The awesome sports font Vegapunk has unique cutouts, a dynamic slant, and gives the impression of power and speed. Ideal for fast-paced sports titles like auto racing, cycling, running sporting events, and automotive game logos and monograms, as well as other dynamic modern or vintage text. A wide variety of characters are offered by the available Ligatures and Italic styles, giving your project design an unique appearance. 5 Weights (Narrower, Narrow, Regular, Wide, Wider) 2 Styles (Regular and Italic) Basic Latin A-Z and a-z Numerals & Punctuation Stylistic Ligatures and Alternate glyps Multilingual Support for ä ö ü Ä Ö Ü ... Free updates and feature additions Thanks for looking, and I hope you enjoy it.

German type designer Erik Spiekermann created this sans FontFont between 1997 and 2002. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for logo, branding and creative industries. FF Meta Correspondence provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. As well as Latin-based languages, the typeface family also supports the Cyrillic and Greek writing systems. This FontFont is a member of the FF Meta super family, which also includes FF Meta, FF Meta Headline, and FF Meta Serif.

Churchward 69 is a ten weight typeface family originally designed during the late 1960’s by the late type designer Joseph Churchward. From the extremely condensed Regular weight to the outlandishly heavy Ultra Black, this square sans serif makes an audacious statement. Even the Italics are extreme at their 17 degree angle! Churchward 69 includes 5 weights, Regular, Bold, Extra Bold, Black, and the gorgeous Ultra Black, and their italics. Joseph sure knew how to draw heavy weights! All members of the Churchward 69 family have OpenType features, including proportional and tabular figures, unlimited fractions, superior and inferior figures, and ordinals. Each font also has an extensive character set to support many western European languages.

Fireplace is a decorative logotype font. Drawn and created by Mans Greback in 2020, this script typeface has a cozy and warm holiday vibe, bringing the thoughts to a Christmas Eve and winter season. It is a vintage sport lettering that has velocity, style and class. Use + * ¤ × to create snowflakes, sparkles and stars. Use [ ] < > after any word to create a swash. Example: Snow] For a longer swash, use several characters: Decorative>>>> The typeface is provided in four styles: Regular, Italic, Bold and Bold Italic. Each style contains alternates and ligatures, giving the calligraphy true customized possibilities. The font has extensive lingual support, covering all European Latin scripts. It contains all characters you'll ever need, including all punctuation and numbers.

Camila is a delicate and smooth Didone typeface designed by Paula Nazal. The family is inspired by concepts such as elegance, simplicity, femininity, and primarily based on Coco Chanel. A remarkable feature of this font is that it lacks teardrop terminals, characteristic of Didone typefaces. This font of thin serifs and soft finishes also includes italics, strengthening the concept of its design. A great variety of shapes makes Camila an ideal font for both display and small sizes. Camila is the perfect choice for branding and publishing projects.. This font family comes in 7 weights, ranging from Thin to Black, each with matching italics and includes a set of 426 characters that support 206 different languages.

Egon is a contemporary Slab-Serif typeface family built in ten styles—extra-light, light, regular, bold and black weights in roman and italic respectably. This is a refreshed (second) edition of Egon Serif, originally designed in 2008. The typeface has been updated—four new styles in ExtraLight and Black weights were added to the family and minor adjustments to glyph shapes (mostly italics) have been made.The typeface is designed with industrial and architectural flavor, as homage to Egon Eiermann, one of Germany’s great architects of 20th century. Egon is ideal as text and display font for publication use. Egon is released as OpenType single master with a Western CP1252 character set.

Looking to add a touch of refinement to your designs? Look no further than Philosykos. With its carefully crafted details and more than 80 ligature choices, Philosykos is the perfect choice for adding a cultured, sophisticated look to your artwork. This typeface comes in four styles - Regular, Italic, Bold, and Bold Italic - making it versatile enough for a wide range of designs. Whether you're creating a logo, designing packaging, or working on a book cover, Philosykos will help elevate your work to the next level. So if you're looking for a typeface that exudes elegance and style, look no further than Philosykos. Try it out today and see the difference for yourself.

The English stone carver, artist, and typographer Eric Gill conceived the Joanna typeface as a personal design for use in books printed at his Joanna Press."" Gill saw his press work there as a continuation of the British Arts and Crafts Movement, pioneered in the 19th Century by William Morris. Joanna is notable for its almost vertical ""upright"" italics, and the unusally small size of its italic characters. Joanna is versatile and extremely legible. The letterforms are a bit narrow, so the face is very economic as well. A lot of text may be packed densely together onto a page with Joanna. Joanna mixes very well with other typefaces designed by Eric Gill; especially Gill Sans.

Blacklist is a high-contrast typography inspired by transitional and contemporary typography. Fonts extend their use by giving weights ranging from thin to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. Featuring beautiful italics, excellent weight and extensive language support. Blacklist excels in display settings such as headlines, titles, branding projects, Logo design, packaging, magazine headings, advertising, short or long text. Blacklist also comes with two versions of Variable Regular and Italic to make it easier for designers to explore and perfect beautiful designs, unearthing lots of visual tones and hidden secrets.

Good Faster is a bold script typeface. In a quirky calligraphic style, this flowing font has a rustic look and soft lines. The Good Faster family consists of four styles: Regular, Bold, Italic and Bold Italic, complimenting each other for the greatest design possibilities. 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.

Brother Grade clean and stamp effect. This font is PUA encoded which means you can access all the glyphs and sweeps easily Features: All Uppercase Numbers and punctuation Multilingual Alternates PUA Encoding Full Character Set !"#$%&()*+,-./0123456789:;?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_abcdefghijklmnopqrstuvwxyz{|}~ ¡¢£¤¥§©ª«­®°±²³¹º»¿ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖ×ØÙÚÛÜÝÞßàáâãäåæçèéêëìíîïñòóôõö÷øùúûüýþÿıŒœŠšŸž–—‘’“”†•‹›€−

Syarom Gladies is a handmade font that has a unique alternative style. This font can be used with a clean style or with an alternative style of the old style. It is very suitable for logos, weddings. magazines, album covers, and much of your work.

Cholvine is a clean, stylish and adaptable sans serif font. It is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease! Add it to each of your posters, designs and pretty much anything that requires a cool touch.

Say hello to our new contemporary all-caps font "Wilde Rosa". Perfect for logos, magazine titles, this lovely font can be paired with clean sans serif. Wilde Rosa is designed to be used for large headings whether it be displayed on billboards, advertisements, or magazines.

Camellina Script is a clean and beautiful script font. Featuring lovely swashes with irregular baselines, this font will be an incredibly asset to your fonts’ library. It is also PUA encoded which means you can access all of the glyphs and swashes with ease!

Hardlike font clean and stamp effect. This font is PUA encoded which means you can access all the glyphs and sweeps easily Features: All Uppercase Numbers and punctuation Multilingual PUA Encoding Full Character Set !"#$%&()*+,-./0123456789:;?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_abcdefghijklmnopqrstuvwxyz{|}~ ¡¢£¤¥§©ª«­®°±²³·¹º»¿ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖ×ØÙÚÛÜÝÞßàáâãäåæçèéêëìíîïñòóôõö÷øùúûüýþÿıŒœŠšŸŽž–—‘’‚“”„†•‹›€−

Extrend, a clean and modern sans serif typeface, ideal for text that requires more space. suitable for corporate use as well as corporate branding and identity design, magazines, books, comics. With five styles, Extrend can be used to make your creative projects more interesting.

Verstyle is a rich & elegant sans serif, that can be both an eye-catching display typeface and a clean & legible font for smaller text. It has 6 weights to choose from, plenty of ligatures, superscript letters, small caps and alternates to create a tailored look.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Telegraph font family was developed on the base of scanned images of telegraph printing machines. It consists of 4 styles: Natural is the most close to original scans with all defects of positioning and dirty print on the rough telegraph paper tape; Clean style uses cleaned contours, but keeps disorder in positioning; Straight is straightened along base line; Clean Straight style has self-explaining name. The fonts can be used for imitation of wire texts and in advertising and display typography. Upgraded version with extended character set was released in 2011 by ParaType. Designer Gennady Fridman.

Grafical is a contemporary take on 19th-century sans serifs. In this family, the amount of geometry inherent within the letterforms has been amped up. Many shapes have received further streamlining, too. All the geometric forms you see have been optically corrected, ensuring their delivery of better legibility. Grafical ships in two different formats: depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 16 static OpenType font files instead. The static fonts offer eight weights, running from Extralight through Black. Each weight has an upright and an italic font available. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Fonts have vastly greater control over their text’s stroke width. The Grafical Variable and Grafical Variable Italic font’s weight axes allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Grafical is the perfect tool for a range of design uses, including text on the web, text in print, and text in motion graphics. Its fonts are typographic workhorses – not just from their legibility perspective but also because of the amount of OpenType features they include. There are ligatures, for instance, as well as proportional and tabular lining and oldstyle figures, fractions, numbers placed inside circles, and even Roman numerals. Users can also substitute alternate versions of the “a”, “g”, “i”, “j”, “y”, “G”, and “Q” into their work.

Eckhart™ is a modern didone, high-contrast typeface designed to create elegant, original and expressive character. This versatile font family is delivered in four optical sizes, making it a complete type system for all kinds of use, from branding to setting paragraph text. It is equipped with ligatures, swashes and alternates to enrich design possibilities and make it very distinctive as a display typeface. Eckhart family features a very playful and energetic color font, giving broad new possibilities of display use, especially interesting for posters and magazines. Eckhart Color is delivered both as OTF color font as well as regular layered font in 6 layers - it helps to achieve maximum software compatibility and control over colors. Eckhart consists of 74 fonts in 4 optical sizes - 33 uprights and their corresponding true italics + color fonts. It has extended language support as well as broad number of OpenType features, such as case sensitive forms, standard and discretionary ligatures, stylistic sets, lining, oldstyle figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols. --- Color font - user information: Eckhart Color Folk - OTF color font format has pre-defined color palette. In order to change the colors, please convert the text to outlines. You need compatible software to use the OTF color file, such as Adobe Photoshop CC, Adobe Illustrator CC, Pixelmator, etc. Eckhart Color Layered fonts - use the fonts one on top of the other in the order the fonts are numbered. These are regular OTF files, they work in all professional graphic software and you can edit the color of each layer. For web use - please use the color fonts as graphics, because not all web browsers support them.

Fiorenza is based on cursive calligraphy from Renaissance Italy.

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Since the beginning, “Histories” has been inspired by the shape of the letters displayed on the cover of fairy tale books or animated film covers. Likewise with the naming of the font "Histories" so that the message of the letters is conveyed. And this stylistic combination should also be reflected in the lowercase set which also allows to open up a spectrum of possible uses. Basic calligraphy represents a solid basis for the development of lowercase glyphs, ensuring proper interaction with uppercase letters. “Histories” features multiple ligatures that combine the playerful structure with a more attractive feel. With glyphs, it provides a wide range of uses across ligature combinations, alternate marks, pre-caps, assortments and connectors; each of which can be accessed via Open Type.

Here is an extremely efficient and uncluttered typeface that you can use in a variety of situations. Memorandum’s orderly and methodical nature makes it a natural for long blocks of text, for captions, or for corporate slogans. Try using this typeface where space is limited and legibility is a big concern. And Memorandum is great for constructing tables and charts for business presentations, too. Memorandum is now available in the OpenType Std format. Expanded pre-built fractions, numerators, denominators, and stylistic alternates are now combined in each style. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Even the original founder, Barnhart Bros. & Spindler, thought this was a freaky font, and indeed they called it "Freak" when they introduced it in 1889. It was reintroduced in 1925 under the somewhat more elegant name of "Bamboo," and is one of the prizes that the collectors of antique metal types seek.

Embossanova was initially sketched to be a monospaced typeface but quickly took on a life of its own. It developed serifs and numerous arcs and stroke weights. I wanted it to retain a pre computer/unmathematical feel so there is a slight variation on curved characters and their relationship to the X height.

Prop-a-ganda offers retro-flavored fonts inspired by lettering on retro propaganda posters, retro advertising posters, retro packages all the world over. This is perfect font for your retrospective project. PAG Bravos is a condensed geometric font with a retro touch. It is a great performer in posters, logo and covers.

Boller is based on handwriting found on the blueprints for the Jayhawk Theater in Kansas. Thomas Williams & Boller Bros. Architects are the only names found on the blueprints. The character set is extremely limited and many of the missing characters are extrapolated from existing letters and symbols. Ideal and distinctive at large sizes.

Cumhuriyet means “the form of government in which the nation holds the sovereignty and uses it through deputies elected for certain periods”. The reason why I gave this name to the font is that 2023 is the centennial anniversary of the Republic of Turkey, which was founded by Atatürk. This typeface, which is sans serif, consists of three families: ▪ Cumhuriyet: Font family with Latin letters ▪ Cumhuriyet Pro: Font family including Latin, Arabic and Hebrew alphabets ▪ Cumhuriyet World: Font family including Latin, Cyrillic, Greek, Arabic and Hebrew alphabets Cumhuriyet World is a family of multi-purpose typefaces designed in a geometric style. This font is suitable for use in printed products, media and digital media, as well as in every field that is the subject of writing.

The famous French poet and novelist Victor Hugo (1802-1885) used several handwriting styles, sometimes almost illegible. His manuscripts designated to be published was written using a script style, to be legible clearly. We have used script style manuscripts from the final part of his life (from 1859 to 1881) to reconstruct this present font, as one exemple of the Victor Hugo's hands. It is a "Pro" font containing Western (including Celtic) and Northern European, Icelandic, Baltic, Eastern, Central European and Turquish diacritics. The numerous alternates and ligatures allow the font to look as close as possible to a real hand. Using an OTF software, the features allow to vary automatically, almost every character of a word without anything to do but to select contextual alternates and standard ligatures and/or stylistic alternates options.

Sevigny is for the poetic eye. It sings to readers - luring and promising - sweet like candy. Even though it is different, you feel that you've already seen it. Sevigny seduces you to look. Look twice. Déjà vu Ease the lure. Allow your eyes to follow the rhythmic ribbon. Enjoy the wavy ride on the weavy patterns. Let Sevigny enrich your design ideas. Recommended for Christmas windows, ribbon candy packaging, lingerie labels, book covers, everything that smells good, everything for grown ups, everything for kids, Christmas carol titles, wedding invitations and wedding magazines. Sevigny is offered in three versions: standard latin letters (upper and lowercase), numbers and symbols. Sevigny PRO is packed with extra ligatures, alternate letters, OT features, more symbols, extended support for foreign languages. Sevigny CAPS has only uppercase letters & numbers.

This font is inspired by two typographic styles, incorporating (both) geometry and humanism. It combines the rhythm of such typefaces as Meta Pro and The Sans, as well as terminations and structures from fonts like Din and Futura. This results in a font that plays with condensation and a parallel rhythm, simple and functional. Fuse is perfectly equipped with Opentype, it contains alternative glyphs, fractions, modern and old numbers, superscripts and subscripts, ligatures and Small Caps. We always kept the idea of having Fuse be humanistic, rational and universal, which makes it ideal for graphic design, printed publications, web design, motion graphics, interaction design and branding. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Type Foundry On facebook W Type Foundry wtypefoundry.com

Driver Gothic is based on the typeface used for Ontario license plates. Although unique among Canadian provincial license plates, this face is very similar to, if not outright identical with, the face used on car plates in 22 American states: Arizona, Connecticut, Florida, Illinois, Iowa, Kentucky, Louisiana, Maine, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Mexico, Ohio, Oklahoma, Vermont, Washington, and West Virginia. Driver Gothic is available in all popular font formats, and is comprised of a very extended character set (over 750 characters) covering a wide range of languages, including Central and Eastern European languages, Greek, Cyrillic, Esperanto, Turkish, Baltic and Celtic/Welsh. Driver Gothic Pro, the OpenType version, contains class-based kerning and push-button stylistic alternates for use with apps that support advanced typography. Buckle up!

Book Jacket is arguably the most famous of all typefaces done in the Typositor era. Designed by Ursula Suess over an entire year, and published in 1972, Book Jacket became an instant success story that lasted well into the 1980s (even though it was copied by Phil Martin who published it under the name Bagatelle shortly after its release). Almost 40 years later, Ursula Suess and Canada Type consolidate their talents to bring you a revised, improved and expanded digital version of this film type classic, including small caps, additional swashes and new alternative forms. Book Jacket is available as a 4-font package in Mac PostScript and universal TTF format, or a single Pro OTF which includes features for small caps, swashes, caps to small caps, stylistic alternates, and class-based kerning.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

Megumi was originally commissioned as a headline face for a fashion and lifestyle magazine with a heavy Japanese influence. The uppercase letters are narrow and have an almost monospaced aesthetic, being influenced by Romaji letterforms. Serifs are severe, and curves sinuous. Although experiments were made with extra weight, it was decided that only this ultra light weight would be developed, to be set large in headlines. The italic has an over-the-top 35° slant (so slanted in fact that the backslash from the italic is the exact same shape as the forward slash in the Roman) and a discretionary ligature feature that can be engaged to add extra interest to headlines. The Roman has a few wide alternate glyphs for round uppercase characters. Both styles have a stylistic set (ss03) feature which switches regular parentheses for angle brackets, which the Art Director thought “looked cool”. In a mess of venture capitalist pull-outs and Covid related issues, the publication never came to be, but the Hipster Japanophile Magazine World’s loss is your gain, as this beautifully crafted, editorial oddity is now available to license. Use it editorially, obviously, but it would also look great on posters, perfumes, postmodern publications, and perhaps some other things that don’t begin with p.

Neacademia is a Latin and Cyrillic type family inspired by the types cut by 15th century punchcutter Francesco Griffo for Venetian printer Aldus Manutius. Beyond the letterforms themselves, however, the digital fonts themselves are based on the techniques and methods Griffo employed. The family comprises four distinct variants optimised for specific point sizes, as was traditional in metal type. While the display sizes maintain a visual link to calligraphic roots, text sizes exhibit more typographic qualities, following the hand of the carver. Likewise, Neacademia maintains its even colour on the page by carefully employing alternative letterforms, rather than leaning on a multitude of kerning pairs. A geeky little detail you’ll likely need to point out with a magnifying glass to your type friends, but creating a neat texture that works in readers favour nonetheless. Neacademia’s historically sensitive eye is put to work for modern typographers’ needs. It incorporates Griffo’s italic capitals and harmonizes them with the lowercase and the romans — where the original Aldine italics had no capitals of their own and simply re-used the uprights. It was designed with specific allowances for letterpress photopolymer printing. Printed digitally, it can tolerate – and even benefit from – low resolution, rough paper, and low-grade presswork. In many ways, it feels like using metal type again!