The Colville fonts began their existence in 2015 as a project-specific typeface, made to be used on a custom-made headstone commemorating Canadian artist Alex Colville (1920-2013) and his wife Rhoda Wright. For that purpose, some initial shapes were modelled after letters Colville himself had used on a Governor General gold medal he designed in the mid-1970s. From there started a year-long project that culminated in a set of four comprehensive fonts ranging in weight from Light to Bold, each containing over 750 glyphs to cover Pan European language support, stylistic alternates, five sets of figures, automatic fractions, and some ornaments rooted in Alex Colville’s art. These fonts exhibit a strong art deco aesthetic that has always been a favourite of architects, metal casters, and sign makers. This is a very humanist geometry alternating from the precisely calculated to the curvy and lithe, subtle contrast, flat stroke stops, and airy proportions that make for a counterspace built for accommodation and comfort. The breadth and timeless humanism of the Colville set makes fit in a variety of applications, from straightforward headlines, titles, and emphasis captions, to branding and packaging.

This font began its life as a project to design a T-shirt for a student group on a large midwestern university. It has now grown up into a unicode font, including Greek and Cyrillic. It has that look and feel of the T-shirts that are ubiquitous on the campuses of colleges and universities over the world. It would make an ideal tool for designing them, as well as posters and banners. Characters in these fonts include Latin, for English and other European languages; small a and c for names like MacDonald; many fractions, including 0/3 needed in baseball; Latin with diacritical marks for Eastern and Western European, Turkish, and Baltic languages; thorn, eth, cedilla, AE, OE, and sharp S for French, German, Icelandic; Latin extensions for clicks of some African languages; Greek (with tonos); Cyrillic for Russian and many other Slavic and Asian languages that use it; most Runes (the full Futhark plus a few more); six-point Brialle; currency symbols for dollar, cent, pound, yen, euro; and a few other extras like the peace sign. Available styles are regular block letters, outlines, and bold.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Variable Font The Variable Font contains 3 axes: weight, oblique and optical size – all in just one file. Features With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the usual version of the Spitzkant family here: https://www.myfonts.com/fonts/julien-fincker/spitzkant/

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

This font set is based on the handwriting styles of quintessential American artist Edward Hopper and his wife, Josephine Nivison Hopper, and was produced in conjunction with the Whitney Museum of American Art. Both artists kept a record of Edward's paintings in a series of journals, which provide the basis for this set. Unlike font sets which feature two similar handwriting samples of one artist, the Edward Hopper font set presents two distinct handwriting styles. The Edward Hopper font is typically masculine, with its sharp angularity, while the Josephine Hopper font presents an interesting contrast, given its elegant, rounded shape, with significantly more flourish. The extras, culled from the aforementioned journals, feature 52 Hopper sketches, which run the gamut from landscapes to nude studies.

About the design Spitzkant is a serif typeface family that is characterized by strong contrasts. Pointed, sharp serifs and edges contrast with round and fine forms, making it very individual and expressive. This makes it particularly suitable for branding, editorial, packaging and advertising. The high-contrast display version has been complemented by a lower-contrast text version, making Spitzkant in combination suitable for both strong headlines and extensive body text. An allrounder that can be used for many purposes. Features The Spitzkant Head and Text family has a total of 2 optical sizes, 5 weights and 20 styles, from thin to bold and matching italics. With over 850 characters, it covers over 200 Latin-based languages. It also has an extended set of currency symbols and a whole range of open type features. For example, there are alternative characters as Stylistic Sets, Small Caps, automatic fractions and many other features. Ligatures Especially the extensive selection of ligatures (standard and optional) is a special feature which was an important part during the design process. With over 95 different ligatures there are many possibilities to give headlines and logos an individual touch. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/spitzkant-variable/

We named this font Scholz Secession. Fin-de-siecle Vienna, Austria is the source of this Jugendstil design from Schriftgiesserei Eduard Scholz. The original release was under the name Reklameschrift Secession. Most of the curve strokes look like commas to me. The letters are as soft and plump as the comforter on the bed I slept on in a Salzburg B&B many years ago. I was traveling with a college buddy and our next stop was Vienna. There a kind, young student named Hanna and her boyfriend took us under their wing. One of the places Hanna proudly showed us was Otto Wagner’s Majolika Haus, built in 1898, and only about 8 blocks from Secession Hall. Hanna explained to us that the style was called Jugendstil and represented Art Nouveau as interpreted within the framework of their culture. I even took a picture. After all, memories are part of who we are. Figures are old-style for text use. This font would not be my first choice for a spread sheet. Included are German ligatures ch (alt-0123) & ck (125), two period ornaments (135, 175) and lower case o and u with Hungarian long umlaut (215, 247)). A very likeable and easy-to-use font.

TELEPATH Telepath by Coniglio Type, first appeared in 1998. It is now in opentype .otf as of 2021. Telepath is a master sampling of a Royal office typewriter of industrial strength provided by the Miller Furniture store, of Dunkirk, New York. It had a baseline set of numbers to make accounting practices easy and line up nicely on the statements. (No gentile old fashioned numerical ascenders and descenders.) Yet, for a a rather old and stolid machine, it was very luxurious and built to definitely take the test of time. Cudo's for Royal Typewriter Company, is all I can say. The set of images were very carefully gathered and has fallen into the preferred category for a typewriter font that has it all. The font has exceptional value as a text font -and- a display font. It contains a great deal of graphic information and doesn't spike at higher sizes. Telepath presents a strikingly handsome typewriter font with a uniquely intuitive difference. Unlike the original source material—scans of monospaced typewriter copy, every font is painstakingly hand kerned for your most demanding copy fitting work in justified or casually ragged settings for print or the web. All Coniglio Type fonts are 100% embeddable. It will get you there.

"I digitized and to revitalize NurnbergSchwabacher by the extinct Haas'sche Schriftgiesserei, a German/Swiss foundry established in 1790 and based in Basel/Münchenstein. Many of its shares were acquired by D. Stempel in 1927. On the Luc Devroye site this foundry is listed on the Extinct Foundries of the 18th century page. This design is very similar to another Intellecta best seller: Hostetler Fette Ultfraktur Ornamental, both drawn from the classical type specimen book from Hostetler. The ornamental frame that completes the font is a fantastic baroque ornament that I found in another old book, unfortunately lost now. Luc Devroye, whose book is the source for all of my fonts, writes this about Rudolf Hostettler: He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of "Technical Terms of the Printing Industry" (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

ITC Tabula is meant to be read. The design grew out of a study to create a font to set film subtitles. According to Julien Janiszewski, the face's Paris-based designer, “I set parameters for the design whereby the letters had to be able to hold up at very small sizes when set on film and yet must be able to be enlarged 2000 times to be read on a theatre screen.” The subtitle font was not completed, but several months later Janiszewski revisited the design and made a discovery. “I realized that the constraints I had established for the subtitling font was not that far from those people could have in creating typographic signage. Many time this calls for a font that can be used easily in very large sizes for headlines on highway billboards and quite small for text copy.” Work proceeded for two more years before Janiszewski was satisfied with the results. The final design is a somewhat squared sans serif family of four weighs with corresponding italics. Janiszewski also wanted to create what he calls a “sensitive sans-one that is not restricted to geometric shapes but has a subtle calligraphic, foundation.” ITC Tabula is not only easy to read, it is also a distinctive and handsome design.

Business Penmanship is an ode to the business handwriting from the era penmanship was a highly-valued part of business education and practice.
  In the early 1800s, Platt Rogers Spencer (1800-1864) created what would become the most widely accepted and prized cursive writing method used in business. Before the American Civil War, Spencer was the undisputed king of handwriting. He was also an outspoken supporter of American business education. By the late 1800s business education included some focus on penmanship, and there were many colleges that specialized in it. One of the most influential penmanship schools was founded by Charles Paxton Zaner and his partner E. W. Bloser. Later on, in the early 1900s Austin Palmer introduced the Palmer Method of business penmanship, and it soon became the most popular handwriting system in the United States.
  Business Penmanship is a single feature-rich font that includes over 1100 characters, covering ligatures, alternates, a large set of beginning and ending extensions, as well as a wide range of Latin-based languages, including Turkish and the languages of Central and Eastern Europe and the Baltic region. To take advantage of all the OpenType features included in the font, please use within programs that support such advanced typography.

Bold, muscular, vaguely oriental, Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. The straight-forward, no-nonsense name tells us exactly what to expect: sans-serif letterforms based on wedge-shaped vertical strokes. The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. What is the opposite of "straight-forward" anyway? According to McGrew, Wedge Gothic was originally created for the Chicago Herald newspaper. The designer is unknown. A distinctive display face, useful when a strong and unusual statement is desired. Wedge Gothic ML features: 1. Glyphs for the 1250 Central Europe, the 1252 Western Europe, the 1254 Turkish and the 1257 Baltic Code Pages. Total of 335 glyphs. 2. OpenType GSUB layout features: pnum, ornm, hist & salt. 3. 66 kerning pairs. 4. Both tabular & proportional numbers. 5. Alternate bullets. The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Eight designers present a set of icons that indicate the fun and fantastic world of signage. Each collaborator's solution represents a completely different interpretations on signage vernacular. Akira Kobayashi's "Subsumption", obscured by foliage, offers a perspective that signs on Japanese roads can be vague and beautiful. M.A.D.'s "People Signs" is a graphical association of people signage with a variety of well known situation symbols. Cynthia Jacquette's "Honest Arrows" are a series of arrows that attempts to honestly tell you how to get from point A to Point B in a big, confusing city. Mike Kohnke's "Road Kill" and the "Bump & Bruise" highlight how signs make for perfect targets when unloading a round of buckshot, and the licking a contruction barrier often endures. Joachim Muller-Lance's "Traffic Blends" places faces on things! Hey, didn't you give your first car a nickname? Cars are alive, you know - they guzzle and smoke all day. Jean-Benoît Lévy's "Inner-State" was inspired while reading the California driver handbook to pass a driver's test. Kevin Roberson's "Tail Lighting" reminds us to drive carefully and not to forget to signal. Diana Stoen's "Drivers Out There" shows us "driver personality archetypes", including the lil'ol lady that everyone tries to avoid.

Peleguer typeface is the reinterpretation of the characters that the valencias goldsmiths Peleguer Manuel, father and son had opened and merged between 1779 and 1783 on behalf of the Royal Economic Society of Friends of the Land of Valencia “in order to create a Factory letters. Then during that time, reached 6 degrees of open letters (small pica, pica, gross pica, text, great primer and double pica). It appears that the letters never were done, and were themselves Manuel Peleguer who kept the punches and dies, leading to create a foundry-printing which only came out 5 or 6 books or documents for the single year of 1784 . One of these books, “Praise in the solemn funeral service …” made ​​with the degree of “gross pica” samples were selected to take the characters for subsequent drawings on the following parameters for the unity and a contemporary look to the source: Keep the proportions of the original source (but unifying the shapes of the serifs, as these were different according to repose at baseline or in descending order). Match the counterforms and match the fallen traces from the cursive. En short, “catch” the formal essence of the source and following update current typographic design criteria to achieve a source with good legibility and subtle personality.

ATF Poster Gothic is an expansion of a typeface designed in 1934 by Morris Fuller Benton for American Type Founders. The one-weight design was a slightly condensed display companion to Benton’s ubiquitous Bank Gothic family. This new family of aggressively rectilinear headline types expands the design’s possibilities, offering 30 fonts. The all-cap design sports square corners in the counters, creating tension between angular and curved details; this feature, and the generally rectangular shape of the whole alphabet, makes ATF Poster Gothic distinctive on the page or screen, while its relationship to Bank Gothic makes it seem somehow familiar. Vertical strokes on the C, G, J, and S, as well as on several of the numerals, are cut off at an angle, which suggest the curves those strokes might typically display if the characters were less boxy in design and more along the lines of late-19th-century headline faces. Certain weights also recall the style of lettering used on athletic team jerseys, television crime dramas, action & adventure movie titles, and engraved stationery. With three widths and five weights, ATF Poster Gothic is distinctive and versatile at the same time. The full family is also available in a “Round” version, with corners subtly rounded for a softer, more “printed” feel.

Remember when a coyote was a light-boned rangy member of the canine family and not the name (spelled C-A-O-T-I) of your neighbor's four year old daughter? When a cricket was a leaping, chirping insect and not the name (spelled K-R-I-Q-U-I-T-T-E) of your purple-haired, pierced-tongued waitress? When Madison and Austin were cities, when brie was a variety of cheese, when radon and alar were hazardous substances and NOT FIRST NAMES? Burghal Design remembers the good old days, when people were not named Whisper, Zandren, Skylar or Dakota but were called Eleanor, Arthur, Edward and Irene. In the spirit of these classic monikers, we give you Mildred, a script font family for proud and simple folk: the down to earth Mildred Plain, hearty Mildred Stout, the barely-there Mildred Scrawn,and the barfly Mildred Cocktail. There's also the slightly more formal (but still all-purpose) Mildred Fancy, bolder Mildred Strong, and the wisp of Mildred Mild. Rounding out the family is Mildred Ornaments, a collection of symbols that can be used for snowflakes, for bullets, or just for fun. Mildred: just an old-fashioned, hard working font.

MVB Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.

The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but – due to its smooth taste – a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick ‘Syndicate International’ organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. VLNL Gindicate is a rounded modern sans serif family, suitable for a multitide of applications, corporate or otherwise. It has somewhat of a warm sci-fy feel, without being overtly techno-ish. In the family are 3 regular weights (Light - Regular - Bold), but also an Inline and Multiline weight for extra design possibilities. Company logos, brand identities, music flyers or posters, you name it. VLNL Gindicate will spice up any design. Bottom’s up!

The Deberny typeface is an interpretation–carrying a contemporary imprint–of a typographic style which appeared and spread at the end of the 19th century until the begining of the 20th. These typefaces were named Italian, Venetian, Veronese and were classified in the Hellenic category, a spontaneous typographic movement caracterized by triangular and heavy serifs. They found their inspiration among numerous references, from incised to slab serif typefaces and their extreme expressions in wood type letterforms. The Deberny font family is made of 26 styles in 3 complementary sets of style, offering a wide palette of visual resonance: • Deberny Line is ideally suited for editorial, branding, posters and billboards. It has sharp contrast between thick and thin strokes. Heavy horizontal strokes are not frequent in roman letters, but here they fit naturally with the italic letters. • Deberny Open is a stylish outline declination of Deberny Line Medium and Medium Italic. • Deberny Text is an adaptation of Deberny Line made for broader use. Its shapes are less contrasted, which makes it perfectly legible for print or screen reading in small size text. Old style figures and small caps complete Deberny Text in all its 8 styles. The Deberny typeface family supports Latin-based languages and will be available soon in Cyrillic and Greek. Deberny Narrow will be released this year in all its 26 styles.

Introducing "Kukulkan," a font designed by Raúl Plancarte, adorned with accolades, that unravels the structural possibilities nestled within the realms of ancient Roman letters and fantastical styles, infusing them with a contemporary essence. This typeface exudes a conspicuous plasticity and expressiveness, seamlessly harmonizing within its original intended context as a font for continuous text, bolstered by its robust and assured strokes. It stands as the triumphant culmination of a thorough exploration, meticulously considering legibility. Infused with nuanced elements that evoke a pre-Hispanic idealization of Mayan culture, this essence takes center stage in its darker iterations. However, it is adept at adapting to a myriad of ethnic and cultural nuances prevalent in our global village. Noteworthy is the fact that the "Kukulkan" font family is available as a variable font, offering a dynamic range of styles across its 18 fonts, endowing it with a lively, human, and refined demeanor. Additionally, it features a variant known as "Kukulkan Ornaments," a collection of 150 dingbats comprised of icons, symbols, and frames intricately inspired by the iconography of Mayan hieroglyphs. In its natural application, "Kukulkan" thrives in contexts of art, lifestyle, culture, seamlessly bridging tradition and avant-garde. This font excels in the realm of editorial design, evident in its adeptness at crafting robust headlines, and in select cases, it lends itself to creating striking brand identities.

STF Eclectic Two contains more of the useful and the sublime. Alarm clock time icons and many characters which connect add extra usefulness to this dingbat font. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. With over 100 characters in the complete set, you'll find yourself using Eclectic Two almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcTwo features an complete architecturally-inspired alphabet, more of those smiley face variations, the eight ball, alarm clocks for the hours, the bouncing ball (with connecting dotted lines!), the paper airplane (flying and crashed!), the work dog, the chainsaw, Dorothy's slippers, the sideways arrows again, a handicapped symbol, chicken feet tracks, male/female symbols, gears, polynesian-inspired ornaments for patterns, a lighthouse, a torch, and more. Sounds twisted, eh? Make your own juxtapositionsof characters for funky borders. Available in Mac and PC formats. License it today!

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable font contains 2 axes: weight and oblique – all in just one file. Features: With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the static version of the Garino family here: https://www.myfonts.com/fonts/julien-fincker/garino/

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/garino-variable/

Tomi Haaparanta got the idea for the Tyke typeface family after using Cooper Black for a design project. He liked Cooper's chubby design, but longed for a wider range of weights. “I wanted a typeface that was cuddly and friendly,” recalls Haaparanta, “but also one that was readable at text sizes.” He started tinkering with the idea, and Tyke began to emerge. Even though Haaparanta knew his boldest weight would equal the heft of Cooper Black, he began drawing the Tyke family with the medium. His goal was to refine the characteristics of the design at this moderate weight, and then build on it to create the light and bold extremes. Haaparanta got the spark to design type in 1990, when he attended a workshop held by Phil Baines at the National College of Art and Design in Dublin. “I've been working and playing with type ever since,” Haaparanta recalls. He released his first commercial font in 1996, while working as an Art Director in Helsinki. After about two dozen more releases, he founded his own type studio, Suomi Type Foundry, early in 2004. At five weights plus corresponding italics, Tyke easily fulfills Haaparanta's goal of creating a wide range of distinctive, completely usable designs. The light through bold weights perform well at both large and small sizes, while the Black is an outstanding alternative to Cooper for display copy.

The Wingdings™ 1 font was designed by Kris Holmes and Charles Bigelow in 1990 and 1991. Wingdings 1 originally named Lucida Icons, Arrows, and Stars to complement the Lucida text font family by the same designers. Renamed, reorganized, and released in 1992 as Microsoft Wingdings(TM), the three fonts provide a harmoniously designed set of icons representing the common components of personal computer systems and the elements of graphical user interfaces. There are icons for PC, monitor, keyboard, mouse, trackball, hard drive, diskette, tape cassette, printer, fax, etc., as well as icons for file folders, documents, mail, mailboxes, windows, clipboard, and wastebasket. In addition, Wingdings includes icons with both traditional and computer significance, such as writing tools and hands, reading glasses, clipping scissors, bell, bomb, check boxes, as well as more traditional images such as weather signs, religious symbols, astrological signs, encircled numerals, a selection of ampersands and interrobangs, plus elegant flowers and flourishes. Pointing and indicating are frequent functions in graphical interfaces, so in addition to a wide selection of pointing hands, the Wingdings fonts also offer arrows in careful gradations of weight and different directions and styles. For variety and impact as bullets, asterisks, and ornaments, Windings 1 also offers a varied set of geometric circles, squares, polygons, targets, and stars. Character Set: Picture/Symbol

Have you ever searched for a font that looked like it was really someone's handwriting, only to find that it was too feminine or too hard to read? I used to want a font like that, too, until I discovered that a font like that had been residing in my attic, in letters to me from my late grandfather. Not only was I thrilled to have a font like this at hand, but also one that would be a memory of my grandfather every time I used it. He was a hard-working man, raising a family during the Depression, yet was still fun-loving, kind, and generous. We called him Grandhappy. As a wedding present, I received from him rolling pins and a cutting board made of 8 different kinds of wood that he pieced together. In this font, the bullet is a rolling pin in honor of that! Other than the fact that this is a font from the hand of one greatly loved, my favorite thing is that although a True Type Font, it has some features of an Open Type font. There are many alternative letter choices available through the use of little-used keys on the keyboard and alt codes. This font was chosen to portray Jay Gatsby's handwriting in The Great Gatsby (2013).

Trajan The original template for this one-weight, all-caps font was the inscription on Trajan’s Column, carved in AD 113 to celebrate the emperor Trajan’s victory in the Dacian Wars. College student Jason Smith copied the stone lettering from the cast on display in London’s Victoria & Albert Museum. In Roman times, the signmaker would paint letters onto stone with a wide brush for the stone mason to chisel out later. The signwriter would end each stroke with a flick of his brush, which the mason would also carve into the stone. Ecce (as they would have said in Rome): the serif was born. Hand-crafted “I first drew this typeface when I was 17,” says Jason. “I drew it with a very sharp 9H pencil on polydraw film. “Then, using a Rotring pen, I inked the letters in and scraped back the serifs so they were perfectly sharp. These letters were then reduced on a PMT camera. I’d designed my first typeface, although it wasn’t digitised till much later.” Digitised Years after Jason had drawn the original typeface, its transfer into digital form made further refinements necessary. The serifs and weights needed thickening slightly, creating a crisp, new version whose delicate elegance is best appreciated in larger sizes. A classically-inspired font, timeless and perfectly-proportioned, to reflect the refinement of premium brands.

Grappa, a traditional Italian spirit with a rich history, shares much in common with typefaces - both embody cultural heritage, craftsmanship, and a sensory experience. Grappa is distilled from the skins, pulp, seeds, and stems left over from winemaking, resulting in a strong and aromatic drink that varies in flavor based on the grape and distillation process. Similarly, typefaces are designed characters that convey a unique style, weight, and form, communicating messages and expressing ideas through text. We are thrilled to introduce Grappa, a stunning new font based on the classic "Invitation" typeface by Morris Fuller Benton, a renowned American designer. Grappa features nine weights and a variable font that offers greater customization, with unique triangle serifs that give it a distinct edge. The font also comes with a variety of alternates and swash characters, including a second version with modified alternate characters for even more design flexibility. Like Grappa, typefaces evoke emotions and cultural associations, often associated with specific historical periods, artistic movements, and contexts. Whether used in stationery, packaging, editorial design, or branding, Grappa is a versatile and timeless font that can add elegance and sophistication to any project. In conclusion, Grappa is an excellent addition to any designer's toolkit, offering a perfect blend of tradition and modernity. The font's distinctive personality and cultural connotations make it a beloved drink in Italy, and a font that can effectively communicate messages and ideas through text.

Montage has played a weighty role in some of the most influential and enduring typography of the past few decades, from book jackets and album covers, to posters and logos…you name it. Exhibiting an uncommon ability to wield immense power while demonstrating extraordinary finesse, Montage’s commanding profile packs a hefty punch which is softened only by its lithe yet durable serifs. Originally designed for Photo-Lettering in the mid-1960s by type legend, Ed Benguiat, the fonts were given a jump start by Jess Collins before ultimately being shaped into five compatible widths by longtime House co-conspirator, Mitja Miklavčič. Under the guidance of Ben Kiel, along with some additional chin-stroking by Ken Barber, Montage has been fully developed into a robust family ready to tackle any challenge you can throw at it. FEATURES LIGATURES: In order to ensure that Montage maintains its bold presence in tricky text settings, we’ve added a handy set of pre-drawn letter combinations. When enabled, the Ligature feature identifies problem pairs like—fl, fi, ff, ffl, and of course, fyi—and substitutes them with glyphs optimized to enhance font performance. ALTERNATES: For fickle typographers, we’ve also added a handful of alternate characters to allow Montage to suit any number of mood 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.

Cloister Open Face was designed in 1929 by Morris Fuller Benton as one weight of the Cloister Old Style family. Cloister itself appeared from 1897 with American Type Founders, and later for the typesetting machines of the Linotype, Intertype and Monotype companies. At that time, it was the truest modern industrial revival of the Jensonian Roman. Benton stayed close to the style of his model in both design and spacing. Cloister Open Face has an old-world elegance, and it works well for titling in books and magazines. In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e.""

STF Eclectic One is a visual cornucopia of symbols, like the junk drawer in your kitchen. Stuff you'll need someday for a graphic element, bullet or dingbat application. Perfect for website icons! The Eclectic family is legendary, with a cult-like following among the inititated. As one of the first dingbat fonts available on the web, it gain popularity after its design in the early 1990s. With over 150 characters in the complete set, you'll find yourself using Eclectic One almost daily to add spice to your otherwise san-serif typographic existence. This font is essentially a soap opera of typographic image elements, created for projects when I couldn't find the "thingbat" I needed. Almost more of a collection of illustrations, there are many characters which connect to form patterns, and of course it's like a "small neutral European country" army knife for the creative community. EcOne features complete hour, quarter, and half-hour notations in an analog clock design glyph, recycled/recyclable symbols, a registration mark, a toaster, globes, sideways diamond arrows, spaceships, stoplights, the "running man," several atomic references, da buzz saw, target icons, the unusual smiley face floating in a ball (with a drop shadow, no less!), and the fish skeleton which complements the fallout shelter symbol, and more. Make your own juxtapositions! One reviewer proclaims "for whatever you do, Eclectic One is an excellent dingbat source." Available in Mac and PC formats. License it today!

Huai and Huai Thai marks the first professional typeface release by Potch Auacherdkul and represents the culmination of research into the duality of influences between handwritten, vernacular Thai lettering and Latin typefaces. The result is a warm, expressive typeface that doesn’t abandon the human hands and the language that produced them. With Thai script, there are two different terminal styles—the Loop terminal style, associated with the original forms of Thai glyphs; and the Loopless, which has evolved to best coordinate with Latin sans serif typefaces. In recent years, this Thai Loopless style has continued to influence and even change to become ‘more Latin.’ One would go so far as to define these heavily Latin-influenced typefaces as Thai Latinized. This curiosity with shifting influences, turns the idea around and explores what would happen if the vernacular Thai scripts actually influenced their Latin counterparts instead. An Inversion of Thai Latinized is the result. The street signs of Bangkok, local vernacular writing, quick, fluid strokes… these influences form the DNA behind the Huai Thai typeface. Refining and systematizing those natural, handwritten strokes into a Thai typeface and then using those solutions to serve as the pioneer proportions behind the development of its Latin script companion was the product. Huai adopted the essence of these Thai glyphs into the Latin and uniquely embraced the contemporary writing system (and soul) of the Thai people in its letterforms.

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

A playful handwriting of a child Twelve-year old Tobias Düsel designed the characters of this font in 2002 during his family’s furlough in the USA. He drew the alphabet freehand in pencil on a piece of stationery, and clearly had examples of the well-known college and military fonts in mind. The characters in their basic form are geometrically thought out, as well as the construction of the shadows. But remarkably, while drawing, Tobias Düsel did not reach for the obvious aid of a ruler. In fact, the strokes of the letters are not linear, rather are recognizably well-balanced with declining and increasing straights as can be seen in polished classical fonts. Originally this font consists only of upper case letters — all other characters (punctuation marks, figures and similar) have been modified from the components of the capital letters. Complementary to the original Outline-Shadow-Version TobyFont Empty, the variations TobyFont Inside and TobyFont Full are also available. ”Empty“ is, so to speak, the frame of the typeface as “Inside” is the filling, and “Full” is the sum of both. All three versions have the exact same body size so that they can be placed over one another congruently. In this way the effect of a font in two or three colors can be attained. TobyFont is excellently suitable for designing “picturesque” or “hand-carved” contents; large weights are especially charming and striking.

Lycia (Lycian: 𐊗𐊕𐊐𐊎𐊆𐊖 Trm̃mis; Greek: Λυκία, Lykia; Turkish: Likya) was a geopolitical region in Anatolia in what are now the provinces of Antalya and Muğla on the southern coast of Turkey, bordering the Mediterranean Sea, and Burdur Province inland. Known to history since the records of ancient Egypt and the Hittite Empire in the Late Bronze Age, it was populated by speakers of the Luwian language group. Written records began to be inscribed in stone in the Lycian language (a later form of Luwian) after Lycia's involuntary incorporation into the Achaemenid Empire in the Iron Age. At that time (546 BC) the Luwian speakers were decimated, and Lycia received an influx of Persian speakers. Ancient sources seem to indicate that an older name of the region was Alope (Ancient Greek: Ἀλόπη, Alópē). Lycia fought for the Persians in the Persian Wars, but on the defeat of the Achaemenid Empire by the Greeks, it became intermittently a free agent. After a brief membership in the Athenian Empire, it seceded and became independent (its treaty with Athens had omitted the usual non-secession clause), was under the Persians again, revolted again, was conquered by Mausolus of Caria, returned to the Persians, and finally fell under Macedonian hegemony upon the defeat of the Persians by Alexander the Great. Due to the influx of Greek speakers and the sparsity of the remaining Lycian speakers, Lycia was rapidly Hellenized under the Macedonians, and the Lycian language disappeared from inscriptions and coinage.

Tambau is a display typeface crafted by Matheus “Fio” Gonçalves, a Brazilian design student, still in college, inspired by Brazilian concert urban posters and wood type that I saw at the Oficina Tipográfica São Paulo. The font was first made for a magazine project in design school, making it beautiful on giant pages headlines, billboards, signs, etc. There’s no lowercase, the character set is dramatic and objective. The uppercase is actually expanded letterforms causing some eyes and breathing paths to the very condensed and very modular glyphs, which creates a quite interesting striped texture between form, counterform and spacing. The lots of ligatures come to give it more closure between the letters, when they try to form blank spaces. So do the diacritics, fitting in the space given to them by the dynamic letterforms, making dense rectangular blocks. You may use Tambau as big as you can or do a high tracking to it and still it will be pretty. The titles can be dynamic, just condensed or just large. It’s on your own. Don’t be afraid to play with Tambau, it’s an alive typography. Curiosity: For the magazine in design school, the pilot project of Tambau was cut in a MDF board, to print it with texture and paint. Later was added more characters, languages and special glyphs to it. Set: Tambau is a singular font typeface, with extended and condensed characters, numbers, ligatures, punctuation and symbols for Basic, Western, Central and South Eastern Latin languages.

ITC Chivalry is a calligraphic hybrid that honors the tradition of combining Roman capitals with italic lowercase letters. Drawn by Missouri lettering artist Rob Leuschke, who used a flat-nib pen on textured watercolor stock and then converted the drawings into a digital font, the design combines an old world" feel with "new world" legibility. A companion set of black letter caps completes the suite of characters. "I've loved drawing letters for as long as I can remember," says Leuschke. "Even in kindergarten, I tried to draw letters like my teacher." After graduating from college, Leuschke worked for a short time at a sign company in St. Louis, and in the early 1980s began working at Hallmark Cards in Kansas City. His talent as a calligrapher and lettering artist eventually brought him back to St. Louis to begin a freelance career. Since then Leuschke has created over 250 fonts, primarily for the greeting card industry, that are now being used on work for his clients all over the world. Leuschke first conceived of the face as just the black letter caps; he later added the Roman letters to give the design more versatility. The Roman caps of ITC Chivalry combined with the lowercase are well suited to blocks of copy, while the more decorative black letter caps are ideal for showcasing short text of just a few words. Both sets of capitals also make great initial letters."