Type Ultimate is an exquisite serif font that combines elegance and sophistication. It comes in regular and italic versions, each containing a stunning collection of 383 ligature glyphs and alternate glyphs, as well as 26 swashes for both regular and italic versions. With its extensive character set, Type Ultimate supports a wide range of languages, making it a versatile choice for various projects. This font is perfect for creating a memorable logo, establishing a strong brand identity, and making headlines that stand out. Its timeless and refined design also makes it an excellent choice for elegant wedding invitations and other formal occasions. Overall, Type Ultimate is a font that exudes beauty and refinement, adding a touch of sophistication to any project it's used in. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures Uppercase - AB,AC,AD,AG,AK,AL,AM,AN,AP,AR,AS,AT,AV,AY,BE,BL,BO,BU,CE,CH,CK,CO,CT,DE,DI,DO,EA,ED, EE,EF,EI,EL,EM,EN,EP,ER,ES,ET,EV,EX,EY,FA,FE,FF,FI,FO,FR,FT,FU,GA,GE,GH,GO,GR,HA,HE,HI, HO,HT,KE,KI,KN,LA,LD,LE,LF,LI,LL,LO,MA,ME,MI,MM,MO,MP,MU,NA,NC,ND,NE,NG,NK,NO,NS,NT, NY,OA,OD,OK,OL,OM,ON,OO,OP,OR,OS,OT,OU,OW,PA,PE,PL,PO,PP,PR,RA,RD,RE,RI,RO,RR,RS,RT, RY,SA,SE,SH,SO,ST,SU,TA,TE,TH,TI,TL,TO,TR,TS,TT,TU,UG,UL,UN,UR,US,UT,VE,VI,WE,WH,WI,WO,YO, YS,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH, VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER, TION,OULD,IGHT,HAVE,THIS,THIN,THEY, ATIO,EVER,MENT Lowercase - ab,ad,ag,ai,ak,al,am,an,ap,as,at,av,ay,ba,be,bl,bo,bu,ca,ce,ch,ck,co,ct,de,di,do,ea,ec,ed,ee,ef,eg,ei,ej,el,en,ep,es,et,ev,ew,ey,fa,fe,fi,fo,fr,fu,ga,ge,gh,gi,gr,ha,he,hi,ho,ht,ic,id,ie,ik,il,im,in,io,ir,is,it,iv,ke,ki,kn,la,ld,le,lf,li,lo,ly,ma,me,mi,na,nc,nd,ne,ng,ni,nk,nl,no,nt,ny,oa,oc,od,of,oi,ok,ol,om,on,oo,op,ot,ou,ov, ow,pa,pe,pi,pl,po,pp,qu,ra,rd,re,ri,rm,rn,ro,rr,rs,rt,ru,ry,sa,se,sh,si,so,sp,ss,st,su,ta,te,th,ti,tl,to,ts,tt, tu,uc,ug,um,un,up,ur,us,ut,va,ve,wa,we,wo,xp,ye,yo,ys,men,wer,fro,rom,ron,the,and,ing,her,hat,tha, ere,for,ent,ion,ter,you,ver,thi,ght,ave,hey How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

“Hand Stamp Gothic Rough” is based on real vintage rubber stamp letters from Germany. A classic american gothic face mixed with a modern condensed sans serif type. Rough & dirty with a authen­tic hand stamped look for a warm analogue vintage charm. It star­ted ana­lo­gous with only a few rubber stamps and finally it was digi­tal 776 gly­phs. With 4 × A–Z, 4 × 0–9, 4 × a–z and many other alternative glyphs like @. Plus modern OpenType Features like contextual alternates (automatic generated loop for letter variation). The different variations from the dynamic pressure by hand inten­ded to show the hand-made nature and crea­tes a live­li­ness in the display font. The font has 80 decorative extras in the form of symbols & dingbats like arrows, hearts, smileys, stars, further numbers, lines & shapes. A range of figure set options like oldstyle figures, lining figures, superiors & inferiors. Additionally stan­dard liga­tures, deco­ra­tive liga­tures (type the word “show” for ☛ and “love” for ❤ … ), Ver­sal Eszett (German Capital Sharp S) and many emojis & symbols. Example of use It’s your turn … for example everywhere where it makes sense. The hand stamped font would look good at head­lines. Advertising (big headlines), Corporate Design (type for logos & branding), Edi­to­rial Design (maga­zine or fan­zine headlines), Product Design (typographical packaging) or Web­de­sign (head­line web­font for your web­site), flyer, pos­ter, music covers or web banner … How To Use – awesome magic OpenType-Features in your layout application: ■ In Adobe Photoshop and Adobe InDesign, font feature controls are within the Character panel sub-menu → OpenType → Discretionary Ligatures … Checked features are applied/on. Unchecked features are off. ■ In Adobe Illustrator, font feature controls are within the OpenType panel. Icons at the bottom of the panel are button controls. Darker ‘pressed’ buttons are applied/on. ■ Additionally in Adobe InDesign and Adobe Illustrator, alternate glyphs can manually be inserted into a text frame by using the Glyph panel. The panel can be opened by selecting Window from the menu bar → Type → Glyphs. Or use sign-overview of your operating system. For a overview of OpenType-Feature compatibility for common applications, follow the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may process a little bit slowly in some applications, because the font has a lot of lovely rough details (anchor points). Tech­ni­cal Spe­ci­fi­ca­ti­ons ■ Font Name Hand Stamp Gothic Rough ■ Font Weights Regu­lar & Dirty (Bold) ■ Font Cate­gory Dis­play for head­line size ■ Font For­mat.otf (Open­Type Font for Mac + Win) ■ Glyph Set 776 glyphs ■ Lan­guage Sup­port Basic Latin/English let­ters, Cen­tral Europe, West European diacritics, Turkish, Bal­tic, Roma­nian, OpenType Features, Dingbats & Symbols ■ Spe­cials Alter­na­tive let­ters, sty­listic sets, automatic con­text­ual alter­nates via Open­Type Fea­ture (4× different versions of A–Z & 0–9 + a–z), Euro, kerning pairs, stan­dard & deco­ra­tive liga­tures, Ver­sal Eszett (German Capital Sharp S), 80 extras like Dingbats & Symbols, arrows, hearts, emojis/smileys, stars, further numbers, lines & shapes. ■ Design Date 2016 ■ Type Desi­gner Manuel Vier­gutz ■ License Desktop license, Web license, App license, eBook license, Ser­ver license

TT Knickerbockers useful links: Specimen PDF | Graphic presentation | Customization options About TT Knickerbockers: TT Knickerbockers is a contrasting pair of fonts that continues our project series dedicated to different cities. The new project is dedicated to New York with its multiculturalism, historicity, creativity, energy, and to its inhabitants. TT Knickerbockers Grotesk symbolizes the monumentality of New York expressed in both its traditional historic architecture and skyscrapers. Energy, constant movement and the round-the-clock life of New York—all this is reflected in our TT Knickerbockers Script. TT Knickerbockers Grotesk is a narrow contrast sans-serif with characteristic elements sending us back to the 19th century. There’s also a reference to antiqua fonts to be noticed in the font: where in traditional antiqua there would be serifs, TT Knickerbockers Grotesk features a straight stroke ending, and traditional drops (finals, tails and ears) are substituted with rounded strokes. In TT Knickerbockers Grotesk you will find unusual characters, stylistic alternatives and ligatures. The following OpenType features are implemented: ordn, case, frac, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. TT Knickerbockers Script is a bright and at the same time a little restrained brushpen script with a slight touch of aristocracy. TT Knickerbockers Script consists of 967 characters and also contains a huge number of contextual alternatives and ligatures. For all lowercase and uppercase letters of basic Latin and Cyrillic alphabets we have drawn 236 swashes which, depending on the context, can appear both at the beginning and at the end of a letter. Do not forget to enable OpenType support and enjoy all the opportunities that the typeface provides and its built-in features: ordn, frac, case, sups, sinf, numr, dnom, onum, tnum, pnum, calt, swsh, liga. FOLLOW US: Instagram | Facebook | Website TT Knickerbockers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks useful links: Specimen | Graphic presentation | Customization options About TT Ricks: We are glad to present you the new font TT Ricks, which continues the line of trendy and yet affordable TypeType Starter Kit fonts. TT Ricks is a flamboyant elzevir-type serif, for which the words “cute” or “calm” are not a fitting definition. TT Ricks can be classified as a display title typeface that works especially well at large and medium sizes in packaging design, book graphics and posters. The typeface is inspired by the pre-digital font “De Vinne”, which was designed in 1892 by the designer Gustav F. Schroeder. We liked certain aspects of the historical prototype, but at the same time, when creating TT Ricks, we did not want to limit ourselves—on the contrary, we were eager to discover a completely new spirit and bring bright details to the font. The TT Ricks typeface stands out for its strong contrast, noticeable sharp serifs, narrow letterforms with a pronounced displacement of flows in the arches. The typeface has very dense spacing, and in the bold style, the text set begins to resemble Gothic by its richness and tension. Important visual features of TT Ricks are the dashing shapes of ascenders and descenders, the thin and sharp stroke endings, and the “elzevier legs” of the letters R K k. In the lowercase round characters c e s, you can notice the pronounced slope of the oval, which contrasts with the general set of the font. These "slanted" signs and ascenders and descenders of the letters f and y are designed to cut the monotony of a set and to entertain the reader's eyes. The TT Ricks typeface consists of three weights (Regular, Medium, Bold) and one variable font. Each style consists of 553 glyphs and contains 18 OpenType features. The most interesting features are stylistic alternates for the letters R K k with alternative short leg shapes, two sets of figures for working with upper and lower case characters, and a set of original icons that further reveal the spirit of the family. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks OpenType features: aalt, ccmp, locl, numr, ordn, tnum, onum, lnum, pnum, case, liga, calt, ss01, ss02, ss03, ss04, ss05, ss06 TT Ricks language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish,

TT Backwards useful links: Specimen | Graphic presentation | Customization options About TT Backwards: TT Backwards is an experimental font project inspired by the USSR typography and fonts of the late 70s and early 80s. Shop signs, posters, and book design—this is where we drew the inspiration for our project. TT Backwards consists of two complementary font subfamilies, a Script and a Grotesque, each of them includes 5 typefaces in 5 different weights (Thin, Light, Regular, Bold, Black). TT Backwards Script is a noncontrast almost monolinear solid script inspired by shop signs, poster and book design of the USSR. TT Backwards Script features a large number of Latin and Cyrillic ligatures (more than 70 items), which allows to make the script versatile and sophisticated to the max. And thanks to the implementation of a huge number of context alternates, all lowercase letters are joined softly and without breaks, and they meet the uppercase letters beautifully and correctly. TT Backwards Script supports the following OpenType features: liga, case, ordn, frac, sups, sinf, numr, dnom, tnum, onum, pnum. TT Backwards Sans is a narrow grotesque, which takes us back to the book design of late 70s and early 80s with its ductile characters. It is created considering its use in the small text size. TT Backwards Sans has a number of pronounced peculiarities: high x-height, exaggerated extenders, and big visual compensators and ink traps. Apart from the basic visual solution, TT Backwards Sans contains two experimental stylistic sets, which markedly change the overall visual perception of the text. SS01 alters high-frequency symbols of the Cyrillic alphabet, and SS02 significantly changes the high-frequency symbols of the Latin alphabet. FOLLOW US: Instagram | Facebook | Website TT Backwards OpenType features: case, ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, zero, salt, ss01, ss02. TT Backwards language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

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

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

TT Lovelies Script useful links: Specimen | Graphic presentation | Customization options About TT Lovelies Script: Without any false modesty we can say that TT Lovelies Script is one of the most complicated projects we have ever carried out – there are 1115 glyphs, more than 2000 contextual alternates, 10000 kerned pairs and a large number of OT features, including ligatures and Old Style numbers. The most important characteristic of this font is that it is really seamless. We've done the impossible: in TT Lovelies Script, even capital letters are connected to lower-case letters without any breaks. The base for our typeface is original calligraphy by Russian designer Alena Korobanova. The beautiful handwriting was painstakingly crafted into a fully functional font. TT Lovelies Script is a very lively and playful typeface with some unpredictable nuances. Turn on the use of OpenType features CALT & DLIG in your graphic editor and use the font to the full. Every lower-case letter has characteristic pen strokes which begin and end a word. The pen strokes are turned on automatically when you accordingly type two hyphens at the beginning and at the end of a word. For instance, type '- - apricot - -' and you'll see the beautiful pen strokes at the beginning and at the end of the word. TT Lovelies Script uses a great number of contextual alternates and ligatures which help maintain the handwritten impression. For each letter, a separate grapheme is created for the end of a line, and we've also integrated the Case Sensitive OpenType feature to make working with upper-case characters easier. We've enabled onum, sups, sinf, numr, dnom, frac, ordn as well in order to work with figures. To benefit from all of these wonderful options, you need to use software which supports OpenType features. TT Lovelies Script language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana , Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

TT Barrels useful links: Specimen PDF | Graphic presentation | Customization options TT Barrels is an elegant scotch style modern serif with strong industrial accents in its design. The TT Barrels project was born from a fictional technical assignment in which we tried to combine the technological effectiveness of industrial production used in engineering and the restrictions imposed by it with a beautiful scotch style serif. We decided to create a typeface that could be used to press letters on the metal body of a car, all while the typeface being elegant, and possessing sophisticated details that are typical of the classic text fonts of the late 19th and early 20th centuries. In the process of designing and sketching, we reconsidered certain aspects and abandoned some of the requirements imposed by the technology of metal letter pressing, for example, from the extensive application of visual compensators, the decreased strokes contrast, and the hyperdeformation of individual letter elements to preserve a more pronounced rhythm of these elements. First of all, we wanted both to maintain the ease of reading for the entire text array and follow the rules of aesthetics of each letter in the typeface, while still leaving some influence of industrialism. In the end, this influence is best manifested in serifs, which are quite massive and have a technologically exaggerated wedge shape. TT Barrels consists of 12 fonts: Light, Regular, DemiBold, Bold, Extrabold, Black and the corresponding Italics. Each outline consists of more than 750 glyphs and includes small capitals, ligatures (for Latin and Cyrillic alphabets), stylistic alternates, old-style figures, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Barrels OpenType features: ordn, c2sc, smcp, case, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga, calt, salt (ss01). TT Barrels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Have you ever used a handwritten font on your design project? Have you ever felt bored or dissatisfied with its glyphs style that looks stiff and doesn't flow even doesn't really characterize the peculiarities of a handwritten font? Or fonts that don't have alternative glyphs so they look monotonous in a word or even sentence. And in the end, it makes your projects so far from your expectations, even your clients. It's so frustrating, isn't it? Just wake up from your dissatisfaction and this is your time to make a good choice for your design project. So, we have a solution to fix it. We introduce 'Stylish Classy' just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 's' that has a flow sketch with letter 't', you can find it in 'st' ligature glyph. So if you really want a so natural and flowing touch in your project, Stylish Classy Font gives you 210 Natural Ligatures ( combining of two or more letters in a glyph ), Two Alternates, and Slant Version. Stylish Classy is a fashionable handwritten script font and obviously it's so Stylish and Classy :) Stylish Classy Font offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, wedding designs, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image. - Included Languages support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, German, Icelandic, Indonesian, Italian, Norwegian, Malay, Portuguese, Spanish, Swedish, Zulu. - All Natural Ligatures (210 Glyphs): Bh Cl Cr Cs Ct Cy Hy Jh Ji Kh Kl Lo My Mrs Mr Mt Si Sl Sp Sp St St1 St2 St3 Ul1 Un1 Ut1 Ul Un Ut Wh Yo aa ab ab1 ab2 ak1 all ant app arr art ask ast at at2 at3 at4 att af ah aj ak ak1 al al1 an ap ap ar av bb1 bb cc ch ck co ct dd ever ee1 ee2 ent er1 err ett ee ek el en er es et ff1 ff2 ful ff fi gg1 gh gh2 ght gn1 gf gg gh gi gl gn hh ight ill1 ill2 it's itt1 if1 ill ion ism it1 it2 ith itt ity if ii il it jj1 jj kk ll1 ll2 la lh ll most nt oll on2 on1 op1 ops or1 orr oth ous of oh ok ol om on oo op or ot ow ox oz ph pp pt rk1 rta rk rr rt sl1 sl2 sl3 ss1 ss2 st1 st2 st3 st4 st5 st sh si sl sp ss st the tt1 tt2 th to tt tv ty ull ure ut1 ut2 ut3 us ut ve vs wh wt yl1 yl2 yl3 you yr yr2 yl yn yr mm1 mm2 mm3 mm ms nn1 nn -Swash on pictures are not included

While researching the history of Onitsuka Tiger's branding and graphic design, I came across an odd, yet highly appealing piece of custom lettering on the company's ONICK ski boots from the 1970s. Reminiscent of aspects of the typeface Black-Out by Eli Carrico (released by my type foundry Wordshape), yet vertically compressed with razor-sliced counters and odd stencil element that makes up one of the legs of the "K", the ONICK lettering is a potential source for an intriguing modular font. I immediately thought of Ryoichi Tsunekawa as a potential collaborator to bring this piece of lettering to full-fledged life in the contemporary context. Based in Nagoya, Tsunekawa runs an independent type foundry called Dharma Type, including three specialized foundry sub-labels: Flat-It, devoted to display lettering; Prop-A-Ganda, a series of fonts inspired by and based on retro propaganda posters, movie posters, retail sign lettering & advertisements in the early 20th century; and Holiday Type, a series of decorative and retro scripts for holiday use. The past year has seen a flurry of notice of his work abroad, having been featured in both MyFonts' "Creative Characters" and YouWorkForThem's newsletter. As the work of most Japanese type designers is almost wholly unnoticed abroad, for Tsunekawa to be interviewed by two of the most popular type distribution companies in the world is definitely something beyond the norm. Perhaps it is because he works independently, or perhaps it is due to the charm and friendliness with which his typefaces are infused. Either way, this attention is both welcome and appreciated. Beyond mere charm, Tsunekawa's work is nuanced, detailed, and accessible due to its high level of finish. His fonts stand apart from his contemporaries in Latin typeface design in Japan due to his fascination with pop, vernacular and historical lettering from "non-pure" sources- whereas type designers like Kunihiko Okano and Akira Kobayashi have spent years analyzing the essence of Western letterform construction and unlocking the essence of Latin forms, Tsunekawa views surface and the awkward nature of his sources as being of value, as well. His irreverence for the formal doctrines of history imbue his typeface designs with a rugged inventiveness that would be missed by most- glyphs without source designs are guessed at and approximated, often in a manner wildly divergent from what Western eyes would assume. It is in these moments that I find sheer delight in Tsunekawa’s work and what make me most pleased to invite him aboard Neojaponisme and Onitsuka Tiger’s type development project. His assorted typefaces show an eclecticism in finish and as holistic systems- Tsunekawa's return email to me about the proposed type project showed a digital sketch of how a completed typeface family from the source lettering might look, rendered with an effortlessness and dedication to detail that belies a skilled craftsperson. Further development showed Tsunekawa’s rigor- the typeface in development rapidly featured glyphs ignored by many: a full set of fractions, Eastern European diacritics and accents, superior and inferior numerals, alternate characters, and custom ligatures - all designed with regulated, detailed spacing. ONICK is a typeface Tsunekawa should be proud of- an homage to a moment in history rendered in the absolute best fashion. We are proud to present it to the world! --Ian Lynam

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

Buffalo Bill is a revival of an old favorite font that’s been around since 1888, the James Conner’s Sons foundry book of that same year is the oldest source I've seen for this old classic. If you're looking for the font used as the logo for Buffalo Bill’s Irma Hotel in Cody Wyoming please refer to the FontMesa Rough Riders font. New to the Buffalo Bill font is the lowercase and many other characters that go into making a complete type font by today’s standards. The Type 1 version is limited to the basic Latin and western European character sets while the Truetype and OpenType versions also include central and eastern European charcters. William F. (Buffalo Bill) Cody called America’s Greatest Showman was one of the United State’s first big celebrity entertainers known around the world, millions of people learned about the Old West through Buffalo Bill’s Wild West shows which traveled throughout the United States and Europe. William Cody, at age eleven, started work on a cattle drive and wagon train crossing the Great Plains many times, he further went on to fur trapping and gold mining then joined the Pony Express in 1860. After the Civil War Cody went on to work for the Army as a scout and hunter where he gained his nickname Buffalo Bill. In 1872 William Cody started his entertainment career on stage in Chicago along with Texas Jack who also worked as a scout, the Scouts of the Prarie was a great success and the following year it expanded to include Wild Bill Hickok and was eventually named The Buffalo Bill Combination. By 1882 Texas Jack and Wild Bill Hickok had left the show and Buffalo Bill conceived the idea for the traveling Wild West Show using real cowboys, cowgirls, sharpshooters and Indians plus live buffalo and elk. The Wild West shows began in 1883 and visited many cities throughout the United States. In 1887 writer Mark Twain convinced Cody to take the show overseas to Europe showing England, Germany and France a wonderful and adventuruos chapter of American history. The shows continued in the United States and in 1908 William Cody combined his show with Pawnees Bill’s, in 1913 the show ran into financial trouble and was seized by the Denver sheriff until a $20,000 debt (borrowed from investor Harry Tammen) could be paid, Bill couldn't pay the debt and the loan could not be extended so the assets were auctioned off. William Cody continued to work off his debt with Harry Tammen by giving performances at the Sell’s-Floto Circus through 1915 then performed for another two years with other Wild West shows. William F. Cody passed away in 1917 while visiting his sister in Denver and is buried on Lookout Mountain joined by his wife four years later. Close friend Johnny Baker, the unofficial foster son of William Cody, began the Buffalo Bill Memorial Museum in 1921, over the years millions of people have visited William Cody’s grave and museum making it one of the top visitor attractions in the Denver area. William F. Cody romantisized the West creating the Wild West love affair that many still have for it today through books and cinema.

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

Out of a lifelong inner struggle, Philip Bouwsma unleashes a masterpiece that reconciles classic calligraphy with type in a way never before attempted. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms. Maestro is the font that Arrighi and his colleagues would have made if they had had digital technology. Like the calligraphic system of the papal chancery on which it is modelled, it was not drawn as a single finished alphabet, but evolved from a confluence of script and Roman; the script is formalized by the Roman to stand proudly in a world of type. Maestro came together on screen over the course of several years, through many versions ranging widely in style, formality, width, slant, weight and other parameters. On one end of the spectrum, looking back to tradition it embodies the formal harmony of the Roman capitals and the minuscule which became the lower case. On the other it is a flowing script letter drawing on the spirit of later pointed pen and engravers scripts. As its original designers intended, it works with simple Roman capitals and serifs or swash capitals and baroque flourishes. The broad pen supplies weight and substance to the stroke which carries energy through tension in balanced s-curves. Above all it is meant to convey the life and motion of formal calligraphy as a worthy counterbalance to the stolid gravity of metal type. The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. For more thoughts on Maestro, its background and character sets, please read the PDF accompanying the family.

Impressed by the quality of the Aachen typeface that was originally designed for Letraset in 1969 and extended to include Aachen Medium in 1977, Jim Wasco of Monotype Imaging has extended this robust display design to create an entire family. Derived from the serif-accented Egyptienne fonts dating to the early 20th century, Aachen has serifs that are very solid but considerably shorter than those of its precursor. The incorporated geometrical elements, such as right angles and straight lines, provide the slender letters of Aachen with a slightly technological, stencil-like quality. Despite this, the effect of Aachen is by no means static; its dynamism means that this typeface, originally designed for use in headlines, has come to be used with particular frequency in sport- and fitness-related contexts. Jim Wasco, for many years a type designer at Monotype Imaging, recognized the potential of Aachen and decided to extend the typeface to create an entire typeface family. He appropriated the existing Aachen Bold in unchanged form and first created the less heavy cuts, Thin and Regular. Wasco admits that he found designing the forms for Thin a particular challenge. It took him several attempts before he was able to achieve consistency within the glyphs for Thin and, at the same time, retain sufficient affinity with the original Aachen Bold. But he finally managed to adapt the short serifs and the condensed and slightly geometrical quality of the letters to the needs of Thin. The weights Light, Book, Medium and Semibold were generated by means of interpolation. Supplemented by Extralight and Extrabold, the new Neue Aachen can now boast a total of nine different weights. Wasco initially relied on his predilection for genuine cursives in his designs for the Italic cuts. But it became apparent with these first trial runs that the soft curves of cursives did not suit Aachen and led to the loss of too much of its original character. Wasco thus decided to compromise by using both inclined and cursive letters. Neue Aachen Italic is somewhat narrower than its upright counterparts; the lower case 'a' has a closed form while the 'f' has been given a descender, but the letters have otherwise not been given additional adornments. The range of glyphs available for Neue Aachen has been significantly extended, so that the typeface can now be used to set texts not only in Western but also Central European languages. Wasco has also added a double-counter lowercase 'g' while relying on the availability of alternative letters in the format sets for the enhancement of the legibility of Neue Aachen when used to set texts. The seven new weights and completely new Italic variants have enormously increased the potential applications of Aachen and the range of creative options for the designer. While the Bold weights have proved their worth as display fonts, the new Book and Regular cuts are ideal for setting text. And the subtlety of Ultra Light will provide your projects with a quite unique flair. The new possibilities and opportunities in terms of design and applications that Neue Aachen offers you are not restricted to print production; you can also create internet pages thanks to its availability as a web font.

In the late 1930s, old Egyptiennes (or Italiennes) returned to the collective consciousness of European printers and type houses — perhaps because political news were front a centre, especially in France where Le Figaro newspaper was seeing record circulation numbers. In 1939 both Monotype and Lettergieterij Amsterdam thought of the same idea: Make a new typeface similar to the reverse stress slab shapes that make up the titles of newspapers like Le Figaro and Le Frondeur. Both foundries intended to call their new type Figaro. Monotype finished theirs first, so they ended up with the name, and their type was already published when Stefan Schlesinger finished his take for the Amsterdam foundry. Schlesinger’s type was renamed Hidalgo (Spanish for a lower nobleman, ‘son of something’) and published in 1940 as ‘a very happy variation on an old motif’. Although it wasn’t a commercial success at the time, it was well received and considered subtler and more refined than the similar types available, Figaro and Playbill. In the Second World War, the Germans banned the use of the type, and Hidalgo never really recovered. Upon closer inspection, Schlesinger’s work on Hidalgo was much more Euro-sophisticated and ahead of its time than the too-wooden cut of Figaro and the thick tightness of Playbill. It has a modern high contrast, a squarer skeleton, contour cuts that work similarly outside and inside, and airy and minimal solutions to the more complicated shapes like G, K, M, N, Q and W. It is also much more aware of, and more accommodating to, the picket-fence effect the thick top slabs create in setting. Basilio (named after the signing teacher in Mozart’s Figaro) is the digital revival and major expansion of Hidalgo. With nearly 600 glyphs, it boasts Pan-European language support (most Latin languages, as well as Cyrillic and Greek), and a few OpenType tricks that gel it all together to make a very useful design tool. Stefan Schlesigner was born in Vienna in 1896. He moved to the Netherlands in 1925, where he worked for Van Houten’s chocolate, Metz department store, printing firm Trio and many other clients. He died in the gas chambers of Auschwitz in 1944. Digital revivals and expansions of two of his other designs, Minuet and Serena, have also been published by Canada Type.

This vintage, iconic typeface of original Czech letter-founding has been faithfully revised, extended and newly rendered in 2012. The majority of Vojtěch Preissig’s type faces have been, from their very creation, subject to controversial evaluations which might perhaps fill more pages than have been set in these type faces so far. The considerable technological backwardness of Czech typography between the world wars intensified the author’s creative effort even more. He had been devoting thought to his Antikva type face from 1912 onwards and dozens of hardly perceptible nuances of the same design have been preserved in his drawings. It was his only book type face, but it shows no signs of any hard struggle in creating it. Its extraordinary vividness and elegance are really surprising. It may be still indebted to the forms of Art Nouveau, which was withering away at that time, but its proportions, colour and expression inspire other Czech type designers. Preissig’s Antikva, Menhart’s Figural (and also Růžička’s Fairfield) and Týfa’s Antikva represent a clear line of development, very far away from the soft aesthetics of Tusar, Dyrynk or Brunner. The co-author of the modification for computer composition is Otakar Karlas. Without his experience the work would remain only a shadow of Preissig’s design. Our aim was to produce a large family of type faces for the setting of both books and jobbing works. The digital transcription of Preissig’s Antikva came into existence from summer till winter 1998. The direct model for this type face is the most successful, two-cicero (24 pt.) design dating from 1925. The designs of other sizes (12 pt., 14 pt., 16 pt. and then 36 pt. and 49 pt.) lack vividness and are the source of the widespread mistaken belief that Preissig’s Antikva consists of straight lines. That is, unfortunately, how even Muzika and Menhart describe it. Neither is it a Cubist type face as many of the semi-educated think today. Special attention had to be paid to italics. It is apparent that their design is not as perfect as that of Preissig’s Antikva. In contradistinction to the original we have deleted almost all lower serifs in the lower-case letters, enlarged the angle of inclination and completely redesigned the letters a, e, g, s, k, x, ... All crotches have been lightened by marked incisions. In other words, none of the italic letters corresponds to Preissig’s model. The signs which were missing have been supplemented with regard to the overall character of the alphabet. Preissig did not deal with bold designs, but the crystal-clear logic of his “chopping-off” of the round strokes enabled us to complete the type face family without any greater doubts. An excessively fragile type face, however, cannot be used for setting in smaller sizes; that is why we have prepared a separate family of text designs which has shortened ascenders, normal accents, slightly thickened strokes, and is, in general, optically more quiet and robust. We recommend it for sizes under 12 points. By contrast, the elegance of the basic design will be appreciated most in the sizes used for headlines and posters. Preissig’s Antikva is suitable not only for art books and festive prints, but also for poetry and shorter texts.

TT Mussels useful links: Specimen | Graphic presentation | Customization options About TT Mussels: The TT Mussels font family is the successor of such popular fonts as Bender and TT Squares. At the same time, TT Mussels has a number of fundamental differences that make it a unique font family that stands out from other octagonal typefaces. When designing TT Mussels, we paid great attention to the possibility of imposing large arrays of text, and we can responsibly state that TT Mussels is a rare type of technological text fonts. To go along with the rest, we've created a stencil version of the typeface, in which the location of the incisions changes according to their thickness. In total, the TT Mussels font family consists of 36 faces, which include among other things stylistic alternatives, ligatures, and also implements a broad support for OpenType features: case, frac, ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. Dynamic contrast is widely implemented in TT Mussels. It is most noticeable in the Black typeface, where the ratio of the thickness of the vertical strokes to the horizontal strokes is approximately two to one. For the Thin typeface, the thickness of the vertical strokes is already consistent with the thickness of the horizontal strokes. You can also find other signs of respect for traditional text fonts in the TT Mussels design, such as the trace of pen movement which is historically typical for antiquas. For example, in the letter M from the Black face, we can first see a thin stroke, then a thick diagonal stroke followed by a thin diagonal stroke, and a finishing bold vertical stroke. As in the case of dynamic contrast, this effect gradually disappears when approaching thin faces. In thick faces, in places such as the “armpits” of the letters MN? or the junctions of the diagonals of WVvw, there are visual compensators that brighten the bold typefaces. As the thickness of typefaces moves from thick to thin, the dimensions and conceptual values of compensators change, and in thin typefaces they completely disappear. TT Mussels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Style and elegance in 14 styles PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context. The Pierre Simon Fournier heritage Pierre Simon Fournier (1712—1768) was a leading innovative type designer of the mid-18th century. Early in his career, the young Pierre Simon developed a strong aesthetic that he cultivated throughout his life. His art is representative of the pre-revolutionary “Age of Enlightenment” (Siècle des Lumières). Precursor of the Modern style, Fournier’s body of work deeply influenced his times, and created the fertile ground from which the Didot family and Giambattista Bodoni developed their own styles. During the historical period of the 18th century, Fournier exemplified the intellectual pursuits of the times with his own research on type, documenting in detail the typefounding process. He also offered a unique vision: he is the first to clearly comprehend the concept of “type family,” sorting a set of similarly styled alphabets by sizes, width, and by x-heights. In addition, Fournier is one of the earliest advocates of the point system to organize the practice of typography, the point system that contemporary typographers continue to use to this day. The refined and discreet elegance of PS Fournier With a close look at the family, one finds you’ll find that the difference between the optical sizes (Petit, standard and Grand) is more than a contrast variation between the thin and the thick; the eye can also denote a palette of distinct tones: More streamlined and robust in the smaller sizes (Petit), more refined and detailed in the larger sizes (Grand). The PS Fournier standard family is designed to adapt to any situation with its intermediate optical size, from body copy to headlines. With a bit of tracking, PS Fournier Petit will make the smallest captions perfectly readable. However, Petit family is not limited to body and captions — its “slabby robustness” will make a relevant headline choice as well. PS Fournier Grand presents a higher contrast adapted to large text sizes, displays or banners. Its refined elegance makes it a perfect choice for Design, Fashion or Luxury publications. As a “modern” type PS Fournier Grand features a larger x-height than the preexistent old style typefaces such as Garamond or Jenson. These proportions provide any basic text set in PS Fournier Grand a strong typographic texture. As a result, the PS Fournier global family is a versatile alternative to the Modern typefaces commonly used in the publishing industry. The optical sizes, the large range of weights, and the design variations make this family adaptable to captions, paragraphs, and pages, as well as to large texts and displays. A leading-edge typography in the 18th century In the spirit of modernity, Pierre Simon Fournier did not find any use for the conventional swashes still produced by peers such as Caslon or Baskerville. Nevertheless the French designer created many inventive elements to decorate the page and set delightful variations in the text itself. To this regard PS Fournier includes a large set of glyphs variations, ligatures and more than one hundred glyphs for borders, rules and ornaments or — as called in French — “vignettes.” PS Fournier: A tribute to the French modern typography era by Stéphane Elbaz

We have updated TT Rounds Neue! TT Rounds Neue was released as a logical continuation of the TT Rounds and TT Rounds Condensed fonts, more modern and technically advanced. In the update, we have preserved the visual nature of the font, the proportions of the letters and the balance between bold and thin faces. We have made the typeface even more functional and convenient by fixing technical flaws, expanding the character set and adding a full-fledged variable font. In the new version of TT Rounds Neue, you will find additional extended Latin and Cyrillic characters, updated kerning and hinting. The font can be used for headings or for text typesetting. The typeface is optimized for web, print and packaging design. Thanks to its soft character and rounded shapes, it is suitable for decorating baby food and eco-products. TT Rounds Neue consists of 3 subfamilies: Compressed, Condensed and Normal. There are 55 faces in the font: 27 upright, 27 italic, and 1 variable font. Variability is across all three axes, thickness, slope, and width. Each style has 684 glyphs. The font has 29 OpenType features, including ligatures, a set of alternative characters, old-style figures, and many others. ?Please note that we are removing the TT Rounds and TT Rounds Condensed fonts from the marketplace, but you can still get them by contacting TypeType's commercial department directly commercial@typetype.org TT Rounds Neue OpenType features: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, case, salt, liga, dlig, calt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10 TT Rounds Neue language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahitian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Asu, Aymara, Bemba, Bena, Chiga, Embu, Gikuyu, Gusii, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Kirundi, Kongo, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Mauritian Creole, Meru, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Tsonga, Tswana, Vunjo, Xhosa, Zulu, Maori, Alsatian, Aragonese, Arumanian, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsican, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapu?k, Vo?ro, Walloon, Walser, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Guarani, Nahuatl, Quechua,, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kabardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Ossetian, Rutul, Tabasaran, Tsakhur, Buryat, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Shor, Siberian Tatar, Tofalar, Touva, Bashkir, Chechen (cyr), Chuvash, Erzya, Kryashen Tatar, Mordvin-moksha, Tatar Volgaic, Udmurt, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmykk

If you are into the vintage feel, you will love this one. This is as vintage as it probably gets. There are probably only a handful of places in the world where schools still use blackboards and chalk – they’ve given way to their white board and marker counterparts for decades now. White boards are definitely more practical and less messy when compared to chalk, but then if you are creatively inclined you will agree that a little bit of mess is worth it if you are going to get the effects that you desired! Well, we can give you the effects minus the mess with our chalk hand lettering fonts! As the name suggests, this font gives you that distinctly unique chalk on slate feel, and if you are wondering what’s distinct about it; writing on slate or blackboard was a slow process which required deliberated and concentrated efforts resulting in a handwriting which was usually quite different to a person’s handwriting on paper. Typography of chalk on slate was an everyday event in the classrooms of yesterday, and today we hardly ever get to see one of these if it all. Writing on a black board with chalk was quite an interesting achievement in its own right, if you ended up with anything legible and if your writing remained focused and ‘in-line’! But of course like everything else, his took time to master and when you did get it right, chalk hand lettering was quite an enjoyable experience! For semi-permanent designs, say for example an eventful day at school; students of the day would create beautiful typography on the boards, and add a solidarity to it sometimes by shading one side of the lettering – usual y the right side towards which the lettering leaned. This is the effect our chalk hands lettering shaded variation gives you. You could get this font individually, but we strongly advise you check out the “chalk hand lettering pack” font. It includes the simple “chalk hand lettering” (minus the shading effect) and also a “chalk hand elements” bag of tricks. The elements is a collection of graphic art which resemble shapes and designs that used to be added to chalk art, to beautify the typography. If you enjoyed seeing the effects of our Chalk Hands font, and the shaded variant – you are simply going to go gaga over Chalk Hand Elements! The chalk hand font of course enables you to make typographic art similar to the effect of chalks on slates and black boards. This was quite the art form in the days gone by! The shaded variation added a bit of solidarity and the technique was commonly used to make semi-permanent designs say for example a welcome note when somebody important was to visit. Classic chalk hand designs, especially the semi permanent ones often had little pieces of art to help beautify the creation as a whole. It could simply be symmetrical graphics appearing before and after the title and headings, maybe just an interesting shape to fill in an empty area on the board, and such…our Chalk Hand Elements offers you a ton of such graphics. The two chalk hand variations and the elements are all included in the Chalk Hand Family, and this is strongly recommended if you want to make designs that are truly reminiscent of the days of chalk on slate.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

INTRODUCING THE GEMINI TYPE FONTPACK, an industrial-strength OpenType font bundle inspired by and optimized for dimensional type. Chank Co is proud to introduce the new “Gemini Type Fontpack,” a collection of ten fonts available for use on your desktop computer or web pages, but also optimized for use as exterior cast-metal signage in bronze or aluminum in collaboration with Gemini, a family-owned industry leader in the wholesale manufacture of dimensional letters, logo and plaques based in Cannon Falls, MN. Gemini collaborated with Chank Co to assemble a line of fonts that would work well as dimensional, cast-letter signage for use on the sides of buildings, in stores, and other public spaces. The fonts included in the “Gemini Type Fontpack” are reinterpretations of previous Chank Fonts, now optimized for dimensional signage display, but then also repackaged and presented for your use as an OpenType desktop computer font collection: GT-Adrianna DemiBold GT-Adrianna Bold GT-Adrianna ExtraBold GT-Fairbanks GT-Forward Thinking GT-Hydropower ExtraCondensed GT-Kegger GT-Shopaganda GT-Shopaganda Condensed GT-Timeless Geometric. This is a multi-purpose collection of heavy-lifting fonts to convey your message strong and clearly, full of legibility and clarity, but also displaying personality and distinction. You can purchase and download these fonts in OpenType format for your desktop computer right now via MyFonts. Get it today and you'll also get a great introductory special sale price. These exclusive typefaces are also available as dimensional letters, manufactured by Gemini in bronze or aluminum, from 6" tall up to 18" tall, with a variety of finish options, for use in public signage and wayfinding systems. Gemini manufacture their products in 20 plants through out the US, Canada and Mexico, and all their products are backed by a lifetime guarantee. Chank Co is excited to offer these ten strong, industrial font designs in durable cast metal format via Gemini. ----- More about the fonts in the Gemini Type Fontpack: GT-Adrianna DemiBold, Bold, and Adrianna ExtraBold Clear, invisible, no-nonsense, multi-purpose. A versatile sans-serif heavy-lifting font family. GT-Fairbanks Vintage, silent film, speedball, old-timey, old-fashioned, retro. Based upon the lettering in the 1914 silent film, “The Good Bad Man.” GT-Forward Thinking Futuristic, semi-serif, clean, distinctive, contemporary, idiosyncratic. A font for tomorrow and the future. GT-Hydropower ExtraCondensed Extra-condensed, compressed, strong, rigid and concise. GT-Kegger Strong, sporty, collegiate, athletic. Nothing says “GO TEAM” quite like a big, bold slab-serif font. GT-Shopaganda and GT-Shopaganda Condensed Industrial, geometric, constructivist, propaganda, oh there’s so much to love about the strength and clarity of these two fonts. Based on Chank’s Liquorstore and Nicotine fonts, which have been married and unified here, with a few new twists and turns to their letterforms. GT-Timeless Geometric Bauhaus, anyone? The geometric and minimalist alphabet here is about as clean and straight-forward as a semi-condensed sans can get. ----- All of the fonts in this package are available individually, or save money when you purchase all ten of them as a collection. Download this digital font package from MyFonts today and you'll receive both OpenType and TrueType formats in your download for your desktop computer. Webfont format is also available. (If you'd like to use these fonts as cast-metal letters for exterior, architectural purposes, visit the Gemini website to learn more about how you can find a signage retailer near you.)

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

In the course of the re-vitalization of its Typoart typeface inventory, Elsner+Flake decided in 2006 to offer the “Kis Antiqua” by Hildegard Korger, in a re-worked form and with an extended sortiment, as an OpenType Pro-version. After consultation with Hildegard Korger, Elsner+Flake tasked the Leipzig type designer Erhard Kaiser with the execution of the re-design and expansion of the sortiment. Detlef Schäfer writes in “Fotosatzschriften Type-Design+Schrifthersteller”, VEB Fachbuchverlag Leipzig, 1989: No other printing type has ever generated as far-reaching a controversy as this typeface which Jan Tschichold called the most beautiful of all the old Antiqua types. For a long time, it was thought to have been designed by Anton Janson. In 1720 a large number of the original types were displayed in the catalog of the „Ehrhardische Gycery“ (Ehrhardt Typefoundry) in Leipzig. Recently, thanks to the research performed by Beatrice Warde and especially György Haimann, it has been proven unambiguously that the originator of this typeface was Miklós (Nicholas) Tótfalusi Kis (pronounced „Kisch“) who was born in 1650 in the Hungarian town of Tótfal. His calvinistic church had sent him to the Netherlands to oversee the printing of a Hungarian language bible. He studied printing and punch cutting and earned special recognition for his Armenian and Hebrew types. Upon his return to Hungary, an emergency situation forced him to sell several of his matrice sets to the Ehrhardt Typefoundry in Leipzig. In Hungary he printed from his own typefaces, but religious tensions arose between him and one of his church elders. He died at an early age in 1702. The significant characteristics of the “Dutch Antiqua” by Kis are the larger body size, relatively small lower case letters and strong upper case letters, which show clearly defined contrasts in the stroke widths. The “Kis Antiqua” is less elegant than the Garamond, rather somewhat austere in a calvinistic way, but its expression is unique and full of tension. The upper and lower case serifs are only slightly concave, and the upper case O as well as the lower case o have, for the first time, a vertical axis. In the replica, sensitively and respectfully (responsibly) drawn by Hildegard Korger, these characteristics of this pleasantly readable and beautiful face have been well met. For Typoart it was clear that this typeface has to appear under its only true name “Kis Antiqua.” It will be used primarily in book design. Elsner+Flake added two headline weights, which are available as a separate font family Kis Antiqua Now TH Pro Designer: Miklós (Nicholas) Tótfalusi Kis, 1686 Hildegard Korger, 1986-1988 Erhard Kaiser, 2008

“Hand Sketch Rough Pos­ter” is a hand­made, rough and dirty sans-serif dis­play font for deco­ra­tive head­line sizes. Hand drawn. A–Z (× 2), a–z (× 2) and 0–9 (× 4) are each many dif­fe­rent forms. Con­text­ual alter­na­tes. Is inten­ded to show the hand-made cha­rac­ter and the vibrancy of the dis­play font. The dif­fe­rent forms of rough­ness crea­tes a live­li­ness in the typeface. Stan­dard liga­tures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffi, ffj and more deco­ra­tive liga­tures like CT, LC, LE, LH, LI, LO, LU, LY, TOO, TC, TE, TH, TU, TZ and ch, cl, ck, ct, sh, sk, st, sp, addi­tio­nal logo­ty­pes like BPM, fff, ppp, sfz and many more … plus Ver­sal Eszett (Capi­tal Let­ter Dou­ble S) give the font more life and shows that des­pite their retro-looks works with modern Open­Type tech­no­logy (type the word note for the sym­bol ♫ and the word love for the ding­bat ❤ … ). Sym­bols like play, stop, eject, for­ward, back­ward, skip, pause and so on. The topic for the dis­cre­tio­nary liga­tures and the sym­bols are music. Have fun with this font – turn up the volume! How To Use – awe­some magic OpenType-Features in your lay­out application ■ In Adobe Pho­to­shop and Adobe InDe­sign, font fea­ture con­trols are wit­hin the Cha­rac­ter panel sub-menu → Open­Type → Dis­cre­tio­nary Liga­tures … Che­cked fea­tures are applied/on. Unche­cked fea­tures are off. ■ In Adobe Illus­tra­tor, font fea­ture con­trols are wit­hin the Open­Type panel. Icons at the bot­tom of the panel are but­ton con­trols. Dar­ker ‘pres­sed’ but­tons are applied/on. ■ Addi­tio­nally in Adobe InDe­sign and Adobe Illus­tra­tor, alter­nate gly­phs can manu­ally be ins­er­ted into a text frame by using the gly­phs panel. The panel can be opened by selec­ting Win­dow from the menu bar → Type → Gly­phs. Or use sign-overview of your ope­ra­ting sys­tem. ■ For a over­view of OpenType-Feature com­pa­ti­bi­lity for com­mon app­li­ca­ti­ons, fol­low the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may pro­cess a little bit slowly in some app­li­ca­ti­ons, because the font has a lot of lovely rough details (anchor points). TECHNICAL SPECIFICATIONS ■ Font Name: Hand Sketch Rough Pos­ter ■ Font Weights: Regu­lar ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Desktop-Font For­mat: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font For­mat: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph cover­age: 715 ■ Lan­guage Sup­port: Afri­kaans, Alba­nian, Alsa­tian, Ara­go­nese, Ara­paho, Aro­ma­nian, Arr­ernte, Astu­rian, Aymara, Bas­que, Bela­rusian (Lac­inka), Bis­lama, Bos­nian, Bre­ton, Cata­lan, Cebuano, Cha­morro, Che­yenne, Chi­chewa (Nyanja), Cim­brian, Cor­si­can, Croa­tian, Czech, Danish, Dutch, English, Espe­ranto, Esto­nian, Fijian, Fin­nish, French, French Creole (Saint Lucia), Fri­sian, Fri­ulian, Gali­cian, Genoese, Ger­man, Gil­ber­tese (Kiri­bati), Green­lan­dic, Hai­tian Creole, Hawaiian, Hili­gaynon, Hmong, Hopi, Hun­ga­rian, Iba­nag, Iloko (Ilo­kano), Indo­ne­sian, Inter­g­lossa (Glosa), Inter­lin­gua, Irish (Gae­lic), Istro-Romanian, Ita­lian, Jèr­riais, Kas­hubian, Kur­dish (Kur­manji), Ladin, Lat­vian, Lithua­nian, Loj­ban, Lom­bard, Low Saxon, Luxem­bour­gian, Malag­asy, Malay (Lati­ni­zed), Mal­tese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Nort­hern Sotho (Pedi), Nor­we­gian, Occi­tan, Oromo, Pan­gasinan, Papia­mento, Pied­mon­tese, Polish, Por­tu­guese, Pota­wa­tomi, Que­chua, Rhaeto-Romance, Roma­nian, Romansh (Rumantsch), Roto­kas, Sami (Inari), Sami (Lule), Samoan, Sar­di­nian (Sardu), Scots (Gae­lic), Sey­chel­lois Creole (Seselwa), Shona, Sici­lian, Slovak, Slove­nian (Slovene), Somali, Sou­thern Nde­bele, Sou­thern Sotho (Seso­tho), Spa­nish, Swa­hili, Swati/Swazi, Swe­dish, Taga­log (Filipino/Pilipino), Tahi­tian, Tau­sug, Tetum (Tetun), Tok Pisin, Ton­gan (Faka-Tonga), Tswana, Tur­kish, Turk­men, Turk­men (Lati­ni­zed), Tuva­luan, Uyghur (Lati­ni­zed), Veps, Vola­pük, Votic (Lati­ni­zed), Wal­loon, Warl­piri, Welsh, Xhosa, Yapese, Zulu ■ Spe­cials: Alter­na­tive let­ters, logo­ty­pes, ding­bats & sym­bols, accents & €. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Lining Figu­res (lnum), Nume­ra­tors (numr), Old Style Figu­res (onum) Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Sty­listic Set 04 (ss04), Super­script (sups), Tabu­lar Figu­res (tnum) ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz