Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Lust Sans is the penultimate exploration of producing a high-contrast sans wholly influenced by its bracketed ancestor. The aspect of this endeavor I enjoyed the most was finding sneaky ways to infuse warmth and whimsy into the letterforms when you least expect it. The result, however, is subtle and uniquely balances against Lust and Lust Didone without becoming cold and overbearing. To accomplish this, Lust Sans has 6 weights. What I found during development was, based on any setting where Lust or Lust Didone were in the same layout, the amount of contrast shown with Lust Sans needed to be adjusted. Expanding the weight offering, produces opportunities for Lust Sans to modulate the rhythm of the layout comfortably while keeping contrast—this is even more obvious with the Italics. I love those. You will too. If you don’t, you do not have a soul. Not sorry. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynascript one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one. Birthday is a massive package that crosses the traditional font/handwriting solution of 2-letter ligatures and waltzes into the land of 3-letter combinations. Plenty of them, too! The complete Postscript and True Type versions of Birthday ship with no less than five separate fonts full of nothing but ligatures. And for even more realism, an alternates font is also included in the package, for a total of seven fonts of happy handwriting that can be used anywhere and everywhere personalization is of importance to a layout. For layout artists with advanced typography tools that take advantage of the power of OpenType, Birthday Pro is a wunderkind. All the individual letter alternates are accessible through the Stylistic Alternates feature, the 2-letter ligatures through the standard Ligatures feature, and the 3-letter ligatures via the Discretionary Ligatures feature (for the technically inclined: this includes a nice liga-to-dlig crossover, where the maximum number of possible ligated letters is automatically chosen at the push of a button). If you enjoy using OpenType, Birthday Pro is definitely for you. If on the other hand you like your fonts in Postsript or True Type, it is advisable to keep a character map handy while using Birthday. You will need it to take advantage of the many, many alternates and ligatures distributed over the fonts. The next time someone asks you for the perfect casual invitation font is, look no further. And as usually is with Canada Type, quality fonts are more affordable than ever.

A classic “American” sans serif with a kink Desphalia belongs to the kind of sans serif fonts that were created in the 19th century. You could also name it “American Gothic”, a sans serif in the style of fonts like Franklin Gothic, News Gothic and similar. Above all, the high x-height characterizes this typeface style, as do the identical heights of uppercase and ascenders. However, I allowed myself a few peculiarities ;-) On the one hand, there is the gently sloping horizontal middle line on letters such as H, E, F, A and e. The M also got gently slanted sides. Some of the lower-case letters have an up- or down-stroke: a d m n p u. This "kink" on the shaft also serves to better distinguish the small l from the capital I — as can be seen clearly with the term »Illinois«. In keeping with the tradition of American typefaces, Desphalia does not have a true italic. Rather, the letters of the “Italic” have the same character forms as the normal upright variant, but in oblique — and so it is not called “Italic” but “Oblique”. Style Set 01: Another American peculiarity is the capital I with dashes above and below. It is included in the Desphalia as an alternate character form. An alternative small l with the “kink” in the ascender is also included — as is a y with the “kink” in the descender. Style Set 02: The corresponding “straight” forms a d l m n p u without the break are included as alternatives in a separate style set. Small caps are uppercase letters that are optically the same size as lowercase letters. They offer a very classy way of emphasis. Desphalia is available in the widths Condensed, Normal and Expanded, the weights include Thin, Light, Book, Bold, Black. Using the variable font, all intermediate levels can be freely selected. The figures are optionally available as tabular figures, proportional lining figures or old style figures.

Technology is making it so that we’re all connected without the need for the physical-presence kind of being connected. That is strange, fascinating, and has a certain magnetism that is very difficult to resist. What’s at stake is no less than the transformation of centuries of human behaviour, and that’s part of the fascination. But while our existence morphs and we rush headlong into our socially minimalist future, we use our present culture to helplessly signal our nostalgia about our past. We know what our future will be missing, and we’re already full of nostalgia about it, but we know that what little we can do about isn’t going to affect the outcome that much. So, almost in full hindsight now, the DIY implosion of the past few years must have really been a reaction to our technological dis/connection. In typography, the minimalist future is already here, with something as austere as the sans serif having become the preferred expression of progress and fortune, both part of the connected isolation we are undergoing. But when physical interaction must take place, like coffee shops and gin joints, our organic alphabets ride high and mighty. That sense of human heritage — elegance and exuberance in our writing, the use of flaws to charmingly brand our own individualism — keeps turning up in all kinds of places, most unexpected of which is the digital world. The overall message seems to be that we’re still creative, imaginative, and unique. In the digital world, on blogs where we write about our puny music and fashion preferences, we’re just articulating this individualism of ours, this third domain of existence our future seems eager to dismiss. These were the thoughts behind Blog Script, the second collaboration between Carolina Marando and Alejandro Paul, after their successful stint with the Distillery set of fonts. This typeface comes in two weights, alternates for most letters, and a strong aesthetic rooted in individuality and freedom of spirit. Use it to be alone together, to tell the world that we’re still human, for now.

Buffet Script is based on fantastic calligraphy by Alf Becker, arguably the greatest American sign lettering artist of all time. The Alf Becker series of nameless alphabets published by Sign of the Times magazine in 1941 has attracted letter digitizers for a few years now, so it’s really a wonder that a few of those alphabets are still in the non-digital realm. It is understandable, though, that the basis for Buffet Script was not digitally attempted until now. The page presenting this alphabet shows a jungle of letters running into each others and swashes intertwining. The massive amount of work involved in digitizing such lettering, where scanning is nowhere near being an option, is quite obvious at a mere glance. If anyone was going to commit this particular alphabet to a digital form, it would have to be redrawn stroke by stroke and curve by curve on the computer. And don't we love a challenge! But seriously, the challenge was not the main attraction. In a way, the Becker approach to lettering is so far from digital that the imagination is almost forced to work out possibilities and letter combinations to solve problems presented by the scant showings in that magazine. After a few imaginative visualizations, the digital potential becomes clear in the mind, and the eye and hand follow. The result with Whomp (another Alf Becker-inspired work) was an enormous font with a lot of alternates and ligatures. With Buffet Script the imaginative process was no different, but the result particularly shines here, because this is some of the most fascinating flowing calligraphy ever seen. Calligraphy is where the accountability of all the little extra touches, such as alternates and swashes and ligatures, is raised to a higher level than in most other type categories. Buffet Script’s OpenType programming contains discretionary ligatures, stylistic and contextual alternates, interacting with each other to allow the composition of just the right word or sentence. This font is best used where lush elegance is one of the design’s requirements.

Get ready to groove with the Okezone Chamoon Groovy Display Serif Font! This font is the perfect blend of retro 80s style, funky cartoon vibes, and a dash of modern flair. With its wavy lines, extensive ligature options, and a whopping 758 characters, Okezone Chamoon is the ultimate choice for designers looking to infuse a playful and nostalgic touch into their projects. Key Features: Groovy 80s Aesthetics: Okezone Chamoon takes you on a trip back to the 1980s with its groovy and wavy design. It's like stepping into a time machine and bringing the funky, vibrant spirit of the 80s into your designs.Funky Cartoon Vibe: This font exudes a playful and fun-loving attitude that's perfect for creating eye-catching headlines, posters, and logos with a whimsical twist. Versatile Ligatures: Okezone Chamoon offers an extensive range of ligatures that seamlessly connect characters, enhancing the flow and style of your text. Experiment with ligatures to create custom and captivating typography. 758 Characters: With a whopping 758 characters at your disposal, you have a wide variety of options to make your text truly unique. Add special characters, symbols, and emojis to express your creativity. Multilingual Support: Don't let language barriers hold you back. Okezone Chamoon supports multiple languages, making it a font that can connect with audiences worldwide. Digital and Print-Ready: Whether you're designing for the web or print, Okezone Chamoon is optimized for both mediums. Your designs will look stunning on screens and in physical publications. Unique Branding: If you want your brand to stand out and be remembered, Okezone Chamoon is the font to make it happen. Its distinct style is sure to leave a lasting impression. Endless Possibilities: Whether you're working on advertising campaigns, retro-themed projects, or simply want to add a touch of nostalgia to your designs, Okezone Chamoon empowers you with endless creative possibilities. With Okezone Chamoon Groovy Display Serif Font, your designs will turn heads, evoke nostalgia, and radiate a playful spirit. Embrace the funky 80s vibe and let your creativity run wild!

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

Yes, finally. This one took the most time and the most restarting. Years went into imagining what Lust Text should look like and how it should structurally behave in order to truly improve upon a setting that includes any of the Lust typefaces. I approached it as much from the side of the type designer, as I did a potential user. The flow, the warmth, the personality needed to be there, but all of the excess had to be removed responsibly. In the process, and in need of inspiration, I looked backward to historical artifacts and precedent. In each early Lust Text approach, the solution was lackluster and/or vanilla and not actually a ‘Lust’ typeface. The exercise was not in vain though. By exploring past examples, I found my footing drawing for media now and how it might be used later—all the while, producing seamless, elegant curves and restrained indulgence (that sounds almost silly to say, but I like it). The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

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

Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

Listen up, partner! If you want to give your message some real grit, you need to saddle up with Stud. This ain’t no wimpy, delicate typeface that’ll have you tip-toeing around your message like a city slicker. No way, pal. Stud is a cowboy typeface with brawny serifs that’ll have you shouting your message from the rooftops. With wide characters and robust letterforms, Stud is the epitome of solid confidence. It’s the kind of typeface that’ll have your audience sitting up straight, paying attention, and hanging on your every word. And let me tell you, there ain’t no other typeface out there that can do that. But that’s not all, folks. Stud comes equipped with some serious firepower. Some character combinations are automatically swapped for custom pairs in OpenType-aware apps. That means your message is going to be more powerful than a bull at a rodeo. So if you want to make a real impact, make sure to turn off your application’s “standard ligatures” function to disable the effect. It’s time to get tough with Stud. Saddle up and let your message ride into the sunset with confidence, power, and a powerful style that’ll leave your competition eatin’ dust. 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.

When you hear that name, you likely ask yourself, ‘why?!’ I did too, but the number of requests could not be ignored. Once I finally decided to move forward with it, the only way to solve the offering would be to adhere to the same theme of indulgence, I planned for the same number of optical weights AND Italics. Yeah, italic stencils… ok, why not? It’s not a new concept. One thing to note and a creative liberty I assumed during the design. Lust Stencil would not be just a redaction or removal of stress to produce a quick stencil. To do that, would just be a cheap solution. Strokes had to resolve themselves correctly and/or uniquely to the concept of the stencil format. And, it had to be heftier. For it it to look correctly, it needed about 8% additional mass to the strokes for it to retain the effervescent flow of the curves and the resolute scalloped lachrymals. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine. It would have taken even longer if not for font engineer and designer, Potch Auacherdkul. Thanks Potch.

Introducing "Mate" - a modern mecha font that pushes the boundaries of typographic design. Inspired by the sleek aesthetics of mecha machinery, this font combines hexagonal formations with a futuristic and cyberpunk visual language, giving your projects a bold and captivating edge. The "Mate" font captures the essence of the future with its hexagonal shapes meticulously integrated into each character. The geometric precision and interconnectedness of these forms create a visually striking and dynamic appearance. The carefully crafted letterforms evoke a sense of advanced technology and mechanical elegance, making them perfect for projects seeking a contemporary and cutting-edge look. With its cyberpunk-inspired design, "Mate" transports your audience into a world where technology and imagination intertwine. The font's sleek lines, sharp angles, and futuristic elements capture the essence of a dystopian future, adding an air of intrigue and sophistication to your designs. The unique hexagonal feels of "Mate" create a sense of interconnectedness and harmony within the letterforms. Each character seamlessly integrates into the next, forming a unified and visually captivating composition. Whether used in titles, logos, or headlines, this font demands attention and conveys a sense of progress and innovation. Unleash the power of "Mate" in your design projects to evoke the spirit of mecha aesthetics. Whether you're working on sci-fi book covers, gaming interfaces, futuristic posters, or branding for technology-driven companies, this font will effortlessly infuse your creations with a modern, cyberpunk-inspired charm. With "Mate," you have the perfect tool to unleash your creativity and redefine the boundaries of typographic expression. Let this modern mecha font propel your designs into a realm where imagination meets technology, and the future is brought to life in stunning visual form. This font is perfect for Logo designs, Gaming branding, Technology magazines, Sci-fi book covers, Cyberpunk posters, Futuristic product packaging, Robotics company branding, Virtual reality interfaces, Futuristic event invitations, Mecha-inspired apparel branding, Tech-themed websites, Dystopian novel covers, Futuristic movie titles, Cybernetic-themed party invitations, Gaming convention banners and many more! Mate features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Cyber Mecha Style +298 Total Glyphs

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Andinistas.net presents Makeup Script. Expressive hand-made typography to design sentences with high textured impact; has 4 creative tools. Our priorities are continually updated and we prefer to use the elevator since taking the stairs is a very long process. If you see a long text, you close it and look for something shorter. For quick calligraphy you need to consume hours and hours of learning, discomfort and effort. Think of calligraphic words or phrases to write about a photo no matter how expressive it may be. Try to write quickly with signature style for logos, labels or packaging for clothes, suitcases, shops, malls, department stores, etc. Do you want to be able to calligraphy well? STUDY. Do you want to be a calligrapher? PRACTICE. Want to produce good ideas? PUSH YOURSELF. If you practice for hours every day, those hours will turn into years, but for many, to think in years of study and practice is too long, since most want everything instantaneous and few want to cultivate skills related to calligraphic patience. Makeup was born in the midst of this type of reflections about countless themes about art, beauty and calligraphy. All the ideas that revolve around makeup parade through its insightful and solitary design, lover of instant and fast writing for graphic design related to food, household goods, fashion, etc. CFCG. teamwork by Carolina Suarez & Illustrations by Eder Salas. In that order of ideas Makeup offers the following tools: • Makeup Script (238 glyphs): It is a script with vibrant fleeting strokes that form capital letters, lowercase letters, numbers and character sets and extended punctuation for Central, Eastern and Western Europe. • Makeup Alternates (238 glyphs): Offers new script possibilities, different from uppercase, lowercase, numbers that work at the beginning or end of words, in a way that your design will look more real and calligraphic. • Makeup Swashes (238 glyphs): These are tiny script letters that reinforce the idea of fast binding between handwritten letters that will fill your design or concepts with power and expressiveness through multiple textured contours. • Makeup Extras (80 glyphs): Here you'll find over 70 exciting, hand-crafted decorations that are ideal for underlining your ideas written in Makeup.

Picture this: you’re in the heart of a lush, vibrant rainforest. The leaves rustle in the breeze, and the vibrant colors of the flora and fauna surround you. That’s exactly the feeling you’ll get when you use Rainforest, our small caps display typeface inspired by the Jurassic Park logo. Rainforest is a nod to the classic typefaces of the early 20th century, like Rudolph Koch’s Neuland and Monotype’s Othello. These fonts captured the spirit of the Art & Crafts movement with their woodcut prints, and they were particularly popular in themes depicting jungles and tropical islands. But Rainforest takes that classic style to the next level with its sleek and modern design. The typeface can be used in a variety of ways: plain, outlined, or as a separate thin-line layer. It’s versatile, stylish, and sophisticated—perfect for any project that needs a touch of class. Whether you’re designing a poster for a tropical vacation or creating an eye-catching logo, Rainforest will make your work stand out from the crowd. Its candid, natural style will transport you straight to the heart of the rainforest—all while maintaining an air of elegance and sophistication. Give Rainforest a try today and see the difference for yourself! 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, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Welcome to the winter wonderland of typography, where the letters are as crisp and chilly as the winter breeze! Introducing Snowa, the perfect typeface for your holiday projects. Whether you’re designing a greeting card, creating an advertisement for a winter resort, or simply adding some frosty flair to your designs, Snowa is the perfect choice. With its snow-capped letterforms, Snowa captures the essence of the winter season. The elegant curves of each letter are topped with a layer of shimmering snow, making your text stand out like a snowflake in a blizzard. It’s perfect for creating a festive and inviting atmosphere for your audience. But that’s not all—Snowa comes with a snowless version as well as independent layers for constructing your own layered snow effects. You can customize your designs to suit your needs and create the perfect snowy effect. Whether you want a light dusting of snow or a heavy blizzard, Snowa has you covered. So don’t let your designs be as dull as a snowless winter day. Add some winter magic with Snowa. Let the snowy letters create a wonderland of typography, and let your imagination take you to a winter wonderland of your own. With Snowa, your designs will be as cool as ice and as dazzling as freshly fallen snow. Happy Holidays! 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.

Nothing is hidden in the simplistic forms and overt aesthetic of Anya Danilova’s Rezak font family. Rezak is not a type family directly from the digital world, but was inspired by the stout presence of cutting letters out of tangible material: paper, stone, and wood. With only a few cuts, the shapes remain dark and simple. With more cuts, the shapes become lighter and more defined, resulting in a dynamic type family not stuck within one specific category. The Black and medium weights began as one approach before separating into display and text categories. The four text weights were created through pendulum swings in design direction that experimented with contrast, angles, tangent redirections, and the amount of anomalies allowed. The text weights are vocal when set larger than ten points and subtle at smaller sizes. The tech-heavy Incised display style came last, employing a surprising range of trigonometric functions to make it behave exactly as desired. Its look can result in something distinctive and emotional or completely over-the-top. Most normal typefaces change only in thickness; Rezak changes in intention, highlighting the relationship between dark and light, presence and absence, what’s removed and what remains. Rezak’s Black and Incised display styles are like a shaft of light in reverse and are perfect in situations of impact: websites, headlines and large text, gaming, call-outs, posters, and packaging. The tone works for something from youthful or craft-oriented to organic and natural products. Try these two in logotypes, complex print layering, branding, and words-as-pattern for greater experimentation. The text styles are bold, energetic, well informed, and round out the family with four weights (Regular, Semibold, Bold, Extrabold) and matching italics for a family grand total of ten. These jaunty styles work well in children’s books, call-outs, movie titles, and subheads for myriad subjects such as architecture, coffee, nature, cooking, and other rough-and-tumble purposes. Rezak’s crunchy letters are meant to expose rough, daring, or dramatic text. A further benefit is that this family is not sequestered within one specific genre or script, so it can be easily interpreted for other scripts, such as its current Latin and extended Cyrillic which supports such neglected languages as Abkhaz, Itelmen, and Koryak. Rezak’s push toward creativity and innovation, with an eye on typography’s rich history, reinforces our foundry’s mission to publish invigorating forms at the highest function and widest applicability.

Neuropol Nova is more than just a typeface, it’s a portal to a world of hard sci-fi design. Inspired by Neuropol X, this typeface transports us to a chilling and distant future, one where letterforms are stripped down to their most essential components. The stark, almost clinical aesthetic of Neuropol Nova is reminiscent of a high-tech laboratory or the sterile environment of a spaceship’s bridge. Neuropol Nova pushes the boundaries of letterform recognition to levels that are truly ultra-futuristic. The sparsely connected patterns that make up the letters evoke a sense of ancient cuneiform markings, or perhaps even the language of a highly advanced alien civilization from a distant, unknown future. The choice of three widths, three weights, and italics only adds to the versatility of this incredible typeface. With its strategic overtones, Neuropol Nova is ideal for any designer looking to create a design that screams of a dystopian future. Whether you’re working on a sci-fi novel cover or a video game interface, Neuropol Nova is the perfect typeface to transport your audience to a world of cutting-edge design. In conclusion, Neuropol Nova is more than just a typeface, it’s a masterful creation that seamlessly blends the past, present, and future of typography. So if you’re looking for a font that will truly set your design apart, look no further than Neuropol Nova. 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.

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped with the right attributes for setting paragraphs and headings, and perfect for branding and text use. Some typefaces are a rough tool, like a pumice rock: abrasive to the senses, unforgiving, and unhelpful for most reading situations. Postea is an obsidian: smooth and classy, with attractive nuances in any light. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of geometric font needs. Because of these qualities, Postea makes normal reading in paragraphs a cinch and your branding memorable. Compared to midcentury attributes of restraint and a sparse appearance, Postea’s deliberate play between character widths injects life and distinctiveness into its personality. The default ‘t, f’ have lyrical doses akin to a robust evening drink and are rounded out with a serpentine ‘s’ and rotund ‘o, g, b’. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the expected, slightly looser spacing for text. Setting the test word ‘bogarts’ brings all this together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Postea is opinionated and its modern stylistic sets allow it to be accommodating with softer, specially-designed alternative characters. SS01 replaces ‘b, f, M, m, t’, while SS02 changes only the lowercase ‘a’ to the round style, and SS03 swaps out the angled ‘y’ for a straight version. The fourth and sixth stylistic sets are packed with wallpaper-worthy geometric patterns, ornaments, arrows, and symbols aplenty. Postea’s 14 styles (seven upright and italic) and two variable fonts are accompanied by an all-new family of icons in three weights, which we developed a new, easy way to activate. Simply bookend the desired icon name with colons (:arrowUp: :chargingStation: :aid: :firstAid:), making sure to capitalise each word after the first word, then highlight and activate SS05. Icons include wayfinding, social interface, sanitary precautions like face masks, thermometers, and hand washing, and much more. Postea is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. Beginning with midcentury virtues, Postea is the rational response for text — a lyrical take on geometric sans serifs.

Tomato is the digitization and quite elaborate expansion of an early 1970s Franklin Photolettering film type called Viola Flare. This typeface is an obvious child of funk, the audio-visual revolution that swept America and put an end to the art nouveau period we now associate with the hippy era. Funk is of course little more than jazz with a chorus and an emphatic beat. Nevertheless, it became the definition of cool in the 1970s, thanks to blaxploitation movies with excellent soundtracks like Shaft and Superfly. Funk began as a commercial audio experience, then later expanded its signature to cover everything, from design to fashion to the later birth of disco, which is really a further simplification of funk. Funk had very strong and unique typographical elements, particularly a kind of titling with an essentially western, wooden core that suddenly changed and flared in unexpected areas until a very individual brand was achieved. Everything that can be tacked on to the alphabet was used towards that individuality. Things like curls, swirls, swashes, ligatures were always plentiful in funk, sometimes giving the titling a specific gender, sometimes bulging, sometimes speeding, sometimes fading in the distance, sometimes doing nothing but crazily aligning with other design elements, but the result was always a fascinating creature that seemed to invariably want to dance and have fun. Tomato was built in exactly that spirit. The original film type certainly had enough swashes and curls to be an unmistakable funk font in itself, but our further expansion of it cements it and makes it the definite font for the genre. With as many as 12 different possibilities for some letters, the designer's choices for a titling set in Tomato are virtually limitless. The Postscript and True Type versions of Tomato come in five fonts, including two fonts for alternates, one font for ligatures, and one font for swashes. These are split into two affordable packages. The entire family package is also available at an even more affordable price, and includes complimentary Cyrillic, Greek, Turkish, and Central European versions of Tomato. A Tomato Pro OpenType version is also available. It is a single font that includes over 650 characters, glued together with extensive programming for convenience of use in OpenType-friendly applications, where you can watch the letters morph and dance as you push the buttons and change the options of your OT palette. Now you know which font will come to mind when someone says the word "funky".

Bitcrusher is not your ordinary typeface. It is a futuristic, ultra-compact sans-serif font that draws inspiration from the sleek design of automobiles and cutting-edge consumer electronics. Its unique compression capabilities allow you to pack more words into a single line than most techno typefaces can ever dream of. Available in five weights and four widths, Bitcrusher is a versatile font that gives you unprecedented control over your typography. If you need to fit more text into a tight space, Bitcrusher Condensed is the perfect choice. And if you want to push the limits of font compression, Bitcrusher Compressed has already reached the standard limit. For those who demand even more compactness, Bitcrusher Crammed has an abnormally small footprint, while Bitcrusher Crushed has an absurdly high density that defies all conventions. But no matter which variant you choose, you can be sure that Bitcrusher delivers consistent stem, space, and gap widths that allow you to break the rules of scaling and tracking. With Bitcrusher, you have complete control over your typography. Want thicker stems? Simply scale a narrower width to a bigger breadth. Need to go even tighter than Crushed? Make it even thinner. Bitcrusher is a font that cannot be broken. It is the ultimate tool for designers who demand precision and control over their typography. Choose Bitcrusher and discover the power of true compression. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Here I am, once again digging up 60-year sign lettering and trying to reconcile it with the typography of my own time. The truth is I've had this particular Alf Becker alphabet in my sights for a few years now. But in the typical way chaos shuffles the days, Buffet Script and Whomp won the battle for my attentions way back when, then Storefront beat the odds by a nose a couple of years ago. Nevertheless, revisiting Alf Becker’s work is always a breath of fresh air for me, not to mention the ego boost I get from confirming that I can still hack my way through the challenges, which is something I think people ask themselves about more often as they get older. You can never tell what may influence your work, or in this case remind you to dig it out of dust drawers and finally mould it into one of your own experiences. On my recent visits to the States and Canada, I noticed that quite a few high-end steak houses try their best to recreate an urban American 1930s atmosphere. This is quite evident in their menus, wall art, lighting, music, and so on. The ambience says your money is well spent here, because your food was originally choice-cut by a butcher who wears a suit, cooked by a chef who may be your neighbour 20 minutes from downtown, and delivered by a waitress who can do the Charleston when the lights dim and who just wouldn't mind laughing with you over drinks at the bar later. So Steak is just that, a face for menus and wall art in those places that see themselves in the kind of jazzy, noirish world where one-liners rule and exclamation points are part of a foreign language. As is usual with my lettering-inspired faces, there is very little left of the original Alf Becker alphabet. Of course, the challenges present in bringing typographic functionality to what is essentially pure hand lettering gives the spirit of the original art a hell of a rollercoaster ride. But I think that spirit survived the adventure, and may in fact be even somewhat magnified here. This font is over 850 glyphs. It’s loaded with ligatures, swashes, ending forms, alternates, ascender and descender variations, and extended Latin language support. Steak comes in 3 versions. According to your taste you can choose Barbecue, Braised or Smoked. It’s up to you!

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being too perfect, stark, and difficult to read. Licko noticed that subsequent interpretations and revivals of Baskerville had continued along the same path of perfection, using as a model the qualities of the lead type itself, not the printed specimens. Upon studying books printed by Baskerville at the Bancroft Library in Berkeley, Licko decided to base her design on the printed samples which were heavier and had more character due to the imprint of lead type into paper and the resulting ink spread. She reduced the contrast while retaining the overall openness and lightness of Baskerville by giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width. There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W being narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly apart from many likeminded types. It has an undefined quality that resonates with people. This paradox (imperfect yet pleasing) is perhaps best illustrated by design critic and historian Robin Kinross who has pointed out the limitation of the “loose” spacing that Licko employed, among other things, yet simultaneously designated the Mrs Eaves type specimen with an honorable mention in the 1999 American Center for Design competition. Proof, perhaps, that type is best judged in the context of its usage. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold. On MyFonts, one of the largest on-line type sellers, Mrs Eaves has been among the 20 best selling types for years, listed among such classics as Helvetica, Univers, Bodoni and Franklin Gothic. Due to its commercial and popular success it has come to define the Emigre type foundry. While Licko initially set out to design a traditional text face, we never specified how Mrs Eaves could be best used. Typefaces will find their own way. But if there’s one particular common usage that stands out, it must be literary—Mrs Eaves loves to adorn book covers and relishes short blurbs on the flaps and backs of dust covers. Trips to bookstores are always a treat for us as we find our Mrs Eaves staring out at us from dozens of book covers in the most elegant compositions, each time surprising us with her many talents. And Mrs Eaves feels just as comfortable in a wide variety of other locales such as CD covers (Radiohead’s Hail to the Thief being our favorite), restaurant menus, logos, and poetry books, where it gives elegant presence to short texts. One area where Mrs Eaves seems less comfortable is in the setting of long texts, particularly in environments such as the interiors of books, magazines, and newspapers. It seems to handle long texts well only if there is ample space. A good example is the book /CD/DVD release The Band: A Musical History published by Capitol Records. Here, Mrs Eaves was given appropriate set width and generous line spacing. In such cases its wide proportions provide a luxurious feel which invites reading. Economy of space was not one of the goals behind the original Mrs Eaves design. With the introduction of Mrs Eaves XL, Licko addresses this issue. Since Mrs Eaves is one of our most popular typefaces, it’s not surprising that over the years we've received many suggestions for additions to the family. The predominant top three wishes are: greater space economy; the addition of a bold italic style; and the desire to pair it with a sans design. The XL series answers these requests with a comprehensive set of new fonts including a narrow, and a companion series of Mrs Eaves Sans styles to be released soon. The main distinguishing features of Mrs Eaves XL are its larger x-height with shorter ascenders and descenders and overall tighter spacing. These additional fonts expand the Mrs Eaves family for a larger variety of uses, specifically those requiring space economy. The larger x-height also allows a smaller point size to be used while maintaining readability. Mrs Eaves XL also has a narrow counterpart to the regular, with a set width of about 92 percent which fulfills even more compact uses. At first, this may not seem particularly narrow, but the goal was to provide an alternative to the regular that would work well as a compact text face while maintaining the full characteristics of the regular, rather than an extreme narrow which would be more suitable for headline use. Four years in the making, we're excited to finally let Mrs Eaves XL find its way into the world and see where and how it will pop up next.

Rev your engines and get ready to add some muscle to your typography with Threefortysixbarrel, the ultimate typeface for those who live life in the fast lane. This high-octane typeface was peeled right off the air filter of a 1970 Plymouth Barracuda. With Threefortysixbarrel, you’ll be able to proclaim your message with confidence and authority. This no-nonsense alphabet is barely street legal, just like the muscle cars it takes inspiration from. And with three different styles to choose from, you can customize your typography to match your message perfectly. First up, we have Threefortysixbarrel. This is the serious, clean version of the font, with a powerful personality that commands attention. It’s perfect for when you need to make a statement that can’t be ignored. If you’re looking for a more vintage feel, Threefortysixbarrel Intake is the way to go. This style features a realistic rusty letterpress effect that will make your typography look like it’s been around since the golden age of muscle cars. It’s perfect for adding a touch of nostalgia to your designs. And finally, we have Threefortysixbarrel Exhaust. This style is raspy and faded, barely hanging on—just like a muscle car that’s been pushed to its limits. It’s the perfect choice when you want your typography to have a scruffy, worn-in feel. But that’s not all—the textured styles of Threefortysixbarrel also include custom pairs that will be substituted automatically in apps that can handle OpenType ligatures. This means that repeated character textures will be broken up, resulting in an even more realistic, scruffy effect. So what are you waiting for? Grab the pistol grip, slam the pedal down, and peel out with Threefortysixbarrel. This typeface is the ultimate choice for anyone who wants to add some serious muscle to their designs. 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.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Gérard Mariscalchi is a self-made designer. Born in Southern France of a Spanish mother and an Italian father, he has worked as a mechanic, salesman, pilot, college teacher – even a poet (with poetry being the worst-paying of these professions, he reports.) “Throughout all this, the backbone of my career has always been design,” Mariscalchi says. “I’ve been drawing since I was five, but it wasn’t until I was twenty-four that I learned that my hobby could also help me earn a living.” It was about this same time that Mariscalchi fell in love with type. He studied the designs of masters like Excoffon, Usherwood and Frutiger, as well as the work of calligraphers and type designers such as Plantin, Cochin and Dürer. With such an eclectic background, it’s no surprise that Mariscalchi’s typeface designs are inspired by many sources. Baylac and Evita reflect the style of the art nouveau and art deco periods, while Marnie was created as an homage to the great Lithuanian calligrapher Villu Toots. However, the touch of French elegance and distinction Mariscalchi brings to his work is all his own. Baylac Who says thirteen is an unlucky number? Three capitals and ten lowercase letters from a poster by L. Baylac, a relatively obscure Art Nouveau designer, served as the foundation for this typeface. The finished design has lush curves that give the face drama without diminishing its versatility. On the practical side, Baylac’s condensed proportions make it perfect for those situations where there’s a lot to say and not much room in which to say it Evita Mariscalchi based the design of Evita on hand lettering he found in a restaurant menu, and considers this typeface one of his most difficult design challenges. “The main problem was to render the big weight difference between the thin and the thick strokes without creating printing problems at small point sizes,” he says. Unlike most scripts, Evita is upright, with the design characteristics of a serif typeface. Mariscalchi named the face for a close friend. The end result is a charming design that is light, airy, and slightly sassy. Marnie Based on Art Nouveau calligraphic lettering, Marnie is elegant, inviting, and absolutely charming. Mariscalchi paid special attention to letter shapes and proportions to guarantee high levels of character legibility. He also kept weight transition in character strokes to modest levels, enabling the face to be used at relatively small sizes – an unusual asset for a formal script. Marnie’s capital letters are expansive designs with flowing swash strokes that wrap affectionately around adjoining lowercase letters. The design easily captures the spontaneous qualities of hand-rendered brush lettering.

Eclectic FS Siena is a typeface with history, and not just in the sense of having its origins in classical Roman lettering. Fontsmith founder Jason Smith first committed it to tracing paper while still at college, instinctively redrawing letterforms based on Hermann Zapf’s Optima according to ‘what felt right’. When Krista Radoeva took up the challenge to edit and extend the typeface, she and Jason were determined to preserve its subtly nonconformist and eclectic spirit. Like a great dish, there are individual components throughout the character set that all add flavour, and need to be balanced in order to work together. The smooth connection of the ‘h’ ‘m’ ‘n’ and ‘r’ contrasts with the corners of the ‘b’ and ‘p’. The instantly recognisable double-storey ‘a’ – the starting point of the design – contrasts with the single-storey ‘g’ and the more cursive ‘y’. And only certain characters – ‘k’, ‘w’, ‘v’ and ‘x’ in the lowercase and ‘K’, ‘V’, ‘W’, ‘X’ and ‘Y’ in the caps – have curved strokes. Transitional FS Siena is a contrasted sans-serif typeface, blending classical elegance and modern simplicity. Its construction and proportions are descended from classical broad-nib calligraphy and humanist typefaces, with a high contrast between the thick and thin strokes. The angle of the contrast, though, is vertical, more in the character of pointed-nib calligraphy and modernist typefaces. This vertical stress helps to give FS Siena a strong, cultured presence on the page. Idiosyncratic italics The italics for FS Siena were developed by Krista to complement the roman upper and lower-case alphabets first drawn by Jason. Many of the letterforms are built differently to their roman counterparts: there’s a single-tier ‘a’, a looped ‘k’ and connections more towards the middle of stems, such as in the ‘m’, ‘n’ and ‘u’. These distinctions, along with generally much narrower forms than the roman, give the italics extra emphasis within body copy, where the two are side-by-side. In editorial, especially, the combination can be powerful. To cap it all… In his original draft of the typeface, Jason found inspiration in Roman square capitals of the kind most famously found on Trajan’s Column in Rome. In keeping with those ancient inscriptions, he intended the capitals of FS Siena to also work in all-upper-case text, in logotypes for luxury consumer brands and property developments, for example. A little added space between the upper-case letters lets the capitals maintain their poise in a caps-only setting, while still allowing them to work alongside the lower-case letterforms. The caps-only setting also triggers a feature called case punctuation, which adapts hyphens, brackets and other punctuation to complement the all-caps text.

Tropicane - Stylish Typeface refers to a font that possesses a distinct and attractive aesthetic, often characterized by unique design elements, creative flair, and an overall fashionable or contemporary look. Stylish typefaces are crafted to make a visual impact and are frequently chosen for design projects where the typography plays a crucial role in conveying a specific mood, personality, or brand identity. Here's an in-depth explanation of the characteristics and significance of a stylish typeface: - Distinctive Design Elements: Stylish typefaces stand out due to their distinctive design features. This may include unique letterforms, creative ligatures, elegant serifs, or modern sans-serif shapes. The goal is to create a visually appealing and memorable set of characters. - Contemporary Aesthetic: The term "stylish" implies a modern and fashionable design. Stylish typefaces often incorporate contemporary design trends, keeping up with current aesthetics to ensure that they remain visually relevant and appealing. - Versatility: Stylish typefaces are often versatile, suitable for a variety of design applications. Whether used for branding, editorial design, websites, or marketing materials, these typefaces maintain their stylish appeal across different contexts. - Attention to Detail: A stylish typeface is characterized by meticulous attention to detail. Designers pay close attention to the shapes, proportions, and spacing of individual characters to create a harmonious and visually pleasing overall appearance. - Expressive Characters: Stylish typefaces can convey a sense of expressiveness and personality. This expressiveness can be achieved through unique letter shapes, playful elements, or the incorporation of design features that evoke a particular mood or emotion. Applicability to Branding: Brands often use stylish typefaces to create a distinctive visual identity. A stylish font can contribute to the overall brand image, helping to communicate the brand's values, tone, and style to the target audience. - Innovative Typography: Stylish typefaces are often at the forefront of typographic innovation. They may push the boundaries of traditional letterforms, experimenting with new shapes, styles, and arrangements to create a sense of novelty and creativity. - Readability and Functionality: Despite their emphasis on style, these typefaces generally maintain a balance between visual appeal and readability. Clear and legible letterforms are crucial, ensuring that the text remains accessible while still making a stylish statement. - Adaptability to Trends: Stylish typefaces are often designed with an awareness of design trends. This adaptability allows them to stay relevant over time, making them a popular choice for designers who want their projects to reflect a contemporary and stylish aesthetic. - Customization Options: Some stylish typefaces come with additional features, such as alternative characters, ligatures, or stylistic sets, offering designers the flexibility to customize the appearance of the text for specific design needs. In summary, a stylish typeface is a carefully crafted font that goes beyond mere functionality, aiming to enhance the visual appeal and expressiveness of the text.

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day. At the root of Salden’s design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there. This set covers the gamut of Salden’s lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling. All the fonts in this set include Pan-European glyph sets. They’re also loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts. These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden’s original drawings, access to which was graciously provided by Museum Meermanno in The Hague. The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.