Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

Minicomputer is an exceptional typeface that pays homage to the antique look of computer fonts from the mid-20th century. It is a magnetic ink typeface, characterized by a versatile range of seven weights and italics, which is perfect for graphic design themes. Minicomputer also includes OpenType fractions and numeric ordinals, as well as an array of mathematical symbols that can add depth to any design. With its OpenType old-style numerals feature, Minicomputer enables users to evoke the original MICR E-13B numerals, the very numerals that were once used in bank checks. Back in the 1950s, the MICR E-13B numerals were printed in magnetic ink and were associated with the innovative technology of the time. But that didn’t stop Leo Maggs from creating Westminster, a typeface that emulated the look of the MICR E-13B. Soon after, dozens of magnetic typefaces appeared and quickly became fashionable. By the 1980s, home computers emerged, and the once fashionable magnetic typefaces became outdated. They were replaced with pixel fonts and dot matrix typefaces, which gave a fresh look to digital designs. However, designers today are reviving the magnetic typeface trend in a new context. Magnetic typefaces are now associated with a vintage look that has a unique and synthetic feel and an association with 1960s fashion trends. Despite the half-century since the first magnetic typefaces appeared, designers had limited choices when it came to using them, mainly having to rely on digitized versions of analog fonts from the 1990s. Minicomputer offers an exciting and modern take on the magnetic ink typeface and is a must-have for any designer or writer looking to add a touch of the past to their work. 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.

Vicky is a slab serif typeface for headlines designed with geometric proportions. Like all slab serif typographies, it has a very particular strength and robustness. The peculiarity of its forms, as it was born from geometrical figures, creates a cascade of delicate details and inner analogies that make it unique. Vicky is a joyful, happy and shiny typography marked by delicate forms, but with a very strong character. It was born to be soulmate of Liliana, another geometric typeface by Juan Pablo De Gregorio. When working with Liliana and Vicky, together with a compatible chromatic work, you can quickly generate very showy results especially when working on short texts. Vicky is optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 8-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when combined with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 707 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Vicky supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

High-contrast & all handmade – the powerful Sofa Sans. Sofa Sans is a hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, food- and logo-design and will best stand out in huge grades. Its handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. Two optical sizes and extra shadow-, 3D-, inline- and hatched-styles make Sofa Sans a flexible solution for any display need. Sofa Sans now has a sister: view Sofa Serif here. · The family boasts 4 weights from a monolinear Thin to Black, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. · High contrast is one of Sofa Sans’ key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. · Sofa Sans includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings, Stylistic-Sets for even more alternative glyphs as well as a “random-double-letter-feature” with “Discretionary Ligatures” activated. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Sans do the rest. Please download the SofaSans-OpenType Feature Guide from the gallery for further details. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Sans Hand/ 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Pinto, designed by Vienna based typographer Georg Herold-Wildfellner, lets you transform type into an exciting and beautiful piece of work. The irregular, hand-lettered look adds a real human touch to things and comes along with a lot of loving details. Combine all font-styles the way you want, add some ornamental swashes or banners and even a single word becomes magnificent. · Four subfamilies plus hundreds of ornaments in 1 font combo! Pinto shows a great flexibility and variety. It works similar to a toolbox: four subfamilies including shadow-, outline-, display- and layer-variations. On top of that is NO_05, a set of more than 800 different ornaments to dress up any typographic project. Browse through tons of swashes, flourishes, dividers, corners, ribbons, banners, frames, arrows, hearts and stars. The extensive character set includes uppercase letters in two automatically alternating versions (activate OpenType “Contextual Alternates”). All ornaments are abundant with details and often available in different stroke thicknesses. Scale them up to meet your personal needs! · The Pinto Family at a glance • NO_1: Narrow Sans Serif (additional option: NO_01 Shadow) • NO_2: Slab Serif (plus a playful variant with serifs drawn as outline) • NO_3: Serif (plus 3 versions: Shadow, Engraved & Engraved Display) • NO_4: Western style – this one is for free! (extra: two layer-option) • NO_5: 800+ typographic ornaments in 3 fonts, separated into stylistic sets · The Pinto family in total includes 14 hand-drawn styles and is tailored for food-, magazine-, book- and packaging-design. · Enjoy! Georg Herold-Wildfellner | FaceType · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Pinto / 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

Useful links Font Specimen SFT Schrifted Sans: The Story of Font Development Article Contacts Follow us on Instagram to know all about our future projects and updates. If you want to customize SFT Schrifted Sans, need font files or have any other questions, please reach out to us at info@schrifteria.xyz. About SFT Schrifted Sans SFT Schrifted Sans is a functional geometric sans-serif typeface with a Nordic character. It can serve as a stylish text font and as an eccentric headline one. With multiple subfamilies (wide geometric and compact neo-grotesque) and numerous alternatives, SFT Schrifted Sans can be customized for various projects and transformed beyond recognition. SFT Schrifted Sans has wide language support: 200+ Latin and 60+ Cyrillic languages, including specific localized forms (for example, for Bulgarian and Serbian languages). Visit the font page for more information. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Russian, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian (Cyrillic), Kazakh (Cyrillic), Kirghiz, Macedonian, Serbian (Cyrillic), Tadzhik, Ukrainian, Chechen (Cyrillic), Bashkir, Chuvash, Tatar Volgaic, Mongolian, Uzbek (Cyrillic), Avar, Dargwa, Ingush, Kabardino-Cherkess, Kumyk, Lak, Lezgian, Ossetian, Tabasaran, Buryat, Komi-Zyrian, Touva, Mordvin-moksha, Udmurt, Adyghe, Dungan, Rusyn, Oroch, Enets, Chulym, Aleut (Cyrillic), Karaim, Udege, Nganasan, Ulch, Akhvakh, Ket, Karata (Karata-Tukita), Kildin Sámi, Yukagir, Karakalpak, Archi, Saami, Uighur (Cyrillic), Nanai, Koryak, Tsez, Soyot-Tsaatan, Tindi, Veps, Andi, Turkmen (Cyrillic), Karelian, Godoberi, Besermyan, Chukchi, Even (Lamut), Gagauz, Altaic, Moldavian (Cyrillic).

Introducing TE Rekaah3: Unleash the Beauty of Arabic Calligraphy by Tharwat Emara TE Rekaah3 is not just a font; it is a masterpiece crafted by renowned calligrapher Tharwat Emara, bringing the timeless beauty of Arabic calligraphy to life. With its exquisite design, meticulous attention to detail, and captivating aesthetics, TE Rekaah3 invites you to embark on a journey of creativity and immerse yourself in the artistry of Arabic script. Impeccable Craftsmanship: Tharwat Emara, a master calligrapher, has poured his expertise and passion into every curve and stroke of TE Rekaah3. The result is a font that showcases the flawless craftsmanship and artistic precision that Tharwat Emara is renowned for. Each letterform is meticulously designed, reflecting the elegance and grace of Arabic calligraphy in its purest form. Elegance Redefined: TE Rekaah3 embodies a harmonious balance between tradition and innovation. It embraces the timeless elegance of Arabic script while infusing it with a contemporary flair. The graceful letterforms and balanced proportions of TE Rekaah3 exude sophistication, making it the perfect choice for projects that demand refined aesthetics and a touch of modernity. Captivating Visual Appeal: TE Rekaah3 captivates the eye with its visually striking composition. The seamless flow of each character, carefully curated ligatures, and distinctive swashes create a captivating rhythm that draws the viewer in. Whether used for headlines, logos, or editorial layouts, TE Rekaah3 ensures that your designs make a lasting impression. Unparalleled Legibility: Tharwat Emara's expertise in calligraphy shines through in TE Rekaah3's exceptional legibility. Each letterform is thoughtfully crafted to ensure clarity and readability, even at smaller sizes or in intricate design compositions. Your message will be conveyed with precision and impact, making TE Rekaah3 a reliable choice for a wide range of design applications. Versatile Expressiveness: TE Rekaah3 offers a wealth of creative possibilities. With its comprehensive character set, including alternates, ligatures, and stylistic variations, you have the freedom to express your artistic vision. Whether you seek a contemporary look or a more traditional feel, TE Rekaah3 provides the versatility to bring your creative ideas to life. Seamless Integration: TE Rekaah3 seamlessly integrates into your design workflow, ensuring a smooth and efficient experience. Available in various file formats and compatible with popular design software, it offers convenience and ease of use. Focus on your creative process and let TE Rekaah3 effortlessly elevate your designs. Celebrate the Art of Arabic Calligraphy: TE Rekaah3, born from the creativity of Tharwat Emara, celebrates the rich heritage of Arabic calligraphy. It pays homage to centuries of artistic tradition while embracing the demands of contemporary design. By choosing TE Rekaah3, you honor the legacy of Arabic calligraphy and create designs that resonate with cultural richness and artistic expression. Immerse yourself in the beauty of TE Rekaah3, where the mastery of Tharwat Emara converges with the art of Arabic calligraphy. Unleash your creativity, elevate your designs, and let TE Rekaah3 become the embodiment of your artistic vision.

Designs of characters that are almost forty years old can be already restored like a historical alphabet – by transferring them exactly into the computer with all their details. But, of course, it would not be Josef Tyfa, if he did not redesign the entire alphabet, and to such an extent that all that has remained from the original was practically the name. Tyfa published a sans-serif alphabet under the title Juvenis already in the second half of the past century. The type face had a large x-height of lower-case letters, a rather economizing design and one-sided serifs which were very daring for their time. In 1979 Tyfa returned to the idea of Juvenis, modified the letter “g” into a one-storey form, narrowed the design of the characters even further and added a bold and an inclined variant. This type face also shows the influence of Jaroslav Benda, evident in the open forms of the crotches of the diagonal strokes. Towards the end of 2001 the author presented a pile of tracing paper with dozens of variants of letter forms, but mainly with a new, more contemporary approach: the design is more open, the details softer, the figures and non-alphabetical characters in the entire set are more integral. The original intention to create a type face for printing children’s books thus became even more emphasized. Nevertheless, Juvenis with its new proportions far exceeds its original purpose. In the summer of 2002 we inserted all of this “into the machine” and designed new italics. The final computer form was completed in November 2002. All the twelve designs are divided into six variants of differing boldness with the corresponding italics. The darkness of the individual sizes does not increase linearly, but follows a curve which rises more steeply towards the boldest extreme. The human eye, on the contrary, perceives the darkening as a more fluent process, and the neighbouring designs are better graded. The x-height of lower-case letters is extraordinarily large, so that the printed type face in the size of nine points is perceived rather as “ten points” and at the same time the line spacing is not too dense. A further ingenious optical trick of Josef Tyfa is the figures, which are designed as moderately non-aligning ones. Thus an imaginary third horizontal is created in the proportional scheme of the entire type face family, which supports legibility and suitably supplements the original intention to create a children’s type face with elements of playfulness. The same applies to the overall soft expression of the alphabet. The serifs are varied; their balancing, however, is well-considered: the ascender of the lower-case “d” has no serif and the letter appears poor, while, for example, the letter “y”, or “x”, looks complicated. The only serif to be found in upper-case letters is in “J”, where it is used exclusively for the purpose of balancing the rounded descender. These anomalies, however, fit perfectly into the structure of any smoothly running text and shift Juvenis towards an original, contemporary expression. Tyfa also offers three alternative lower-case letters *. In the case of the letter “g” the designer follows the one-storey form he had contemplated in the eighties, while in “k” he returns to the Benda inspiration and in “u” adds a lower serif as a reminder of the calligraphic principle. It is above all the italics that are faithful to the tradition of handwritten lettering. The fairly complicated “k” is probably the strongest characteristic feature of Juvenis; all the diagonals in “z”, “v”, “w”, “y” are slightly flamboyant, and this also applies to the upper-case letters A, V, W, Y. Juvenis blends excellently with drawn illustrations, for it itself is modelled in a very creative way. Due to its unmistakable optical effect, however, it will find application not only in children’s literature, but also in orientation systems, on posters, in magazines and long short-stories.

About SFT Sushka SFT Sushka is a narrow headline typeface that will look particularly good on the packaging of something delicious. 10 different widths and a variable font make it possible to fit the font into various limited spaces. Soft shapes and rounded notches make SFT Sushka cozy, friendly, and appetizing. But if you need a more concise and readable version, the Flat Subfamily without notches is available for you. The family forms a gradient from very narrow and quirky to wider, softer, and more fluffy styles. Therefore, the variation is not just in width and thickness, but in the overall mood as well. You can use the variable font without any concerns about unexpected intersections in the letters! Its structure is no different from static fonts. And last but not least, SFT Sushka allows for a very tight line spacing even in languages with diacritics! SFT Sushka has wide language support: 200+ Latin and 60+ Cyrillic languages. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Adyghe, Akhvakh, Aleut (Cyrillic), Altaic, Andi, Archi, Avar, Bashkir, Belarusian (Cyrillic), Besermyan, Bosnian (Cyrillic), Bulgarian (Cyrillic), Buryat, Chechen (Cyrillic), Chukchi, Chulym, Chuvash, Dargwa, Dungan, Enets, Even (Lamut), Gagauz, Godoberi, Ingush, Kabardino-Cherkess, Karaim, Karakalpak, Karata (Karata-Tukita), Karelian, Kazakh (Cyrillic), Ket, Kildin Sámi, Kirghiz, Komi-Zyrian, Koryak, Kumyk, Lak, Lezgian, Macedonian, Moldavian (Cyrillic), Mongolian, Mordvin-moksha, Nanai, Nganasan, Oroch, Ossetian, Russian, Rusyn, Saami, Serbian (Cyrillic), Soyot-Tsaatan, Tabasaran, Tadzhik, Tatar Volgaic, Tindi, Touva, Tsez, Turkmen (Cyrillic), Udege, Udmurt, Uighur (Cyrillic), Ukrainian, Ulch, Uzbek (Cyrillic), Veps, Yukagir.

Duddy is a “friendly” sans-serif typography designed by Eleonora Lana and the Letritas team. The shape of Duddy was created based on sketches that looked after carrying the concept of kindness as far as possible, keeping always in mind the readability and functionality of the font. In the stage of brainstorming, the team started listing things that were friendly to the touch or sight, such as a candy gum, or marshmallow, to become acquainted with the intended goal. Although slowly, as the letters were being created, the objects associated with the forms were not satisfactory, since when forming words a special personality of its own appeared. By reconceptualizing everything, the personality of the letter the team wanted to work with had to be redefined. Thus it went from "caramel" to "teddy bear", from "teddy bear" to "puppy" and from "puppy" to "dolphin". And Duddy is the perfect name for a dolphin. Duddy was a sound idea: friendly, intelligent, social. Once the concept was nailed, the design of graceful and “soft” shapes started. Almost chewable, almost huggable, as if composing words was a game. Duddy has a slanted version with "real italics". These italics are slightly more condensed than the regular version, in order to give it a different text texture. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 729 characters with ligatures, alternates, small caps, oldstyle and tabular numbers, fractions, case sensitive, and unicase figures. It supports 219 Latin-based languages, spanning through 212 different countries. Duddy supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

All handmade – the versatile Sofa Serif Family. Sofa Serif’s handcrafted character is friendly and eye-catching. Stylish features and alternates add personality and let you create unique logos and stunning headlines. The family boasts 5 weights from Monoline to Fat, each containing more than 1000 glyphs, plenty of OpenType features and full ISO latin 1 & 2 language support. In addition, extra shadow-, 3D-, inline- and hatched-styles round out the package. 7 font-styles are especially created to be used as layers/layered styles. Sofa Serif has a sister: view Sofa Sans here. · High contrast is one of Sofa Serif’s key features. To maintain a wide range of use, choose from two optical sizes: Standard and Display with a maximum of contrast especially in the heavier weights. This makes it a flexible solution for any display and editorial need. · Sofa Serif includes a variety of OpenType alternates which add uniqueness to your work. OpenType features include Swashes- and Titling-Alternates, Beginnings and Endings and a number of alternates within various Stylistic-Sets for even more variation. OpenType Swashes- and Titling-Alternates are smart features which automatically adjust all swashy letters to the available white space. Switch one on and let Sofa Serif do the rest. · Please download the Sofa Serif Font Guide for all details. · Sofa Serif is an organic, rough and decorative hand-drawn/handmade all-caps display-family for packaging, posters, book-covers, wedding-, kids-, food- and logo-design and will best stand out in huge grades. Its handmade origin is subtle yet visible. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Sofa Serif / 203 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Nothern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni

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

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home. In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, Cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and old-style numerals. • Suggested uses: conceived as a great tool for editorial use, great for display usage too, where readability and personality must match design space needs; • 18 styles: 8 weights + 8 italics + 2 variable fonts; • 1075 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Subscript, Superscript, Tabular Figures, Slashed Zero; • 219 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one Swiss font is enough, here comes a new specimen from the past inviting you to try new takes on the modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. The resulting typeface develops around an idiosyncratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Leaving a text optimised spacing to the text subfamily, Milligram plays with a feeling of attraction behind shapes, something brought to the extremes in the logo-oriented Milligram Macro Variant. Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is a fine but bold homage to the Akzidenz Grotesk that never was. • Suggested uses: Milligram is a versatile type family: perfect for modern branding and logo design (Milligram Macro), for text and editorial design (Milligram Text), web design, packaging and countless other projects; • 36 styles: 7 weights + 7 italics x 3 different styles + 2 variable fonts; • 759 glyphs in each weight; • Useful OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Scientific Inferiors, 5 Stylistic Sets, Subscript, Superscript, Tabular Figures, Slashed Zero; • 207 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), M?ori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Sami (Inari Sami), Yindjibarndi, Noongar, Hotc?k (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük.

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

Proud to introduce: The all hand-drawn Mila Script Pro Family Mila Script is a handmade brush script with round and soft letterforms, a low x-height and jumping baseline. Smart OpenType features care about all letterforms and choose between connected and non-connected styles. AutomaticSwashControl adjusts the swashy letters to the available white space. It’s installed within Mila’s main features OpenType Contextual-Alternates, Swashes and Titling-Alternates. Switch one on and let Mila do the rest. · Please read over the manual. It describes the family in detail. · Of course there’s a little more know about Mila Script Pro: 2600+ characters offer four different initial styles, capital swash and titling alternates, connected words, 17 different initial and terminal swashes and much more. All of course with full ISO latin 1 & 2 language support. · Mila Script Basic (900+ characters) offers all single features contained in OpenType Contextual-Alternates: subtle contextual swash alternates, positional forms, ligatures, connecting and non-connecting characters … · Mila Script Sans: Mila Script Sans is a hand-drawn/handwritten “all caps” in three different weights. Mila Script and Mila Script Sans go well together: combine them and equal the line weights by choosing Light, Regular or Bold. Always keep it way smaller than Mila Script. Mila Script Sans also works well as a standalone. It offers negative typesetting, bicolor typesetting by layering two styles and even alternates without counters. Please see the manual for instructions. · Mila Script Ornaments: Change the size and keep the line weight: activate Contextual Alternates, type a letter and add + to enlarge all swashes according to your likings. Mila Script Ornaments contains 69 different swashes and symbols, all of them available in seven different sizes, which makes a total of 483 characters. All ornaments are within easy reach and there’s no need to access certain symbols manually via your glyph palette. · Have fun! · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Mila Script / 195 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Aymara, Bashkir, Basque, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Lule, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni