This font has been used for signage and wayfinding in the new Mbombela Stadium built for the FIFA World Cup 2010 - and it looks strangely appropriate there: the font has a certain hand-painted, relaxed charm so fitting of the south African culture. Interesting and bold choice of the architects. :) Anyway, the font has now been updated with our usual multilingual glyphset, and is ready to use around the world by soccer fans and typo fans alike. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A funny looking font with circular shapes and cutouts - both hippie and futuristic at the same time. I have completely redrawn all the glyphs, and introduced a lot of alternate and new letterforms to make a little more variety between upper- and lowercase (the original layout with all the "old" letterforms can easily be accessed by using the OpenType menus "stylistic Alternates" or "Stylistic Set SS01"). All diacritics and accents are totally new, and made large - in the style of the original dotted i. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A collection of DIN Mittelschrift variants where parts of the letters have been removed to create different effects. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The "Tichy" typeface is intended for use in titles, headlines and in short text blocks, like citates. However, the typeface is legible even in larger text blocks. It's strong appeal allows the typeface's usage mixed with other graphic elements of the layout without compromising it's readability and it's presence. The typeface's simple initial module (double braked at 135 degrees straight line), the strict rules of forming the letters lead to an unique typeface - masculine, strong and still legible. The Cyrillic glyphs are influenced by the work of the great Bulgarian typographers Boris Angelushev, Vassil Yonchev and Alexander Poplilov, who developed Cyrillic further in 60-s and 70-s of the XX century. Western, East European, Cyrillic, Baltic and Turkish codepages are supported. The font file contains all the basic ligatures, alternate glyphs and kern pairs. It can be used both on Windows and MacOS based computers. The history of "Tichy" typeface began many years ago with a project for logotype design for a small company. It was a kind of designer's game to try making some letters just using one single module. Development of the other glyphs of the latin alphabet was for many years a mandatory exercise for the young colleagues in our studio. Suddenly we realized that this project matured and creation of a new typeface started.

This cool techno font is easily recognizable with its quite unique stroke endings. I have increased the ascenders and descenders slightly (so they would work better with the new diacritic letters) and introduced a few alternate letterforms in addition to generally expanding the character set. A totally enjoyable reworking of an original design. Now also with a Bold and a brand new Light variant! Please note that these variants are made by adding/removing from the regular shape, so the letters no longer sits on the baseline. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

A collection of DIN Mittelschrift variants with some typical grunge style treatments. The Plain font is included if you buy the family pack, and can be mixed in. The DINfun Pro fonts are special versions of the classic DIN 1451 Mittelschrift, far removed from the original typeface's serious and no-nonsense roots. I have made them as companions to the classic, with some some very different expressions, complete with a large multilingual character set. Time to spice up that DIN profile! :) ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

This is the first true pixel-font released by CheapProFonts. It may not be the first font based on a 5x5 pixel grid, but it probably has the best language support. The glyphs have all been optimized for Flash (by making the pixel shapes slightly overlapping) and should render sharp and perfect when set in 10px size (or multitudes of 10). As with all pixelfonts: make sure to place the text at coordinates with whole numbers, and always use left (and NEVER centered) alignment. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

The original Frutiger typeface was designed in the early 1970s by Adrian Frutiger and his studio for the way finding system of the Roissy Charles de Gaulle airport in Paris. Soon after the airport was opened, a huge demand for the typeface arose from companies wanting to employ it in other signage systems, as well as in printed matter. The Frutiger typeface came out as part of the Linotype library in 1977. Epitomizing functionality and clarity both in signage and as a bread-and-butter typeface in print, Frutiger became a modern classic. Neue Frutiger® is the 2009 version of the Frutiger typeface family. It was revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. While Frutiger Next, the 1999 revision, introduced a new concept (including a larger x-height, a more pronounced ascender height, narrower letter-spacing and, most notably, an italic with calligraphic traits), Neue Frutiger returns to the original 1977 design. The result is a well-balanced range of 10 finely-graded weights. Despite the various changes, the ‘New Frutiger’ still fits perfectly with Frutiger and serves to harmoniously enhance the styles already in existence. Neue Frutiger Variable are font files which are featuring two axis and have a preset instance from UltraLight to ExtraBlack and Condensed to Extended. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints, Best Fonts for Tattoos

The story of Serena is a unique one among revivals. Serena was neither a metal face nor a film one. In fact it never went anywhere beyond Stefan Schlesinger’s 1940-41 initial sketches (which he called Saranna). A year later, while working with Dick Dooijes on the Rondo typeface, Schlesinger was sent to a concentration camp where he died, along with any material prospects for the gorgeous letters he'd drawn. The only sketches left of Schlesinger’s Saranna work are found in the archives of the Drukkerij Trio (the owner of which was Schlesinger’s brother-in-law). The sketches were done in pencil and ink over pencil on four sheets of paper. And now Hans van Maanen revives Schlesinger’s spirit as closely as the drawings permit, and elaborately expands the work to cover a multitude of codepages and languages. It took more than 65 years for Schlesinger’s drawings to see the light, so van Maanen made sure to bring them to life stylishly and respectfully. Serena embodies the peace and calm rarely ever found in mainstream calligraphy or other genres of display type. With upright elegance and a slight Eastern touch, this typeface expertly bridges the gracefully casual with the deeply spiritual. The light and soft letter forms add a pleasant, breezy element to anything they touch. When used sparingly in titling or display, Serena is like a sigh of desire, rare but quite memorable and very appreciated.

The Jazayeri Kufic Shoushtar font is a beautiful typographic implementation of the decorative Kufic calligraphy inscribed on the walls of the historic Grand Mosque of Shoushtar in southwestern Iran. This mosque contains many other inscriptions added over time for documentary purposes but its four monumental Kufic inscriptions which are revived in this font are the most essential ones to understand its design and meaning. Built in the ninth century CE, this mosque is one of the earliest hypostyle mosques in Iran. It was built in “the city of scholars” when its residents included two great Sufis, Sahl Ibn Abdullah Tostari and Mansur Hallaj. The designer and producer of the font is Seyed Mohammad Vahid Mousavi Jazayeri, a well-known Iranian master calligrapher, designer, scholar, and author. Mousavi Jazayeri has taken a personal interest in the Kufic script and devoted years to independent research, visiting archaeological locations, historic buildings and cemeteries, mosques, libraries and museums to study the script through direct contact. He has developed a systematic research methodology and published his findings in several books. His professional interest in script and calligraphy stimulated his discovery of the historic method for cutting the Kufic pen, which has had a direct impact on his own work, as seen in several well-received exhibitions and workshops. The historical research and achievements of Mousavi Jazayeri brought together the first international group dedicated to the study and revival of the historic Kufic script operation through kuficpedia.com.

Sabon was designed by Jan Tschichold and released in 1967. Sabon was created in response to the specific needs of a group of German printers who wanted a typeface that would be identical in form when produced by three different metal-casting technologies. Named after Jacques Sabon, a sixteenth century typefounder whose widow married another typefounder, Konrad Berner, who is credited with issuing the first typefounder's specimen sheet. Several types on the sheet were attributed to Claude Garamond, and one of these served Tschichold as the source for Sabon roman. The italic was based on another face on Berner's sheet, cut by Robert Granjon. Tschichold's skillful adaptation of these old style faces has produced an elegant and workmanlike book face. The Sabon font family is a popular choice for setting text.

Willard T. Sniffin deserves the credit for this charming little stationery and greeting card typeface developed for American Type Founders in 1930. Capital letters show an occasional hint of ornamentation and lowercase letters are of the linking variety. The original set of exquisite alternate characters (A,B,G,T,V, W, o, s) has been included in this digital version. Adonis Old Style is ideal where a 1920s or 30s script-like lettering look is required. Adonis Old Style with Alternates is also available in the OpenType Std format. Some new characters have been added to this OpenType version. Advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

THE DANISH RUNES Prior to 500 AD the 24-rune Elder Futhark was used in Denmark. From 500 AD to 800 AD there were many transitional futharks, reflecting a change from the 24-rune Futhark to the 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. From 900 AD some of the runes changed, visually and phonetically. This occurred again about 950 AD and 1100 AD due to language changes. Runes dated to 1300 AD show evidence of being influenced by the Latin alphabet. Runes found in Skåne, Halland and Blekinge in Sweden, and runes found in Schleswig-Holstein in Germany, is counted among Danish runes, because in the Runic period, this was Danish land.

Experience the precision, elegance and history of the Chalet font family. This collection of ten typefaces in three unique styles is the creative genius of acclaimed clothing designer René Albert Chalet. Originally used in his early advertising campaigns, Chalet appropriately echoes the attitude of its creator: function with flair. Modest and unpretentious yet bold and daring, Chalet’s distinctive air allows for a variety of uses ranging from text to display applications. Add modern panache to any design with the Chalet font family. CHALET CREDITS: Typeface Design: Ken Barber, René Albert Chalet Typeface Production: Rich Roat Typeface Direction: Ken Barber, Andy Cruz Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

BILLIARD was born from the numerous sketches André Toet did for the design of a series of postage stamps in 2011. It’s a capital monospaced and ‘fun’ alphabet, based on the classic billiard play with two white and one red ball. Actually snooker and pool were derived from this rather old sport! In Europe it used to be a sport played by elderly people, practiced in traditional bars, including the smell of beer and the at that time prevalent smell of cigarettes and cigars. These days billiard, snooker and pool are quite popular once again with young people. Hopefully our new font will get the same attention the ‘old sport’ deserves and who knows it might even be used in a sportive way. Concept/Art Direction/Design: André Toet © 2017

@andinistas presents Bleak , an experimental font designed by #carlosfabiancg. Bleak is based on the imaginative use of contrast applied in the empty space and on the dramatic distributions of the wide and compressed horizontal of more than 400 textured symmetric capitals inspired by compositions of the Lissitzky, Theo van Doesburg, among others. In the Europe of the 20s, scarce resources prevailed, which gave these great artists the firm determination and dedication to create a visual vocabulary, characteristic of the composition with movable types of wood and metal. As they did not readily dispose of the forms of the letters they required, they did not hesitate to construct them with metal rulers, ornaments and other improvised pieces and remains and obtained in the forgotten corners of the typographic composition workshop.

A type designed in a grid, like on display panels Type is not only printed. There were always and still are a number of forms of type versions which function completely differently. Even very early in the history of script there were attempts to combine a few single elements into the diverse forms of individual characters and also efforts to construct the forms of letters within a geometric grid system. The “instructions” of Albrecht Dürer are probably most well-known. But although designers of past centuries assumed the ideal to basically be an artist’s handwritten script, the idea which developed in the course of mechanization was to “build” characters in a building block system only by stringing together one basic element — the so-called grid type was discovered, represented most commonly today by »pixel types.« But even before computers, there were display systems which presented types with the help of a mechanical grid display, like the display panels in public transportation (bus, train) or at airports and train stations. In a streetcar, I met up with a modern variation of this display which reveals the name of each tram stop as it is approached. This system was based on a customary coarse square grid, but the individual squares were also divided again diagonally in four triangles. In this way it is possible to display slants and to simulate round forms more accurately as with only squares. The displayed characters still aren’t comparable to a decent typeface — on the contrary, the lower case letters are surprisingly ugly — but they form a much more legible type than that of ordinary [quadrate] grid types. DeDisplay from ingoFonts is this kind of type, constructed from tiny triangles which are in turn grouped in small squares. The stem widths are formed by two squares; the height of upper case characters is 10, the x-height 7 squares. DeDisplay is available in three versions: DeDisplay 1 is the complex original with spaces between the triangles, DeDisplay 2 forgoes dividing the triangles and thus appears somewhat darker or “bold,” and DeDisplay 3 is to some extent the “black” and doesn’t even include spaces between the individual squares.

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

Working on The Lab late one night, evil comic book genius Scott Christian Sava realized there was something missing from his graphic experiment! No, not slugs and snails or puppydogs' tails, nor sugar, spice, everything nice and formula 'X'....No, what his nefarious scheme was missing were the actual numbers and letters with which he could complete his equation! BRILLIANT! What he needed was something antiseptically clean and readable, even at small sizes for megalomanical rambling as well as the 5 point type under the Bio-Hazard logo that nobody really reads, and yet also bouncy and energetic enough for the inevitable sound effects that might follow exclamations such as: "IT'S ALIVE!" or "IT JUST-MIGHT-WORK!" Thanks to those awfully nice chaps at Comicraft, MadScientist is now available to evil geniuses everywhere, and guaranteed Laboratory tested.* *On reanimated human beings reconstituted from bones and organic body parts and organs from local charnal houses. No animals or small children were hurt during the creation and use of this font. Well, not yet, anyway. Artwork by Lew Stringer

IT’S MAILBAG TIME! Dear Jolly JG Roshell and Rascally Richard Starkings, Comicraft Fonts are a thing of Beauty and a Joy Forever! You guys must be a Wild Bunch, and I roar with delight whenever a new comicbookfonts release appears in my emailbox. But I have to level with you daredevils...what about us Letterhacks? We need representation too! We haven’t spent years hammering away on our typewriters to be ignored! BRING BACK THE LETTER HACK! In fearless font form. You know it makes sense! Truly Yours, Forbush, Irving, senior.

Introducing, The Marysville. A retro bold script which will bring you back to 60s feel.This font perfectly made to be applied especially in logo, and the other various formal forms such as invitations, labels, logos, magazines, books, greeting / wedding cards, packaging, fashion, make up, stationery, novels, labels or any type of advertising purpose. Features : uppercase & lowercase numbers and punctuation multilingual ligatures alternates swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations.

The roots of this font go back to 1967. A book title in trendy letters was created in a completely ingenuous way as a film prop for a Super 8 fun film. I drew the letters with felt-tip pen and poster paint without thinking too much about it. It wasn't until a good 50 years later that I realized, this was a first awkward typeface draft. The flower power vibe was captured here subconsciously. In 2019 I completed the few glyphs and created variants that I would not have thought of at the time.

F.W. Woolworth was once one of the giants of the variety store chains, along with the likes of Kress, S.S. Kresge, McCrory’s, Neisner Brothers, Ben Franklin and others. In 1960, the company brought out a new corporate logo with a type design harking back to the Art Deco style of the 1930s and 1940s. A photo of one of their old store fronts (despite having only eight letters to work with) inspired the digital interpretation of the signage as Bargain Shopping JNL, which is available in both regular and oblique versions.

I was listening to the radio and a song caught my attention. It was ‘Demagogue’ by a band called the Urban Dance Squad. That song brought back memories from when I was a student, so I decided to name this font after it. Demagogue was made using a Sharpie pen and a piece of expensive paper. The result is a very legible, very neat and very bold font. Demagogue is ideal for when you want to get your message across, but hopefully not in a demagogue-ish way! ;-)

The inspiration for this font (as well as the name!) comes from a London cafe I visited years ago. I was fascinated with the handwritten menu - irregular and awkward, yet refreshingly charming. I did my best to recall that particular look by adding 4 slightly different versions of each lowercase letter. The name of the font comes from the speed of the waiter...or the lack of it! But luckily he took his time, otherwise I wouldn't have had the time to really look at the handwritten menu! :)

AggressIan is the release of the first font I ever drew. It was done by hand with triangle and parallel rule back in the mid-1980s. I originally called it Aggressor, but I never liked it. My local type designer friend, Ian Roberts, really likes this type of drawing and told me I had to release it. So I named it after him. The small caps should work well if you need a bolder version. It has oldstyle and lining figures, plus the small cap figures. I hope you like it.

Another font for the BAQ family, BAQ metal brings back the classically solid, sturdy form of its predecessors with a rough and ready finish. The roundness of this font doesn’t take away from its impact, but does keep it from being too harsh, while the texture creates extra legibility at smaller sizes. Really though, BAQ metal works better when it’s bigger, standing out with its coarse appearance and rotund fullness. Use it to create outstanding headlines and catch people’s attention without being aggressive, even in a variety of different languages.

Backwash AOE is a typeface I drew up back in 2000 inspired by various graffiti artists. Coming across all of my sketches recently and seeing a trend lately in graffiti inspired styles, I finally came around to finishing it up digitally for release. I love the break the rules, wildchild aspect, of graffiti lettering. And while this typeface is nothing like the wilder inspirations that I spawned this typeface from, it has a more legible direction to it, retaining just the flavor of the originals. I hope you enjoy it.

Munky, a big bowl full of slab serif goodness. It's got a cheeky, playful look with large, heavy serifs. Its shapes have a few kinks here and there. I would say that adds to its charm—and it does. It's great for headlines and titles but is also very legible in sentence case. It works great for branding and packaging, books, invitations and anything where you want a laid-back vibe—without being too childish. If the font were a celebrity, it would be more John Candy than John Malkovich.

Joe Canelli is a crooked cop working in a corrupt police force. Joe is haunted by nightmares of powerlessness. When his partner is brutally murdered and he's betrayed by his colleagues, it appears that Joe's nightmares are coming true. With his back against the wall there's only one thing he can do -- turn against the criminal network that he once embraced... KICKBACK is a fast-paced, action-filled, noir-style, crime thriller from the co-creator of V FOR VENDETTA, David Lloyd. KICKBACK is also a font. This one.

Kosumi is an experimental display typeface. Its juxtaposition of thick and thin catches that gleam in your eye, and leads you by the hand out of your comfort zone with such ease that you'll never look back. Kosumi is comfortable in any of a thousand different places, looking brilliant on posters, and reigning supreme within magazine spreads. All you need to do is let is whisk you away. The eye-catching differences between thick and thin lines serve to capitalise your attention, ensuring your nicely laid out headline is truly the star of the show!

Introducing a retro narrow grotesque called "Agitaciya" (Agitation). Bring back to the Soviet Era Agitation inspired by Soviet posters, movie titles and book covers. The letterforms are straight and condensed and come in 2 styles: uppercase and small caps alternatives. It has Extended LATIN and Extended CYRILLIC letters. "Agitaciya"created for titles, poster design, web design, branding and packaging works, illustrations, badges and other typography works. *ST Agitaciya supports 15+ languages: English, German, Spanish, Belarusian, Bosnian, Bulgarian, Croatian, Dutch, Norsk, Dannish, Macedonian, Polish, Russian, Serbian, Slovenian, Swedish, Ukrainian, Kazakh, and probably others )

Paintlay is a casual and laid-back brush script font. Bouncy baseline, upright strokes and soft forms are the main characteristic of Paintlay. What sets this font apart from others is the layers that include Base layer, two different highlight layers and two shadow layers. You can either use the Base layer as a regular font. It works nicely like that. Or you can add a little depth to your designs by using the highlight layers and shadow layers. Lay some paint with Paintlay. Just pick and mix the layers and have some fun!

Linea 72 is a typical seventies display typeface that was designed by Roland Hirter back in the phototypesetting days, when typefaces were really drawn by hand. In this static environment each work step took its time. With the decision to digitize this typeface his son Thomas Hirter also chose to develop it further with todays technical possibilities. That’s why the font now includes over 600 glyphs and ten stylistic sets, offering different stylistic alternates of several letters. Linea 72 comes in the two original styles Regular and Kontur.

Dearest John is the first font in the Love Letters series from Outside the Line. It is a bouncy hand lettered font. If you type caps and lower case you get one look. If you type all caps you get another look. Kind of 2 fonts for the price of one. I prefer to type caps and lower case and then go back in and tweak the headline a little to get the look I want. Dearest John was seen in the 2011 Typodarium Page-A-Day Calendar on 12-9-2011.