It’s alive! Insigne’s new creation, Daito, is now functional, built to process your logos, business cards, magazine layouts, packaging and more without the slightest glitch. But this new slab serif is no heartless churn of the same factory nuts and bolts. Daito is designed to greet your reader with a friendly face. Inspired by types from the era of the Space Race, this new take on some old faces brings a contemporized, unique set of serif forms to the font race. Daito comes complete with a variety of weights to help you find the best settings for your current needs or moods. Need soft and playful? Daito light communicates its message gently with softened serif. Need a different feel with more authority? With the touch of a few buttons, engage the powerful Black or striking Bold. Additional features with Daito include stylistic alternates, ligatures, titling capitals and small caps among other typographic features. Please note: use magical OpenType-savvy applications such as Adobe Creative Suite, QuarkXPress, etc to keep your font from malfunctioning, shorting, attacking people, or attempting a world takeover. Daito also speaks Western, Eastern, and Central European languages. However, Japanese is not available for this edition. It’s not every day you find a top-of-the-line font like Daito. This machine can handle most anything on your list, short of folding your laundry (though it may make your laundry look nicer). Don’t wait. Order yours today while supplies last.

An inscriptional titling font for truly epic headlines. Allrounder Monument is an inscriptional, dignified member of the Allrounder superfamily. This all-caps typeface with delicate serifs was inspired by ancient inscriptions on columns, monuments, and buildings in Rome: letters as old as two millennia that radiate their own classic charm. Allrounder Monument picks up this atmosphere in order to create a typographic tool that lives up to contemporary demands. It infuses today’s designs with a hint of history and an air of exclusivity. Allrounder Monument is a timeless titling typeface. You might use it for posters, magazines, book covers, greeting cards, advertising or packaging work, and even signage. If you want an even more spectacular and exciting headline or title, additional Discretionary Ligatures and a Stylistic Set provide the necessary OpenType power to achieve this goal with ease. As Allrounder Monument is a part of the Allrounder superfamily, you can combine the three weights Book, Regular and Medium with the corresponding weights of Allrounder Grotesk. The Allrounder superfamily is a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Grotesk or Allrounder Antiqua, may be easily combined with Allrounder Monument. Whenever you need a truly epic headline, Allrounder Monument is the best horse in your barn. Ad astra!

Condemned is a light destructive sans typeface created from an old damaged ATF Specimen Book from 1912, and looks reminiscent of poorly transferred rub off type. It contains a complete alternate core character set for a subtly randomized look. Here's what's included with Condemned: 684 glyphs - including Capitals, Lowercase , Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 5th graphic for a preview of the characters included) Contextual Alternates that auto-switches between Capitals & Alternate Capitals, Lowercase and Alternate Lowercase, as well as Numerals and Alternate Numerals for visual randomness. To access the Contextual Alternates feature, you will need to be using software with Opentype compatibility otherwise you can access the alternate glyphs via a Glyphs panel. Stylistic Alternates feature that swaps all standard Capitals, Lowercase, and Numerals with their Alternates Alternate Capitals and Lowercase are complete with all international accented characters Font is provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why Condemned is for you: You're into legible but distressed typestyle that imitates a random distress to it You love condensed gothics, and want to pair them with a distressed condensed gothic You're a fan of old Letraset/Transfertype rub off lettering You're recreating weathered military ephemera and want a typeface with some tooth to it You just like to collect quality fonts to add to your design arsenal

Presenting Dena Font, a forward-thinking typeface that straddles the boundaries of future aesthetics and modern design. Designed for the cutting edge designer, Dena Font is more than simply a letterform—it's a design language, a representation of sophisticated elegance influenced by cyberculture, sci-fi movies, and innovative video games. Dena Font is a tool that gives designers the ability to push the frontiers of creativity and reshape the visual world. Elevate your projects with Dena Font's futuristic appeal, which combines typography with creativity. Every letterform in Dena Font has a vibrant, futuristic feel to it. The deftly drawn characters blend together to create a visual rhythm that mirrors the quick-paced, constantly-changing nature of contemporary design. Modern Futuristic style: With futuristic style, Dena Font is at the vanguard of modern design. It is the perfect option for forward-thinking design projects because every curve and shape is painstakingly created to communicate a sense of innovation and advancement. Ligature-Enhanced Creativity: Dena Font's rich ligature set enables designers to smoothly combine characters to create a flowing and melodic typographic expression. These artistically elegant ligatures provide a touch of refinement to your designs and are ideal for creating distinctive logo types and brand identities. Overcoming linguistic obstacles, Dena Font provides extensive assistance for the Latin Western Europe character set. This makes your creative vision a flexible instrument for international design projects by guaranteeing successful communication across linguistic environments.

Designed by Malou Verlomme of the Monotype Studio, Macklin is a superfamily, which brings together several attention-grabbing styles. Macklin is an elegant, high contrast typeface that demands its own attention and has been designed purposely to enable brands to appeal more emotionally to modern consumers. Macklin comprises four sub-families —Sans, Slab, Text and Display— as well as a variable. The full superfamily includes 54 fonts with 9 weights ranging from hairline to black. The concept for Macklin began with research on historical material from Britain and Europe in the beginning of the 19th century, specifically the work of Vincent Figgins. This was a period of intense social change--the beginning of the industrial revolution. A time when manufacturers and advertisers were suddenly replacing traditional handwriting or calligraphy models and demanding bold, attention-grabbing typography. Typographers experimented with innovative new styles, like fat faces and Italians, and developed many styles that brands and designers continue to use today, such as slabs, serifs, and sans serifs. Verlomme pays respect to Figgins’s work with Macklin, but pushes the family to a more contemporary place. Each sub family has been designed from the same skeleton, giving designers a broad palette for visual representation and the ability to create with contrast without worrying about awkward pairings. With Macklin, Verlomme shows us it’s possible to create a superfamily that allows for complete visual expression without compromising fluidity.

The Morgan Project can be considered a big type family with ‘many styles’ or a set of different types that match with each other. For me it’s one typeface with different versions with deliberate and visible differences according to the propose to which each version was created. The design started in 2000 as a display type with the design of the Morgan Tower, to which more two display versions were added; Morgan Poster and Morgan Big — all together the make our: FTF Morgan Display Kit 1. All three versions consist only in uppercase with alternate letters in the lowercase and a set of special ligatures. Morgan Tower has four variants that differ in width/weight, Morgan Poster has six variants (often called styles), three weights in upright and oblique and Morgan Big has twelve, six weights in upright and oblique. Lately, the FTF Morgan Tex Kit 1 was added. Apropriate versions to use in text setting. Both versions, FTF Morgan Sans and FTF Morgan Sans Condensed share the same structure and character mapping. Four variants each; regular, bold, oblique and bold oblique with a large character set including: small caps, lining and old style figures (here called Office figures) — both tabular —, small caps lining figures, mathematical symbols and fraction figures, and, a set of foreign characters expanding the possibilities of use for a wider range of languages. Characters are distributed in six different font layouts: Lining, Office, Expert, Caps, Figures & Pi.

The font series Andron MC introduces a new feature to the repertoire of the Andron family: middlecase glyphs (intermediate between upper- and lowercase) – and uncial letters. Middlecase glyphs reach a medium height compared to full caps height and lowercase x-height. However, ‘uncial’ means the historic transitional lettershapes of the medieval ages which have gained no status in the bicameral typographic system of modern times. In all three of the Andron MC fonts middlecase (“MC”) glyphs dwell on the lowercase positions. These are coined in uncial fashion in the MC Uncial and MC Medieval fonts but appear as capital glyphs in MC Capital. The same variation occurs with the uppercase positions: whereas standard Roman/capital glyphs are there in MC Uncial and MC Capital, MC Medieval features uncial majuscules here instead. At the end that makes three different combinations of uncial and capital sorts. These fonts can be used for a great variety of purposes. The uncial sets are particularly well-suited for any typographic matter related to the middle ages. MC Capital is a worthwhile alternative choice when titling is to be possibly set in CAPITALS or Small caps. Andron MC adds a fascinating new aspect to the classical Andron fonts family. It enhances again the unique scope of typographical possibilities Andron is praised for since quite some time now. All three Andron MC fonts support full Latin, Greek (monotonic), Coptic and Gothic character ranges. Each font contains about 1000 glyphs.

Fushar Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic alphabet. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include required ligatures, discretionary ligatures, proper mark attachment, contextual alternates, case-sensitive forms, ordinals, localised Persian/Urdu numerals, superscript (1, 2, 3) & fractions. Now you can buy Extended Latin character set (uppercase and lowercase) at Fushar font family page on MyFonts. European languages, Vietnamese and Pinyin included.

Welcome to the world of Saqtah! A display font with a superhero style that will bring strength and courage to your projects. Whether you’re working on a film, game, or design with a strong and bold theme, Saqtah is the perfect solution for you. With a stunning appearance, Saqtah will be the main highlight in every design. Each letter is filled with strength and thickness, creating a powerful and impressive look. However, the advantages of Saqtah do not stop there. This font is also equipped with special features. Alternate ligatures and characters allow you to create unique and creative typographical combinations, providing endless possibilities for the expression of your designs. Apart from that, Saqtah also supports multiple languages, so that your message can be well received by audiences from various countries. Make Saqtah your choice and give your project a hero touch. With the strength and boldness that this font has, you can create a bold and unforgettable look, captivating the heart and eye of every viewer. With its special features, Saqtah provides unlimited flexibility and creativity. Let’s be creative and bring an awesome impression with Saqtah in your project. What’s Included : File font All glyphs Iso Latin 1 Alternate, Ligature Simple installations We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw so that you can see and access all Glyph variations. PUA Encoded Characters – Fully accessible without additional design software. Fonts include Multilingual support

After Generis™, Aeonis™ is the second large family of typefaces by Erik Faulhaber. The basic Aeonis sans-serif form references Ancient Greek lapidary inscriptions from the 9th century BC. Between the poles of antiquity and modernity, a deliberate contradiction of round and rectangular forms gave way to a new and energised font: Aeonis. Aeonis is available in three widths and seven weights, all of which have been carefully coordinated in terms of their proportions. The clear contrast in the bold stroke intensity emphasises the organic nature of the font and creates exciting aesthetics. In light of their open forms, the letters guarantee a good level of readability, even in small point sizes. Given that the dynamic individual forms of Aeonis also fit perfectly in a functional image, this typeface is ideal both for complex, text-heavy documents as well as for logos and display text settings. Particular attention was paid to ensuring carefully coordination proportions: all styles and weights have the same cap height, as well as identical ascender heights, x-heights, and descender lengths. The widths of all figures, currency symbols, mathematical operators, and special characters have been carefully aligned for tablular settings. Aeonis is an extremely systematic design. All of its widths and weights may be combined with one another, without restrictions. For users who do not like the open A, an alternate A with a crossbar is included in each font as well.

Tricorn Mono is a monospaced font with two styles – regular filled for uppercase and an outline version for the lowercase. Tricorn Mono was first hand drawn (sketched) as an exploration for a headline font and also developed on from a previously unreleased font. It was then expanded to feature multi language support and custom symbols. Tricorn Mono contains unique forms that explores the use of a rigid grid that is tested with negative form to provide legibility and balance. The conceptual design is focused on a modern, futuristic design aesthetic around the gaming, e-sports markets and future technology. Tricorn Mono typeface has been tightly monospaced and intended for use at larger sizes as a display typeface. The font can be tightly stacked to create strong, impactful typographic forms. This 612 glyph font has language support for 87 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Catalan, Cebuano, Chiga, Cornish, Corsican, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Icelandic, Ido, Indonesian, Interlingua, Irish, Italian, Javanese, Jju, Kabuverdianu, Kalenjin, Kinyarwanda, Lojban, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Northern Sotho, Norwegian Bokmål, Norwegian Nynorsk, Nyanja, Nyankole, Occitan, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sardinian, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, South Ndebele, Southern Sotho, Spanish, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Vunjo, Walloon, Welsh, Western Frisian, Xhosa and Zulu.

I can best describe the Thaun family as a general purpose display family, inspired by Scholtz Fonts' " "Delikat". I wanted to produce a display font that was more robust than Delikat, without losing the delicacy of the original. In order to do this I thinned solid, curved strokes toward the baseline, and let them dwindle to gently rounded points. As a graphic designer I became aware that designs that used a number of styles from the same family seemed to work well. This was easily done using a standard sans serif font such as Arial or Helvetica. However, when a different look is needed, display fonts do not always have a the variety of different styles that are necessary to produce a coherent design. Thus with Thaun, the challenge was to create a coherent family based on a display font. The archetype of this family is Thaun Regular with six different widths forming closely related styles. There are also two variants of the archetype i.e. Thaun Black & Thaun Rough to add variety to the primary style. An additional sub-family, Thaun Accord, appears in two widths. Thaun Jazz is a wide three dimensional variation. Thaun has all the features usually included in a fully professional font. Language support includes all European character sets, Greek symbols and all punctuation. Opentype features include automatic replacement of some characters and discretionary replacement of stylistic alternatives.

Condell Bio is part of the bigger Condell family: a project that involves series of typographies and whose early conception and development began in 2006. Unlike its Poster version , with its excessive and eccentric forms, Condell Bio tries to adapt itself to a monolinear shape, but conserving at the same time the organic character of its forms and endings. In this way Condell Bio is able to expanse its typographical use fields to a vaster scale. Condell’s endings and organic strokes haven’t been conceived in a structural way but stylistically. This means that Condell’s high readability doesn’t change and its original personality and idiosyncrasy as well. Condell can be said the ideal typography for connoting the corporation and brand identity, because of its high readability; especially its “eatable” forms, who collects images of food, are easily adaptable to food industry. Condell is highly recommended for the following products groups: cleansers, dish soaps, toothpastes, all sorts of personal hygiene products (shampoos, soaps,..), industrial cleanser products and also for products which refer to its softness, volatility and smoothness. Condell’s soft forms and nice endings, inspired through spontaneous brush strokes, give to the typography a very peculiar pleasant connotation. Its Italic (10 degrees inclination) has been produced singularly and not automatically calculated by the software. Condell Bio is composed of 16 fonts: from thin to black, whose weights are in regular and italic. Each singular weight has 600 characters and is composed of 206 languages.

Zira is a playful hand-drawn font family designed by Daniel Bak (Artcity). It is available in three handy weights: regular, bold and screaming. It contains international language accent marks and diacriticals, including Greek and Cyrillic. Zira can be considered as smoothed serif version of Cornelius font. Zira as Cornelius as well is a chimpanzee character in the novel and movie series Planet of the Apes. Dr. Zira is a chimpanzee psychologist and veterinarian, who specializes in the study of humans, in the novel and subsequent movie series Planet of the Apes. Zira was played in the first three Apes movies by actress Kim Hunter. Unique among the Apes characters, Zira has blue eyes. Zira is the fiancée (later wife) of Cornelius, and both are ultimately responsible to the Minister of Science, Dr. Zaius. Zira's character and role are essentially the same in both the novel and the movies, though some story details differ. Her work in each involves both working with humans under laboratory conditions (e.g. learning and behavioural experiments), and working on them physically (lobotomy and other brain surgeries, vivisection, physical endurance and tolerance experiments, and subsequent autopsies). Zira is an outspoken liberal by nature, deploring war and militancy (and despising the gorillas, who seem to make both a way of life), and eager to seek and develop intelligence anywhere it can be found. Zira literally stands for her principles - or refuses to stand, as the case may be.

Milton Glaser on designing Babyfat: “This is the first alphabet I ever designed. For some inexplicable reason I called it Babyfat. Because I’m not a type designer, most of my alphabets are actually novelties or graphic ideas expressed typographically. Here the idea was to take a gothic letter and view it simultaneously from two sides. It started out as a rather esoteric letterform; it ended up being used in supermarkets for ‘Sale’ signs.” This forced perspective 3-D font has appeared on many LP covers and posters from the mid 1960s onward. This revival includes the original lowercase for the first time in digital form. Besides the three original styles (Outline, Shaded, and Black) made for photo typesetting, the new P22 Glaser Babyfat introduces six additional variations to allow the user to easily colorize the type as Glaser envisioned. The Keyline, Fill, Glyph, Left, Right, and Down font styles give the user nearly infinite options to create dynamic chromatic effects. P22 Glaser Babyfat was based on original drawings and phototype proofs from the Milton Glaser Studios archives. Typographic punctuation and sorts were imagined by James Grieshaber to work with Glaser’s design, as well as diacritics to accommodate most European languages. Over the years there have been many typefaces that borrowed heavily from the Glaser designs, but these are the only official fonts approved by Milton Glaser Studio and the Estate of Milton Glaser.

P22 Brass Script is a new font from an old source. This script font was discovered in a booklet from Dornemann & Co. of Magdeburg Germany, circa 1910. The book was titled Messingschriften fur Handvergoldung, which roughly translates to “Brass types for hand foil stamping.” The mini catalog called this type simply “Script.” It has not been previously digitized or seen in standard metal type form. The antique specimen book featured most of the characters needed for a full alphabet, but a number of letters were not shown. Since no other examples of this style could be found, P22 enlisted the assistance of master calligrapher Michael Clark to draw the missing characters in the same style as the original. The style is very loosely based on the secretarial hands and reminiscent of “French Hand” with a very early 20th century, pre-modern feel. It has an unusual flow that is neither too casual nor too formal. The font would be useful for wedding invitations or packaging and advertising. P22 Brass Script Pro features include: automatic ligatures for common pairs such as ll, tt, qu and a variety of f ligatures, full CE language support including Turkish and Romanian and a variety of swash underscores for different length words that can be added manually in OpenType ready applications with the glyph palette or with the contextual alternates. The length of the word will automatically select the best length of swash for the work.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

Selected as one of “Our Favorite Typefaces of 2013” by Typographica.org, Dark Angel is the first completely new take in decades on the traditional “blackletter” font style. It began its journey towards the light years ago when this style was born as a sketch for a new logo for the California Angels baseball team (renamed shortly thereafter the Anaheim Angels). The Angels logo never happened, but that sketch has risen from the dead and become the basis for this brand new font design—and was also the source for the name. It’s kind of blackletter in feel, but as a display font it’s so much more. It is far more legible than most “Old English” or “Gothic Script” styles, and incorporates many features never before seen in them, such as swashes, tails and a plethora of ligatures. Dark Angel can be purchased in its regular solid form, or as Dark Angel Underlight—a handtooled font. If these two fonts are purchased together, the Family package will contain a third font—Dark Angel Highlight. With this font layered over the basic font, you can achieve two–color typesetting when the highlight and the base font are assigned two different colors. Dark Angel has enough language support to make the builders of Babel envious—its 1,163 glyphs can be used to set copy in 59 different languages. From A to Z: Afrikaans, Albanian, Basque, Bemba, Bosnian, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Kamba, Kikuyu, Kinyarwanda, Lithuanian, Luo, Malagasy, Malay, Maltese, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romansh, Sango, Shona, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Swiss German, Turkish, Welsh, and last (but not least) Zulu. PLEASE NOTE: Dark Angel is a cross-platform font which depends to some extent on certain advanced OpenType features, therefore it can be used to its full potential only with programs that support those features. ADDITIONALLY: When setting Dark Angel one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. Please see the “Read–Me–First!” file in the Gallery section.

From 2019 back to the 90s … The typeface “Czykago Rough” by Alexander Branczyk and Manuel Viergutz is a re-issue of the font “Czykago” published in 1995 by the font label “Face2Face”. Designed as a re-release for the Font Foundry “Typo Graphic Design” in 2019. The rough sans serif display font is inspired by the 80s and 90s. Glyhph-Set: Latin Extended (Adobe Latin 3). 907 glyphs with 3× A–Z & a–z and 350+ decorative extras like icons, arrows, dingbats, emojis, symbols, sign of the zodiac, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ❤ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (4× stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Czykago Rough ■ Font Weights: Cond + Stretch + Mix + CondBG + Icons + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 907 glyphs with 350+ decorative extras like icons ■ Lan­guage Sup­port: 80+ for Latin Exten­ded (Adobe Latin 3). Afrikaans, Albanisch, Baskisch, Bemba, Bena, Bosnisch, Dänisch, Deutsch, Englisch, Estnisch, Färöisch, Filipino, Finnisch, Französisch, Friulisch, Galizisch, Gusii, Indonesisch, Irisch, Isländisch, Italienisch, Kabuverdianu, Kalenjin, Katalanisch, Kinyarwanda, Kölsch, Kornisch, Kroatisch, Lettisch, Litauisch, Luhya, Luo-Sprache, Luxemburgisch, Machame, Madagassisch, Makhuwa-Meetto, Makonde, Malaiisch, Manx, Morisyen, Niederländisch, Niedersorbisch, Nord-Ndebele, Norwegisch Bokmål, Norwegisch Nynorsk, Nyankole, Obersorbisch, Oromo, Pare, Polnisch, Portugiesisch, Rätoromanisch, Rombo, Rukiga, Rumänisch, Rundi, Rwa, Samburu, Sango, Sangu, Schottisches Gälisch, Schwedisch, Schweizerdeutsch, Sena, Shambala, Shona, Slowakisch, Slowenisch, Soga, Somali, Spanisch, Suaheli, Taita, Teso, Tschechisch, Türkisch, Turkmenisch, Ungarisch, Vunjo, Zulu ■ Spe­cials: Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (3× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 350+ extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & geometric shapes ■ Design Date: 1995–2019 ■ Type Desi­gner: Alexander Branczyk and Manuel Viergutz

Patrick Griffin's sister is a really annoying individual sometimes. Not only is she into theater, but she thinks everyone else in the universe is into it as well. So once in a while tickets to local or provincial Shakespearean plays get delivered to the mailbox or dropped off on the living room's table. And once in a while the tickets just cannot be "lost" or ignored. Three or four times a year, Patrick must be subjected to Olde Englishe Speake, umbrella dresses and squeezetops, featherhats and men in leggings, rhyme and treason, mortality and immorality, drama inflicted by some mama, and it never ends. Last June it was Hamlet. Again. Someone's (wink wink) idea of a good time. There he goes, the Prince of Denmark, holding that skull with the tips of his fingers like it's an alien egg. Alas, poor Yorick! Yadda yadda boop-bop-a-loo-bop. And so the idea of a font made of skulls was born. And what can we possibly be but conduits for such abhorring ideas? Where be our gibes, our songs, our flashes of merriment? Skullbats has more skulls than you'll ever see in your lifetime. At least we hope so. Scary skulls, funny skulls, evil skulls, strange skulls, pixel skulls, fiery skulls, surprised skulls, happy skulls, sad skulls, cow skulls, sketched skulls, profiled skulls, light bulb skulls, cartoon skulls, techno skulls, alien skulls, expressionist skulls, pirate skulls, horned skulls, and skulls with whacky headgear. You name it, it's there. There's even a disco skull there for you. We lost count at 90 skulls, but there's a few more in there. For a complete showing of the skulls in the font, consult the image in the MyFonts gallery. Patrick's sister didn't turn out to be so bad after all. After making this font, he couldn't help but notice that her skull was a bit small compared to his. So now he takes every opportunity to remind her that the size of the cranium is relative to what it houses. Her upcoming halloween present will be a shirt with guess-what on it. Shirts, now there's putting Skullbats to good use!

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.

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.

Tofes - Modern Serif Font Tofes - Modern Serif Font is a versatile typeface that exudes elegance and sophistication. This font is perfect for any project that requires a touch of luxury and class, such as branding, packaging, logos, and more. The font's name is inspired by the Hebrew word for "apple," which symbolizes beauty and perfection. With its clean lines and modern look, Tofes is a must-have for any designer looking to create stunning and professional designs. If you're looking to create a romantic and elegant branding, Tofes is the perfect font for you. Its clean lines and modern look give it a timeless quality that works well for a variety of design projects. This font is particularly well-suited for use in packaging and logos, where it can help convey the quality and sophistication of your brand. Tofes comes with a range of features that make it a versatile and useful typeface. The font includes both uppercase and lowercase letters, as well as Opentype features such as alternates and ligatures. It also includes support for a wide range of languages, making it a great choice for designers working on international projects. Additionally, Tofes comes with number, punctuation, and symbol glyphs, allowing you to create a wide range of design elements with ease. In the font package, you will find Tofes in three different file formats: OTF, TTF, and WOFF. These formats ensure that the font is compatible with a wide range of software applications, including Adobe Creative Suite, Microsoft Office, and more. This means that you can use Tofes in virtually any design project, whether you're creating graphics for a website, designing a logo, or working on a print project. In summary, Tofes - Modern Serif Font is a versatile and elegant typeface that is perfect for a wide range of design projects. With its clean lines, modern look, and support for multiple languages, Tofes is an excellent choice for designers looking to create sophisticated and professional designs. Its features, including Opentype alternates and ligatures, make it a valuable addition to any designer's toolkit.

The market for humanistic sans serif type families is saturated, so what can a new release add, and what does it take to stand out from the crowd? Asterisk Sans Pro (named after my favourite glyph to make) aims to be a highly versatile type family; massively useful due to its pan-European language support and bounty of OpenType features which make it the ideal choice for demanding typography. The look is contemporary; details which give the fonts character at large sizes all but disappear when small, making the middle weights suitable for large chunks of text. The family ranges from a hairline ultra light to a pretty weighty black – a must in a new typeface. Asterisk Sans Pro supports Latin, modern Greek and Cyrillic, with localized forms for Bulgarian, Serbian and Macedonian to boot. This is rare enough, but to have small caps for all these scripts in both upright and italic fonts is a big plus. Your client may not need all this language support right now, but this typeface gives them the option to grow while keeping a consistent look, and at a similar price point to families with a much narrower scope. The ability to customize Asterisk Sans Pro through the use of Stylistic Sets in OpenType savvy layout programs means you are really in control. Want more italic forms in the uprights? Go for it. A more Roman italic? Easy! The spurless m, n, r and u, accessible through SS13 give a graphic, almost bauhaus feel. The Dutch IJ glyph can be changed to a much cooler thing using SS14, and the family even supports ij-acute. Other OpenType features include a wealth of numeral styles (tabular and proportional, lining and oldstyle, plus small cap figures, numerators, denominators, subscript and superscript) and automatic fractions. There are also case-sensitive forms for all caps settings, a bunch of useful arrows, and superscript lower case Latin letters. All in, there are well over 1200 glyphs per font, making Asterisk Sans Pro an invaluable tool in your typeface arsenal, great for everything from corporate identities to editorial work, apps to cookbooks.

The shapes of the f-holes on a violin reminded German designer André Maaßen of an italic letter "f". Maaßen used these captivating contours as the theme for his type family, Varius. The name "Varius" is an homage to the manufacturer of the violin that inspired Maaßen's project, Antonio Stradivarius, the most famous manufacturer of violins in music history. Varius has three separate styles. Varius 1 and its italic are the base style of the family, and are typefaces in the baroque serif manner. Varius 2 and its italic are slab serif egyptiennes, slightly heavier than Varius 1's more classical forms. Varius 3 and its italic are semi serif faces; their characters are serifed, but some of the serifs have been cut off. The family is rounded out with two pi faces: an ornaments font (which can be used in conjunction with the text fonts, or on its own to create beautiful borders or individual decorative elements), and a font of musical symbols and notations. Each of the six text fonts has dozens of supplemental ligatures included in their character sets. When these fonts are used in an OpenType-supporting application, such as Adobe InDesign, these ligatures automatically appear in text when the "Discretionary Ligatures" feature is activated. Additionally, the character sets include added alternate glyphs, such as a swash "m" or "n" to finish off a line of text. These can be inserted manually in applications that include glyph palettes (e.g., Adobe InDesign or Illustrator CS). All of the Varius family's letterforms appear slightly narrow, and traces of the wide-nibbed pen can be seen within their forms. Additionally, the shape of a violin's f-hole is a reminiscent element within all of the family's curves. Varius is particularly suited for use many applications, such as body text, newspaper text, display text, headlines, posters, books, screen design, and corporate identity. Use in sizes ranging from body copy text to display and poster format allow the different facets of the typeface to effectively present themselves. The effects can be as versatile as the possibilities! Due to its special character, the typeface could be used in the design of a logo, or within an appropriate corporate design context, to particularly stress individuality.

The type­face Hand Stamp Swiss Rough Sans is desi­gned for the Typo Gra­phic Design font foundry in 2015 by Manuel Vier­gutz. A dis­play sans serif type for head­lines with an authen­tic used stam­ped style by hand. It star­ted ana­lo­gous with 42 stamps. Vin­tage look plus state-of-the-art OpenType-features like con­text­ual alter­na­tes (calt) for more hand-stamped fee­ling with the auto­ma­tic gene­ra­ted sty­li­sitc set loop. Deco­ra­tive liga­tures like CT, LL, LI, LU, MM, OO, TH, TT, TU, UH and Ver­sal Eszett (Ger­man Capi­tal Sharp S) type the word LOVE for ❤ and the word SMILE for ☺. Cha­rac­ter Set: Latin Exten­ded (Adobe Latin 3). 1086 gly­phs with 4× A–Z, 4× a–z, 4× 0–9 and 100+ extra icons like arrows, ding­bats, sym­bols, geo­ma­tric shapes, catch­words and many alter­na­tive letters. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE! Example of use from the Font The font works best for head­line size. Logo, Pos­ter, Edi­to­rial Design (Maga­zine or Fan­zine), Flyer, Music Covers or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, Animations … ■ Font Name: Hand Stamp Swiss Rough Sans ■ Font Weights: Regu­lar + Mix + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play & Deco­ra­tive ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1086 gly­phs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 100+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Access All Alter­na­tes (aalt), Sty­listic Alter­na­tes (salt), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Old­style Figu­res (onum), Lining Figu­res (lnum), Tabu­lar Figu­res (tnum), Slas­hed Zero (zero), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

Fantini is the revival and elaborate update of a typeface called Fantan, made in-house and released in 1970 by a minor Chicago film type supplier called Custom Headings International. In the most excellent tradition of seriously-planned American film faces back then, CHI released a full complement of swashes and alternates to the curly art nouveau letters. Fantan didn't fare much among the type scene's big players back then, but it did spread like electricity among the smaller ones, the mom-and-pop type shops. But by the late 1980s, when film type was giving up the ghost, most smaller players in the industry were gone, in some cases along with little original libraries that existed nowhere else and became instant rarities on their way to be forgotten and almost impossible to resurrect for future technologies. Fantini is the fun and curly art nouveau font bridging the softness and psychedelia of the 1960s with the flirtatious flare of the 1970s like no other face does. Elements of psychedelia and funk flare out and intermix crazily to create cool, swirly letters packed with a lot of joy and energy. This is the kind of American art nouveau font that made its comeback in the late 20th century and is now a standard visual in the branding drive of almost every consumer product, from coffee labels to book and music covers to your favorite sugar or thirst-crunching fix. Alongside Fantini's enormous main font come small caps and three extra fonts loaded with swashy alternates and variations on plenty of letters. All available in all popular font formats. Fantini Pro, the OpenType version, packs the whole she-bang in a single font of high versatility for those who have applications that support advanced type technologies. In order to make Fantini a reality, Canada Type received original 2" film specimen from Robert Donona, a Clevelander whose enthusiasm about American film type has never faltered, even decades after the technology itself became obsolete. Keep an eye out for that name. Robert, who was computer-reluctant for the longest time, has now come a long way toward mastering digital type design.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Morris Fuller Benton, the principal designer of the American Type Founders, designed Mariage in 1901. Mariage, which has been sold under a plethora of different names during the last century, is a blackletter typeface belonging to the Old English category. The term blackletter refers to typefaces that stem out of the historical printing traditions of northern Europe. These letters, called gebrochene Schriften, or "broken type" in German, are normally elaborately bent and distorted. Their forms often print large amounts of ink upon the page, creating text that leaves a heavy, black impression. The Old English style is a subset of blackletter type that dates back to 1498, when Wynken de Worde introduced textura style printing to England. Continental printers had been printing with textura style letters since Gutenberg's invention of the printing press fifty years earlier. Italian printers stopped using them around 1470. For northern Europeans, texturas remained the most popular form of typeface design until the invention of the fraktur style in Nuremberg. Mariage is heavily classicized sort of Old English type. During the Victorian era, designers admired the Middle Ages for its chivalric, community-based values and its pre-industrial lifestyle. Yet they also found the basic medieval textura letterform too difficult to read by present standards. They desired to modernize this old style. Today, this sort of update is often referred to not as "modernization" but as classicism. Benton's design for ATF builds upon earlier Victorian classicist interpretations of Old English/textura letters. For an example of what these Victorian designs looked like, check out the popular 1990 revival of the genre, Old English . Old English style types often appear drastically different from other blackletters. For contrast, compare Mariage to a classical German fraktur design, Fette Fraktur , a schwabacher style face, or the popular early 20th Century calligraphic gothic from Linotype, Wilhelm Klingspor Gotisch . Especially in the United States, classicist Old English typefaces are thought to espouse tradition and journalistic integrity. These features, together with the inherent, complex beauty of Mariage's forms, make this typeface a perfect choice for certificates, awards, and newsletter mastheads.

Inspired by early grotesque typefaces such as Akzidenz Grotesk and Venus, Werksatz is our contemporary interpretation of this beloved genre. Some things are timeless. These are the things that only get better with use. The aforementioned typefaces certainly belong into this category. Rediscovered by designers from every generation again and again, they are here to stay. However, as tools evolve and technology moves on, even a well-tried design has to adapt to this evolution continuously in order to stand the test of time. Werksatz is such an adaptation, taking the best from the invincible classics and infusing them with the warm blood of today’s tech. With 10 weights from Thin to Black, each with painstakingly fine-tuned obliques, and more than 940 characters per style, this font family is ready for the future. Its Extended Latin support ensures you won’t miss a letter in any of hundreds of languages. Special glyphs like three variations of arrows and additional shapes will make your design work so much easier—for well-structured forms as well as radical editorial layouts. Among a treasure trove of OpenType features, you’ll find essentials such as Capital Spacing, Case-Sensitive Forms, and Ligatures, but also advanced functions like Small Caps, Subscript and Inferior figures and letters, plenty figure sets (Lining Figures, Tabular Figures, Old-Style Figures, circled and squared figures, figures for small caps … you get the idea), Slashed Zero, and more. You’ll discover that Werksatz is less formalistic and rigid than your average neogrotesk typeface. Sure, you can use it for serious business—whether in corporate design, branding, editorial design, publication design, or web design for industries and topics ranging from politics, government, management, or law to technology, entrepreneurship, commerce, or finance. However, Werksatz is much more versatile than that. Its more human appearance also allows for effective use in culture, fashion, art, entertainment, sports, exhibitions, leisure, and luxury. It’s an excellent choice for wayfinding applications, apps, packaging, and all kinds of nonfiction books. Other Grotesks with big names are left behind outdated by their proprietors, but Werksatz is here to stay. The classic industrial warmth of these letterforms will age like fine wine.

When Dupla was designed, its DNA shown the best of the typographic heritage from the XIX century types, the oldest san serif known, also named as “Grotesk”, a soft synonym for bizarre, unnatural weird. XIX century Germans' eyes were surprised, astonished by the formal strangeness that provoked the mutilation of the well known serifed types. But the skeleton and DNA are barely perceptible, an invisible part of the nature of objects. We are interested in the epidermis, the outer, the visible, which directly speak to the eyes, and Dupla tells us with overwhelming presence, that is a formal, traditional type, covered with a childlike sweetness, with slight curves, epidermic, sweetening even ink’s traps up. Frutiger said that Latin alphabet letter’s minimum skeleton is like a lock where you should fit all the letters you see, but that skeleton allows many skins. We use a different skin for every specific use. And Dupla’s skin points to how generous, how friendly it is; the sweetness of the big and good-natured. They do not feel very comfortable in low-cost airplanes company’s seats, but in the proper location with enough room, they'll fill the atmosphere with kindness. Do not ask for narrow columns, or terse captions in squalid sizes; do not ask for ridiculous “small print” in dark contracts where «The party of the first part shall be known in this contract as the party of the first part …» That’s not for Dupla. Large headlines, generous width columns to cover, rude pullquotes half-breaking columns, loud exclamations, great sizes, with black weights. It’s in the insultingly generous, almost obscene use where Dupla is felt. And if you consider this a obscene, gargantuan, typographical feast, Dupla brings you everything to demonstrate that quantity does not mean less quality. Multi-language support, Latin plus full coverage, complete sets of small caps, fractions, old numerals, modern, tabular, bonds and all the “gourmet” paraphernalia that Patau has accustomed us, after many years of work. If you want to be obscene and pass the censorship, use Dupla. Hedonism is just a venial sin.

Step right up folks and feast your eyes on the most authentic and pure font to ever grace the pages of your ad campaign. Bristles is the name, and it’s a font that speaks volumes of homegrown authenticity with every brushstroke. As you gaze upon this sun-bleached and weathered sans-serif, you’ll notice how the paint barely holds onto the substrate. It’s as if the letters themselves are just barely hanging on, like they were painted decades ago and left to weather the storm. But that’s what makes Bristles so special. Its wispy, textured lettering gives your message a voice of purity that simply can’t be replicated by other fonts. Each letter has its own unique character, telling a story that only a sign painter’s hand could convey. And with its letter pair ligatures, Bristles breaks up the monotony of blatantly repeating characters in OpenType-savvy apps. It’s a font that’s as versatile as it is beautiful, perfect for any project that needs a touch of old-school authenticity. So what are you waiting for? Give your message the voice it deserves with Bristles, the font that speaks volumes of homegrown authenticity. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Averta Standard is the basic version of Averta. Bringing together features from early European grotesques and American gothics, Kostas Bartokas’ (Greek: ‘αβέρτα’ – to act or speak openly, bluntly or without moderation, without hiding) Averta is a geometric sans serif family with a simple, yet appealing, personality. The purely geometric rounds, open apertures, and its low contrast strokes manage to express an unmoderated, straightforward tone resulting in a modernist, neutral and friendly typeface. Averta Standard is intended for use in a variety of media. The central styles (Light through Bold) are drawn to perform at text sizes, while the extremes are spaced tighter to form more coherent headlines. The dynamism of the true italics adds a complementary touch to the whole family and provides extra versatility, making Averta Standard an excellent tool for a range of uses, from signage to branding and editorial design. Averta Standard comes with alternate glyphs, case sensitive forms and contextual alternates, in eight weights with matching italics and supports over two hundred languages with an extended Latin, Cyrillic (Russian, Bulgarian, and Serbian/Macedonian alternates), Greek and Vietnamese character set. It ships in three different packages offering different script coverage according to your needs: Averta Standard PE (Pan-European: Latin, Cyrillic, Greek), Averta Standard CY (Latin and Cyrillic), and Averta Standard (Latin and Greek). Averta's Cyrillic have received the 3rd Prize in the 2017 Granshan Awards in the Cyrillic Category.