet was used from the early 1970s, in different colours to denote the various parts of the Post Office business which included telecommunications, counter services and the Royal Mail. Even after the Post Office was split into separate businesses in the 1980s, Post Office Counters and Royal Mail continued use of the lettering, and a version can still be seen within the Royal Mail cruciform logo.

For any project that calls for a gothic touch, the Krinah font is ideal. Krinah Blackletter fonts are the way to go whether you’re looking for a font for your logo, label, badge, or your newest music video or movie! Labels, vintage posters, and other items should all be designed using the professional-grade font Blackletter. It’s ideal for any project that calls for a little gothic flair. Additionally, it has a variety of lovely, harmonious forms, allowing you to choose the ideal word for your project.

Kaytek™ Sans is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Sans’ details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Sans draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Just like these early personal music devices, Kaytek Sans is practical, but not clinical, able to work hard while still exuding warmth and personality. It pairs effortlessly with Kaytek Slab, which is a sturdier and more expressive take on the design. Kaytek Sans comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Slab, Kaytek Headline and Kaytek Rounded are also available.

Odile is a text typeface with bracketed head and bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. This contemporary design draws inspiration from an experimental typeface named Charter originally designed by the American book and type designer William Addision Dwiggins. It consisted of an informal lowercase alphabet, a narrow seemingly non-inclined vertical letter with script attributes, featuring non-joining letterforms. Dwiggins’ contemplated Charter as the italic companion to Arcadia, Experimental No. 221. The Charter project progressed sporadic stalled during the Second World War and came to a halt in 1955. Charter remained incomplete and was never commercially released. Assessing Charter’s whimsical design, its fragments were rethought and developed into a comprehensive text family. Odile Upright Italic reveals recognizable similarities shared by Dwiggin’s Charter and defines the design approach for the family. The steep calligraphic outstroke and low junctions off the stem as in the upright italic “n” or “r”, for example, are gradually lessened in the italic and moved up for the roman weights. The six optically balanced weights range from the delicate Light to stark Black, accompanied by display variants with feminine flair and ardent Ornaments. Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typographies with a palette of strict to playful. This family shines in magazine, book and display use. The graceful serifed type harmonizes perfectly with Elido, Odile’s sans companion. Sans and serif share the family array and OpenType features in perfect tune. Odile offers an extensive character set, numerous OT features including roman and italic Small Caps, five sets of numerals, alluring 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 “s” for the Upright Italic.

IMPORTANT: This is the VARIABLE VERSION of PG GROTESQUE This is my interpretation of Edel Grotesk – a “lost typeface” from circa 1914 produced by Johannes Wagner GmbH of Ingolstadt, Germany. PG Grotesque is definitely not a revival, or even a faithful reproduction of that typeface as I was unable to source enough accurate references. What I have done is take the essence and unique characteristics of that typeface and brought this forgotten gem right into the 21st century. This variable version includes 99 instances spread across 9 weights and 6 widths with the ability fine tune the width, weight, and italic angle to your exact preference. Distinctive features include high-waisted capitals, a straight-legged capital ‘R’, and flattened arches in the ‘a’ and ‘g’ glyphs. Using PG Grotesque will give your typography a distinctly retro feel with its vintage heritage inherent in every character. You will find this is an incredibly versatile typeface with added value from its extensive language coverage along with small caps availability at the click of a button. PG Grotesque will prove to be a valuable asset in your type arsenal. See full details and hi-res images at https://paulogoode.com/pg-grotesque

The idea behind Strikt Sans was to made a grotesque family with exaggerated curves combined with low contrasted aspect. Letters such as G, S or C are completely closed in any styles. The italic has a very accentuated angle at 30°, which gives a stressed and interesting appearance. This family contains many OpenType features, such as Alternates, Proportional Figure, Tabular Figures, Old Styles Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals and Fractions, which make that typeface useful in various projects. Strikt Sans family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Named for the island that I had the pleasure of calling home for four years, Samui Script is a lovingly made, hand-lettering-style, script font, with a bouncy baseline and exuberant character. Taking mid 20th century commercial lettering as its inspiration, it is no revival, or pale imitation of past forms. This font can be as contemporary as you need it to be, or as retro, or somewhere in between. A wealth of sophisticated OpenType features lie beneath the bouncy exterior, making for a versatile script font that performs well at headline sizes, but is also legible enough to set small amounts of copy.

The dots forming this font are all hand positioned for maximum randomness! Great for display purposes or for logo work. Includes upper and lowercase, numbers, punctuation and Western European diacritics.

This font was made to be clean and legible. It's versatile nature makes it perfect for note taking, posters, or even for long form copy.

Old style fonts or also writing from teenagers, as a form of expression for those who are bored or looking for cool and creative ideas by drawing something accompanied by writing.

The idea behind Geotica was to build a font out of -more or less- simple geometrical line elements. The open wire frame could then be left open or (partially) filled. Geotica comes in four different grades or line thicknesses (One, Two, Three and Four) so it's suitable for a broad use. Each grade has four styles and is loaded with swashes, final forms, lots of ligatures and ornaments.

Dada Sans Pro is simple in form but elegant font with huge language support and OpenType features such as ligatures, stylistic alternates, ordinals, fractions, four variations of numerals and many more... It is suitable for large headlines in applications like magazines or newspapers.

Dada Slab Pro is simple in form but an elegant font with huge language support and open-type features like ligatures, stylistic alternates, fractions, four variations of numerals and many more... It is suitable for large headlines in applications like magazines or newspapers.