Zeitung is a sans serif family which works equally well on print and web. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Zeitung fonts are devided to two optical families: Zeitung Standard and Zeitung Micro. Zeitung Standard works great in most sizes, while Zeitung Micro fonts are specially made for very small sizes in print and web. Zeitung Micro fonts are perfectly legible in web, where the same technical font styles have to survive in many environments, from older browsers to most up to date mobile screens. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press. Letters are rendered in many various ways on different screens. Maybe the interface of your next app requires a different grade than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. That is a welcome relief during the design process. Zeitung will help to bring your message across in many different circumstances, from large text in print to small type on screens.

The typeface Hand of Hannah is designed from 2021 for the font foundry Typo Graphic Design by Hannah Englisch & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Regular, Bold, Heavy & Icons) with 732 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: Hand of Hannah ■ Font Styles: 4 font-styles (Regular, Bold, Heavy, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 732 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 80 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician German Gusii Hungarian Indonesian Irish Italian Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Manx Morisyen North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Zulu ■ Design Date: 2021 ■ Type Desi­gner: Hannah Englisch, Manuel Viergutz

The typeface PIXEL pattern is designed from 2021 for the font foundry Typo Graphic Design by Manuel Viergutz. The display typeface is inspired in the past and present. 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) with 830 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, German Capital Sharp S, dingbats, emojis, symbols, geometric shapes, catchwords, decorative ligatures (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (8 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! ■ Font Name: PIXEL pattern ■ Font Styles: 8 font-styles (Square, Circle, Square Flicker, Circle Cloud, Square Bold, Square Fat, Star, Star Spike) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Font For­mat:.ttf (for Print) + .woff (for Web) ■ Glyph Set: 830 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, 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, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Manuel Viergutz

You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it's plain to see that the top half of the letters is very Bodoni in appearance. Apple Pie is a revival of and old font from the William Hagar Type Foundry, which I've been able to date back to 1850. The William Hagar type specimen book from the 1850s only shows this font as a caps only typeface plus numbers, later in 1869 MacKellar Smiths and Jordan offered this font with a lowercase. Over a two year period I was able to collect enough letters to begin production of this old decorative font, the type specimen books only showed a small line of text for this font so I would search through old documents on eBay and also shows relating to Ephemera. I could have easily developed a new font based on a very small sample of letters but I wanted to wait and find as many letters as possible, I was unable to find the Q, X, Z and ten lowercase letters so those missing letters are of my own design. New to this font is the addition of an all Caps Greek character set, accented letters for Eastern Central and Western European countries is also within this font. Fill fonts are available for the Apple Pie font, you will need an application that works in layers such as Adobe Photoshop, Adobe Illustrator or Corel Graphics in order to use the Fill fonts. Some Fill fonts may be used as stand alone fonts but the versions for Apple Pie look best when layered behind the parent or main Apple Pie fonts. Be sure to check out the left and right hands located on the Less Than and Greater Than keys.

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Clear Sans™ is a… wait for it… rational geometric sans serif. It is intended to fill a niche… to provide an alternative to the somewhat based-on-vernacular signage, somewhat geometric sans. I hear the word vernacular thrown around too much and too loosely. If a typeface is based in the vernacular, based on hand-painted or hand-crafted signage, then it should be based on the movements of the hand, retain that warmth and not on a pretty geometric model. For me, clean, geometric and precise doesn't have to be cold and expressionless. The original skeleton was hand-painted in 2008 to help determine and inform my decisions going forward. The typeface was completed shortly afterwards at the behest of an old friend for their identity. As usual, I expanded it, but considered retiring it since there were so many things similar out there. Years later, I had a chance to rediscover it and came to the conclusion that it could be improved, expanded in a logical and useful way, and introduced. I would be lying if I didn't admit that the rise of webfonts and embedded type in applications influenced many of the decisions I made about reworking Clear Sans™. Completely new Text and Screen fonts were developed that utitlize larger x-heights, space-saving widths, logical (and simplified) weight offerings… to name a few alterations. Even the pricing of each variant was considered to produce a more reasonable and simple solution for the developer, designer, professional and novice. Clear Sans™ is a departure from my previous sans serifs, but the influences of Aaux Next, Akagi Pro and Halogen are evident. Enjoy a light-hearted mini-site devoted to Clear Sans™

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Introducing Voivode—the charming and playful headline typeface that will leave you hooked! With its fish-tailed design and postmodern geometry, Voivode offers a unique and refreshing twist to traditional typography. But Voivode isn’t just a pretty face. Its welcoming letterforms give your message a genuine and sophisticated voice that will capture the hearts and minds of your audience. This typeface is perfect for anyone who wants to make a bold statement with their design while still maintaining a sense of whimsy and cuteness. Whether you’re designing a poster, a website, or even a greeting card, Voivode will add a touch of charm that is sure to delight. So what are you waiting for? Dive into the world of Voivode and experience the magic of this one-of-a-kind typeface! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

This is my addition to a long line of traditional gothic typefaces. As you can probably tell, PG Gothique is inspired by classics such as Trade Gothic, News Gothic, Franklin Gothic, Alternate Gothic, and Gothic Gothic. Well, maybe not the last one... But Paulo, we have all those already, why would we want to add PG Gothique to our collection? This typeface has many subtle design nuances that differentiates itself from its historical influences. Also, this is possibly the most comprehensive Latin gothic font family released to date. It has 99 fonts that cover pretty much every style you could ever need, and if you do require more, this family is available as a single variable font that covers all the weights and widths in between. PG Gothique is designed to handle a multitude of applications, from branding projects, to titles, body text, user interfaces, and film poster credits. This type family has a style that will suit the purpose. There are 99 fonts in this family, ranging from Thin to Ultra weights across six widths in both roman and italic*. Activate Stylistic Set 1 and you will get the alternate slab serif-style capital “I” that offers improved legibility when placed adjacent to a lowercase “l”. PG Gothique has an extensive character set that covers every Latin European language. If you would prefer PG Gothique as a single variable font, please choose PG Gothique Variable. Test drive PG Gothique today – both the Regular and Italic fonts are offered as a free download. See full details and hi-res examples at https://paulogoode.com/pg-gothique Key features: 9 Weights 6 Widths 99 Fonts Small Caps Old Style Figures European Language Support (Latin) 600+ Glyphs per font *Compressed weights do not include italics.

ZapfinoExtra is an OpenType format typeface available in two versions. The Contextual version contains a treasure-trove of extra contextual features. When created in 2004, this was the most advanced OpenType font released to date. By purchasing the Contextual version, users of OpenType-supporting applications, such as Adobe InDesign, may access all of the features available in the entire Zapfino family through just two fonts, Zapfino Extra LT Pro (Contextual), and Zapfino Forte LT Pro! Unfortunately, most non-Adobe applications currently do not support the contextual features made possible by recent OpenType developments. Users of Quark XPress and Microsoft Office should instead purchase all of the non-contextual fonts of Zapfino Extra Pro family, in order to access all of the Zapfino family's 1676 glyphs. The Zapfino family's character set supports 48 western and central European languages. More Zapfino History: Today's digital font technology allowed the world-renowned typeface designer/calligrapher Hermann Zapf to finally realize a vision he first had more than fifty years ago: creating a typeface that could capture the freedom and liveliness of beautiful handwriting. The basic Zapfino™ font family, released in 1998, consists of four alphabets with many additional stylistic alternates that can be freely mixed together to emulate the variations in handwritten text. In 2003, Herman Zapf completely reworked the Zapfino design, creating Zapfino™ Extra. This large expansion of the Zapfino family was designed in close collaboration with Akira Kobayashi. Zapfino™ Extra includes a cornucopia of new characters. It features exuberant hyper-flourishes, elegant small caps, dozens of ornaments, more alternates and ligatures, index characters, and a very useful bold version-named Zapfino™ Forte. Use Zapfino to produce unusual and graceful advertisements, packaging, and invitations. Zapfino Extra is so joyously abundant that it's tempting to over-indulge, so be sure to check out the tips for working well with the possibilities!"

The typeface Hand Of Evouli is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original Handwriting. Digitized via handwritten template. Thanks to Evouli. 6 font-styles (Light Pen, Bold, xBold, Black Marker, Black Bounce, Mix) + 1 icon-style with 567 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤️ or #SMILE for 🙂 as OpenType-Feature dlig) and stylistic alternates (4 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Of Evouli ■ Font Styles: 6 font styles (Light Pen, Bold, xBold, Black Marker, Black Bounce, Mix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 567 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 87 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician Ganda German Gusii Hungarian Inari Sami Indonesian Irish Italian Jola-Fonyi Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Maltese Manx Morisyen Northern Sami North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Welsh Western Frisian Zulu ■ Design Date: 2022 ■ Type Desi­gner: Evouli & Manuel Viergutz

›Hi! Please note you are visiting Old Supernett. We decided to upgrade it: more styles, more glyphs, more features, more everything! View New Supernett here: Supernett 2019› Georg from FaceType Supernett – a versatile hand drawn/handmade/handwritten font – is tailored for large font sizes but also impresses with an astounding legibility in small typesettings. Supernett is fairly condensed for space-saving headlines. The extensive character set supports Central and Eastern European as well as Western European languages. Each style contains more than 4700 glyphs to let the font look real hand-made. Three OpenType features are specially created to enhance this impression, with a maximum effect when applied to big type: Alternating Letters For a truly hand-drawn look, letters and numerics alternate randomly between three different variants → activate Contextual Alternates Rotating letters All glyphs rotate randomly and slightly around their own axis → activate OpenType Swashes Varying Baseline Shift Each single glyph moves individually up or down → activate OpenType Titling Alternates More OpenType Features: Case Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography → It is deployed when an app’s all-caps styling is applied Slashed Zero The problem with the numeral 0 is that it can look too much like O in some typefaces. This feature replaces every zero with a slashed zero → activate Zero with a Slash Fractions Substitutes figures separated by a slash by proper fraction glyphs. A date however, written like 10/12/2013 will remain unchanged → activate Fractions Stylistic Set 03 Choose between two different styles of bullet (•) → activate Stylistic Set 03 Stylistic Set 04 Choose between two different styles of Y → activate Stylistic Set 04 View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut