Introducing Remissis—the sans-serif typeface that’s the perfect balance of casual and refined. With its off-grid letterforms, Remissis has a natural and organic feel that’s hard to come by in other typefaces. It’s not too laid-back to be dismissed as whimsical, but it’s not too rigid either. It strikes the perfect balance of being approachable yet professional. If you’re looking for a typeface that can convey the idea of softness and naturalness without coming off as too playful or zany, then Remissis is the perfect choice. Its delicate horizontal angles add a touch of elegance, making it ideal for projects that require a refined and sophisticated aesthetic. Designed for high-resolution displays and print, Remissis’s unique “lining old-style” numerals are available in OpenType-capable apps, giving you even more design flexibility. And with numerous mathematical symbols, monetary symbols, and diacritical marks, Remissis is versatile and functional. Available in seven weights and italics, Remissis is a typeface that’s sure to elevate any project. So if you’re looking for a typeface that’s both approachable and refined, choose Remissis. 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.

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.

The purpose of the original DIN 1451 standard was to lay down a style of lettering which is timeless and easily legible. Unfortunately, these early letters lacked elegance and were not properly designed for typographic applications. Ever since its first publication in the 1930’s, several type foundries adopted the original designs for digital photocomposition. By early 2000, it became apparent that the existing DIN-based fonts did not fulfil the ever-increasing demand for a diverse set of weights and additional support for non-Latin languages. Parachute® was set out to fill this gap by introducing the PF DIN series which has become ever since the most comprehensive and sophisticated set of DIN typefaces. It was based on the original standards but was specifically designed to fit typographic requirements. Its letterforms divert from the stiff geometric structure of the original and introduce instead elements which are familiar, softer and easier to read. The first set of fonts was completed in 2002 as a group of 3 families which included condensed and compressed versions. With its vast array of weights, the extended language support, but most of all its meticulous and elaborate design, it has proved itself valuable to numerous design agencies around the world. Ever since its first release, it has been used in diverse editorials, packaging, branding and advertising campaigns as well as a great number of websites. It was quoted by Publish magazine as being “an overkill series for complex corporate identity projects”. The whole PF DIN Text type system (with normal, condensed and compressed styles) includes 45 weights from Hairline to Extra Black including true-italics. Additionally, every font in the Pro series is powered by 270 very useful symbols for packaging, environmental graphics, signage, transportation, computing, fabric care. There are 2 versions to choose from: The PRO version is the most powerful. All weights support Latin, Cyrillic, Greek, Central/Eastern European, Romanian, Baltic and Turkish, with 20 advanced opentype features including small caps. The standard STD version is more economic. All weights support Latin, Central/Eastern European, Romanian, Baltic and Turkish, with 18 advanced opentype features including small caps. In 2010 Parachute® released 4 new families DIN Monospace, DIN Stencil, DIN Text Arabic and DIN Text Universal. All these are complemented by the popular DIN Display version. Altogether the Parachute DIN series is a set of 8 superfamilies with a total of 96 weights.

Basenji is a flowing headline typeface influenced by the modular geometric design trend of the 1970s. Herbert Bayer published his highly influential Universal Alphabet in 1924, which was based on circles and straight lines and had a modern, industrial appearance. Jan Tschischold’s typography popularized this simple, unconventional style but by the late 1950s, it had fallen by the wayside. Type designers Joe Taylor and Herb Lubalin inaugurated the 1970s with fresh takes on an old concept. These new typefaces were more practical than the original, and their blend of futuristic curves and funky curls fit the zeitgeist. The popularity of these types spawned a flood of similar designs like Pink Mouse, Bauhaus, Pump, and Harry. These typefaces were popular throughout the decade then fell out of favor by the mid-1980s, making a comeback in the year 2000. Many contemporary font designs have drawn inspiration from the beginnings of the Universal Alphabet, but Basenji is unique. This typeface amplifies of the 1970s elements of Rondo, Pump, Bauhaus and Blippo, and packs them into a practical, versatile design toolset. Basenji comes in nine weights and italics. 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.

Introducing Refuel—a typeface that’s precise and unapologetically robust. Inspired by military aviation markings, Refuel features octagonal letterforms that exude strength and authority, making it perfect for your design projects that require a no-nonsense, technical look. One of the unique features of Refuel is that it automatically produces serifs when a capital “I” is followed by a lowercase “L”. This increases legibility and gives your text a professional touch. With six weights, six widths, and italics, Refuel is a versatile typeface that can be used for a range of design projects, from logos to headlines to body text. Whether you’re designing a brochure, a website, or a billboard, Refuel will help your message stand out with its clean lines, geometric shapes, and commanding presence. It’s the typeface you need when you want to make a statement without saying a word. So if you’re ready to refuel your design projects with a typeface that’s both technical and visually stunning, look no further than Refuel. It’s the perfect choice for designers who want to make an impact with their typography. 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.

Sapore is a script font family, mostly monoline, inspired by the elegant handmade signs in the beautiful city of Venice, Italy, where I work and live. Many of these signs were made at the beginning of the 20th century by skillful craftsmen and artists, carrying that distinct vintage Italian flavour, and this is why I named the font Sapore, which means precisely flavour (also, one of the signs is from a pastry shop that makes the most delicious things). The design takes this retro vibe into the 21st century, making it up-to-date and fresh, while keeping it authentic. It is a script font, but I added some stand alone capitals that you can use in all caps words and texts effortlessly, as the open type code is taking care of using the right set of letters at the right time, I could have made two separate fonts, but I wanted to give you the best value I could and ease of use. Make sure contextual alternates are always on! There are also swashes, alternate styles, stylistic sets, small caps, 2 figure sets and decorative elements, all accessible through open type. I think the font is particularly suited for display use, as in logos, packaging design, branding, but it is readable enough for small text blocks. You can access the non-linking caps by clicking on the discretionary ligatures button. You can access the loopy caps by clicking on the titling alternates button. The main version has straight terminals but I included a round version and a calligraphic one, called “classico”. Hope you like it!

PRISMATIC SPIRALS PRO FONT! The Prismatic Spirals PRO is a Decorative Type-System and ‘Assembling Game’, itself. Settled in squared pieces modules or tiles, embedded by unprecedented Intertwined Prismatic Structures Design, or intricate interlaced bars that may seem quite “impossible” to shape. Although it originated from the ‘Penrose Square’, it may not look totally as an Impossible Figures Type of Optical Illusions. More an “improbable” Effect in its intertwined Design, that even static can seem like a source of Kinetical Sculptures, or drive eyes into a kind of hypnosis. Prismatic Spirals Pro has two related Typefaces both more basic or easier to use versions, the Default Family plus its “bold” braided version Prismatic Interlaces… PRO provides a more advanced, complex, and twisted Design, plus requires to be typed alternating caps. Instructions: Use the Map Font Reference PDF as a guide to learn the 'tiles' position on the keyboard, then easily type and compose puzzle designs with this font! All alphanumeric keys are intuitive or easy to induce, you may easily memorize it all! Plus, often also need to consult it! *Find the Prismatic Spirals Pro Font Map Reference PDF Here! (!) Is recommended Print it to have the Reference or open the PDF to also copy and paste, when consulting is required or when it may be difficult to access, depending on the keyboard script or language. The 2 glyphs sets are separated in colors for facilitating. Also use the Map Font with key captions or switch to it for ensure that the characters are alternating between both uppercase and lowercase letters as other Keys as numbers, marks, and punctuation along the strings, holding Shift one by one or actually two by two. As a Tiles Type-System, the line gap space value is 0, this means that tiles line gaps are invisibly grouted, so the user can compose designs, row by row, descending to each following row by clicking Enter, same as line break, while advances on assembling characters. Background History: The first sketches of my Prismatic Knots or Spirals Designs dates back then from 2010, while started developing hand-drawn Celtic Knots and Geometric Drawings in grid paper, while engage to Typography, Sacred Geometry and the “Impossible Figures” genre… I started doing modulation tests from 2013, until around 2018, I got to unravel it in square modules or tiles from the grid, then idealized it as fonts, along with other Type projects. This took 13 years to come out since the first sketches and 6 months in edition. During the production process some additional tiles or missing pieces were thought of and added to the basic set, which firstly had only the borders, corners, crossings, nets, Trivets connectors or T parts and ends, then added with nets and borders integrations. Usage Suggestions: This type-system enables the user to ornate and generate endless decorative patterns, borders, labyrinthine designs, Mosaics, motifs, etc. It can seem just like a puzzle, but a much greater tool instead for higher purposes as to compose Enigmas and use seriously. As like also to write Real Text by assembling the key characters or pieces, this way you can literarily reproduce any Pixel Design or font to its Prismatic Spirals correspondent form, as Kufic Arabic script and further languages and compose messages easily… This Typeface was made to be contemplated, applied, and manufactured on Infinite Decorative Designs as Pavements, Tapestry, Frames, Prints, Fabrics, Bookplates, Coloring Books, Cards, covers or architectonic frontispieces, storefronts, and Jewelry, for example. Usage Tips: Notice that the line-height must be fixed to 100% or 1,0. In some cases, as on Microsoft Word for example, the line-height default is set to 1,15. So you’ll need to change to 1,0 plus remove space after paragraph, in the same dropdown menu on Paragraph section. Considering Word files too, since the text used for mapping the Designs, won't make any literal orthographical sense, the user must select to ignore the Spellcheck underlined in red, by clicking over each misspelled error or in revision, so it can be better appreciated. Also unfolding environments as Adobe Software’s, the Designer will use the character menu to set body size and line gap to same value, as a calculator to fit a layout for example of 1,000 pts high with 9 tiles high, both body size and line gap will be 111.1111 pts. Further Tips: Whenever an architect picks this decorative system to design pavements floor or walls, a printed instruction version of the layout using the ‘map’ font may be helpful and required to the masons that will lay the tiles, to place the pieces and its directions in the right way. Regarding to export PNGs images in Software’s for layered Typesetting as Adobe Illustrator a final procedure may be required, once the designs are done and can be backup it, expanding and applying merge filter, will remove a few possible line glitches and be perfected. Technical Specifications: With 8 styles and 4 subfamilies with 2 complementary weights each (Regular and Bold) therefore, Original Contour, Filled, Decor, with reticle’s decorations and 2 Map fonts with key captions. *All fonts match perfectly when central pasted for layered typesetting. All fonts have 106 glyphs, in which 96 are different keys with 2 versions of each of both caps and shift keys, plus a few repeated for facilitating. It was settled this way in order for exchanging with its Prismatic relative fonts which has only 48 different keys repeated twice. Concerning tiles manufacturing and Printed Products as stickers or Stencils, any of its repeated pieces was measured and just rotated in different directions in each key, so when sided by other pieces in any direction will fit perfectly without mispatching errors. Copyright Disclaimer: The Font Software’s are protected by Copyright and its licenses grant the user the right to design, apply contours, plus print and manufacture in flat 2D planes only. In case of the advent of the same structures and set of pieces built in 3D Solid form, Font licenses will not be valid or authorized for casting it. © 2023 André T. A. Corrêa “Dr. Andréground” & MMC-TypEngine.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

Welcome to the world of Evensong—the perfect art deco geometric typeface for those who want to make a statement. With its dramatic and unusual contrast, this font is sure to catch the eye of anyone who sees it. One of the things that sets Evensong apart from other typefaces is its extreme thick/thin letters. But it’s not just that—it’s the way Evensong makes dramatic choices with its contrast that really makes it stand out. With Evensong, you can deliver your message with a stylistic flair that’s sure to get noticed. Whether you choose to use the Solid and Hollow styles independently or stack layers of Solid and Fill, you have the flexibility to experiment with different color combinations and layers to create the perfect retro-fashion look. Embrace the boldness of Evensong and make a statement that’s impossible to ignore. This font is perfect for those who want to stand out from the crowd and make a lasting impression. Try it out today and see how this one-of-a-kind typeface can take your design to the next level! 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.

Introducing TT Lakes Neue in version 2.0! Please note that the TT Lakes font has been removed from platforms, but you can still order it by sending a request to the studio's commercial department: commercial@typetype.org We have released a continuation of the geometric sans serif inspired by Finnish functionalism. The new version provides more opportunities, because we not only increased the character set and improved the font technically, but also reworked its visual character. What changed? Font character. TT Lakes Neue 2.0 has become calmer, as we have removed the display details in the characters of the main set, making the font more versatile. New stylistic sets were created, thanks to which the nature of the font can be controlled, making it more expressive. Changed the forms of the characters "Кк", "ЖЖ", "Дд", "Лл", lowercase "b" and alternative "g". Added alternative forms for all types of the number "1", for the characters "Mm", "DD", "Ll". Added technological character sets, with which the font looks stylish and expressive. You may notice that in these sets, the forms of lowercase characters with arches (r, m, n) are changed, and there are gaps in the places of infusions and connections of all characters. Scope of application. The scope of TT Lakes Neue 2.0 have become even more diverse, because the sans serif has become more neutral in character and more functional. TT Lakes Neue 2.0 is the perfect font for the gaming industry. Suitable for game interfaces of different genres. Technological sets can be used in architectural projects, in the headlines of posters and magazines, on outdoor signs. The font is suitable for logo design, looks great in branding. Character set and technical characteristics. We have significantly improved the set of the font, increasing the number of characters from 736 to 921. The font has become more functional due to the updated technical stuffing and new features, of which there are now 36 instead of 24. Added characters of extended Latin, fractions, arrows. Created new kerning and hinting. Updated variable font. Added new OpenType features. The TT Lakes Neue font has 5 subfamilies: Compressed, Condensed, Regular, Extended, Expanded. In total, there are 91 styles in the font: 9 upright and 9 slanted in each subfamily and 1 variable font. Each style has 921 characters and 36 OpenType features.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

We have transformed the “99 names of ALLAH” into a font. That means each key on your keyboard represents 1 of the 99 names of ALLAH Aaza Wajal. The fonts work with both the English and Arabic Keyboards. We call this Calligraphy "Attached" because the "alef" and "lam" are attached together. The first "Alef" has a "fatha", this indicates to pronounce the first letter. So instead of saying "R-RAHMAAN" you say "AR-RAHMAAN" (in the zip file you will find a pdf file explaining the differences in the "harakat", pronunciation & spelling according to the Holy Quran). You will also notice that the decorative letters in this font are bigger than usual, we also used the traditional "soukoun" instead of the "Quranic soukoun" & we were a little bit more generous than usual with the decorative symbols. Decorative letters used in this calligraphy: "Mim, Aain, Sin, HHe, He, Kaf, Alef, Tah & Saad". Purpose & use: - Writers: Highlight the names in your texts in beautiful Islamic calligraphy. - Editors: Use with kinetic typography templates (AE) & editing software. - Designers: The very small details in the names does not affect the quality. Rest assured it is flawless. The MOST IMPORTANT THING about this list is that all the names are 100% Error Free, and you can use them with your eyes closed. All the “Tachkilat” are 100% Error Free, all the "Spelling" is 100% Error Free, and they all have been written in accordance with the Holy Quran. No names are missing and no names are duplicated. The list is complete "99 names +1". The +1 is the name “ALLAH” 'Aza wajal. Another important thing is how we use the decorative letters. In every font you will see small decorative letters, these letters are used only in accordance with their respective letters to indicate pronunciation & we don't include them randomly. That means "mim" on top or below the letter "mim", "sin" on top or below the letter "sin", and so on and so forth. Included: Pdf file telling you which key is associated with which name. In that same file we have included the transliteration and explication of all 99 names. Pdf file explaining the differences in the harakat and pronunciation according to the Holy Quran. --------------------------------------------------------------------------------------------------------------------------- Here is a link to all the extra files you will need: https://drive.google.com/drive/folders/1Xj2Q8hhmfKD7stY6RILhKPiPfePpI9U4?usp=sharing ---------------------------------------------------------------------------------------------------------------------------

This font is the younger sister of HexBraille with which it may be combined to create new patterns. This also explains why their introductory text are similar. Introduction The purpose of this monospace font is to display braille in an original and "steganographic" way. The Kernig prefix means "Robust" in German, this is because of the crank shapes . The core of the glyph design is a flat hexagon which can be read as 3 rows of 2 dots (i.e. regular braille glyph grid). Even if within a glyph, braille dots ("square dots" indeed) are placed on the vertices of a flat hexagon, the difference with HexBraille is that edges connecting vertices are not straight lines but "crank shapes" instead. This can be summarized by saying that the whole glyph is a Hexcrank (a flat hexagon where vertice pairs are connected by a crank shape) NB: The initial design is illustrated by glyphs 'ç' (no dot) and 'û' (6 dots) as shown by poster 6. A. "Kernig Lattice" In KernigBraille, glyphs are connected to each other, thus for each Hexcrank glyph there are 6 connections: 2 on left/right and 4 on top/bottom. In the final design some cranks were removed for esthetical reason (i.e. leave empty space for allowing patterns diversity). In summary, a text using this font won't display a honeycomb but a lattice instead. NB: Please notice that in order to obtain the lattice without vertical gaps, you must set the interline to 0. The lattice is made from 3 kind of shapes: a.1. Hexcrank a.2. Square a.3. Irregular cross (mostly unclosed) The design favored squares over crosses. The whole slightly resembling a PCB. B. Text Frames It's possible to frame the text with 4 sets of frame glyphs (as illustrated by poster 2) b.1. Kernig { € ° £ µ § ¥ ~ ¢ } b.2. Rectangular-High { è é ê ï î à â ä } b.3. Rectangular-Low { Â ù Ä Ê Ë Ô õ ö } b.4. Mixed Kernig+High: a mix of Kernig and Rectangular-High frame glyphs When using frame glyphs, it is advised to show Pilcrow (¶) and Non Breaking Space, which are replaced by empty shapes in this font (e.g. in Microsoft Word, use CTRL+8 or use [¶] button in the ribbon).

Etruscan was the language of the Etruscan civilization, in Italy, in the ancient region of Etruria (modern Tuscany, western Umbria, northern Latium, Emilia-Romagna, Veneto, Lombardy and Campania). Etruscan influenced Latin but was eventually completely superseded by it. The Etruscans left around 13,000 inscriptions that have been found so far, only a small minority of which are of significant length; some bilingual inscriptions with texts also in Latin, Greek, or Phoenician; and a few dozen loanwords. Attested from 700 BC to AD 50, the relation of Etruscan to other languages has been a source of long-running speculation and study, with its being referred to at times as an isolate, one of the Tyrsenian languages, and a number of other less well-known theories. The consensus among linguists and Etruscologists is that Etruscan was a Pre–Indo-European,and a Paleo-European language and is closely related to the Raetic language spoken in the Alps, and to the Lemnian language, attested in a few inscriptions on Lemnos. Grammatically, the language is agglutinating, with nouns and verbs showing suffixed inflectional endings and gradation of vowels. Nouns show five cases, singular and plural numbers, with a gender distinction between animate and inanimate in pronouns. Etruscan appears to have had a cross-linguistically common phonological system, with four phonemic vowels and an apparent contrast between aspirated and unaspirated stops. The records of the language suggest that phonetic change took place over time, with the loss and then re-establishment of word-internal vowels, possibly due to the effect of Etruscan's word-initial stress. Etruscan religion influenced that of the Romans, and many of the few surviving Etruscan language artifacts are of votive or religious significance.

The ITC Pino™ typeface family is Slobodan Jelesijevic’s second suite of commercial fonts. Although a small family of three weights, it is remarkably versatile. Like many typefaces, Pino grew out of a desire for a particular kind of design. Jelesijevic was creating a series of illustrations for a children’s magazine and needed a typeface that was lighthearted, legible and would complement his illustrative style. Unable to find exactly what he needed, he decided to make his own font. “I spent the better part of a day looking for just the right typeface,” he recalls. “Of course, the hard part was finding something that would harmonize perfectly with my drawings. A custom font was not part of the project brief or budget, but I thought that perhaps I could use it again.” The regular weight of Pino became the solution to Jelesijevic’s problem. Jelesijevic did use the font again, but quickly realized that the single weight needed companion designs. Pino Bold and Black followed in quick succession. Before licensing the designs to ITC, the three-weight family provided headlines, book cover titles and even short blocks of text copy in several of Jelesijevic’s design projects. Born in Gornji Milanovac, Serbia, in 1951, Jelesijevic graduated with a degree in graphic communication and lettering from the Faculty of Applied Arts in the University of Arts in Belgrade. Currently, in addition to typeface design, he is sought out as a graphic designer and illustrator. When not working on design projects, he teaches graphic communications at the Faculty of Art in the University of Niš, Serbia. Pino is a stressed sans of slightly condensed proportions. Pino’s generous x-height, clearly defined counters and distinctive character shapes enable it to fulfill a wide variety of typographic applications. Friendly without being sanguine, the Pino type family will communicate with charm and vitality.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

ALS Direct is an open and dynamic typeface with clear-cut letterforms that make it instantly readable. It lends text a neutral, yet agreeable and modern feel. Direct has nine font styles convenient for the purposes of navigation signage. Regular-style letterforms are rather wide, because direction signs are likely to appear before readers at an angle, so the type needs to withstand perspective distortions. And as signs and boards may vary in size, Direct was developed to include several width variations. Condensed fonts can be used where horizontal space is limited, allowing you to keep proper height and readability of the characters. A signage typeface must be easily readable from some distance away and have simple letterfoms with clear-cut features to quickly identify characters. Designing a type for a potentially wide range of purposes calls for a universal approach. If not destined to be used for navigation in a particular building, it shouldn’t incorporate any peculiar elements to agree with certain design or architecture. All of the above determined our choice of a sans serif with large apertures and definite features allowing readers to instantly recognize letters. Descenders are made compact not to interfere with the line below. And the low contrast between thick and thin strokes renders all elements equally perceptible. The x-height is significant, close to the cap height, which inhances readability of the lowercase type. There are two reasons why directions must not be set in all caps. Firstly, lowercase letters are more diverse and include ascenders and descenders identifying some of the letters in the line. And secondly, having learned to read, people recognize word shapes rather than individual letters, which makes lowercase text more readable. With Direct being a signage typeface, first to be developed were its width variations, and different weight styles and italics were added later. Another thing to be kept in mind was that signs often use dark background colors, and black type on a white background appears smaller than white type on a black background. Direct is the first Cyrillic typeface created for navigation purposes. Before that, designers could use the Cyrillic version of Frutiger (Freeset) developed by Adrian Frutiger for the Paris Charles de Gaulle International Airport, and a number of other, mostly body copy, neutral sans serif types. However, signs and boards were dominated by Arial, which Direct would be glad to replace offering elegance and lucidity of form instead of type bluntess. Direct was designed as a signage typeface, but its neutral style and clear-cut letterforms suggest various other ways of application.

Attention, design enthusiasts and space enthusiasts alike! Are you looking for a typeface that embodies the futuristic spirit of NASA and the excitement of space exploration? Look no further than Nasalization, an ultramodern sans serif font that takes inspiration from the iconic NASA logo of 1975. Nasalization is the perfect choice for any project that requires a touch of high-tech sophistication, from scientific research papers to sci-fi novels to sleek website designs. With its six weights and attention-grabbing italics, Nasalization offers versatility and visual impact in equal measure. But what really sets Nasalization apart is its dynamic design features. With the slanted “M” and “W” characters, this font is truly out of this world—the letters will automatically flip or straighten up depending on their surrounding characters, thanks to its OpenType-savvy programming. And if you prefer a more traditional look, you can easily turn off the flipped-letter effect by disabling the “standard ligatures” function in your design software. For even more customization options, Nasalization offers an OpenType “stylistic alternates” function that allows you to add a crossbar to the “A” character, giving your designs an extra touch of style and sophistication. So whether you’re designing a logo for a space-themed startup or crafting the perfect cover for your sci-fi novel, Nasalization is the typeface that will take your designs to new heights. Choose Nasalization and experience the power of NASA-inspired design today! 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.

Welcome to the world of Galderglynn Esquire. This typeface is a celebration of the sans-serif types from the 1800s, with a unique twist that sets it apart from the rest. Galderglynn Esquire is not just a simple revival of a specific typeface, but rather, it’s a concoction of them all. With a bold personality and a distinct voice, Galderglynn Esquire is full of inconsistencies that make it stand out. It’s as if the letters have a mind of their own, dancing and shifting on the page. This typeface is perfect for those who want to add a touch of whimsy to their designs. And speaking of designs, Galderglynn Esquire has a variety of numerals to choose from. Whether you need standard, monospaced, old-style, inferior, or superior numerals, Galderglynn Esquire has got you covered. It’s a typeface that’s as versatile as it is unique. But don’t take our word for it, try it out for yourself. Galderglynn Esquire comes in seven weights and italics, giving you even more options to play with. And if you prefer a more well-behaved version of this typeface, check out Galderglynn 1884. With Galderglynn Esquire, you’re not just getting a typeface, you’re getting a piece of history. This typeface pays homage to the sans-serif types of the past. It’s a typeface that’s as timeless as it is modern, perfect for designers who want to create something truly unique. So why settle for the ordinary when you can have the extraordinary with Galderglynn Esquire. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

Martian Grotesk is a large typeface family originally designed for the screen which consists of a variable font with 2 axes of variation and 63 styles: Condensed to Ultra Wide, Thin to Ultra Black. Aesthetics The font style is characterized by some brutality and assertiveness. Overhanging terminals, a closed aperture, and an almost complete lack of contrast lead to this effect. Additionally, some elements of the letters are especially enlarged. This font gives any text the impression of being a “signature” style. Nevertheless, we still maintain the golden mean between its rebellious nature and readability. Perfect for web development We created Martian Grotesk for the web and digital project world. When laying out web pages, frontend developers are constantly faced with the fact that uneven metrics do not allow text to be evenly placed on some design element, for example, on a button. Instead, they have to compensate in some way, like making the top padding smaller and the bottom padding larger in CSS. This little deal really hurts. Also, if your project adheres to design system principles, you might be unable to stand a lack of systematic approach when working with fonts. We researched and calculated vertical metrics and set them up in a way that guarantees equal space above the cap height and under the baseline. This enables the text labels to be evenly placed on buttons, inputs, lists, and forms. In addition, we found a proper ratio of the letter heights, so, with commonly used font sizes—10, 15, and 20 pixels—the glyph heights stick to the pixel grid. As a result, the letter shapes become sharper, which reduces the load on the reader's eyes and simply looks much better. The typeface also comes equipped with OpenType and TrueType hinting, and Martian Grotesk appears legible on most platforms, even when being rendered in small sizes. When coupled together, all the above features make Martian Grotesk a reasonable choice for any user interface design. Roadmap Martian Grotesk right now is a work-in-progress product. The font is completely ready for professional use, however, many great features are still ahead! For example, support for Extended Cyrillic characters, and italics. Pricing Purchasing an early version of the font presents the opportunity to get it at a very attractive price! That’s because with every new version, costs will go up to reflect the additional value that comes with every release. But after purchasing Martian Grotesk, all its future updates are included for free!

Bourton Text is a modern sans-serif typeface family perfect for both text type settings and display purposes. While it’s not a layering type family like its brother, Bourton, it come packed with features, extras and over 2,000 characters that make it stand on its own. HISTORY Bourton Text is a new take of the Bourton family that was one of the best-selling and favorite fonts of 2016. After countless requests for lowercase alphabet, or suggestions for a font pairing with Bourton, this new text setting family is based on the original shapes of Bourton. DESIGN & CREATION In taking Bourton Base was the starting point as they narrowest width and boldest weight. From there, lowercase shapes were designed that matched the aesthetic and details of the popular capitals. As Bourton was a heavy display font, some small tweaks were done to make it more fitting for smaller text settings, including reducing the letter-spacing and reworking some counters. Some areas needed complete reconstruction, such as the figures. The design of those began anew with a style that worked with the capitals and lowercase but also as a standalone set. Currency shapes were updated to match the numerals. Punctuation was also reimagined to work better in smaller type settings. Diacritics and extended language support was also updated and expanded to include full Latin plus language support for 219 latin based language spoken in 212 countries. Once the basic alphabet for Bourton Text Bold Narrow was formed, the font was expanded in both weight and width. Taking the weight from Bold down to Hairline, it allowed for more range in use. The typeface needed to be expanded in order to reach better as a book weight and width, in addition to a regular width, a wider version was create as well. FEATURES Once the extremes were set in place, small capital forms were designed for text and display purposes. These also allow for nested capital letters, lifted small caps and other display features offered in the typeface. One of the most popular fonts in the Bourton layering font family is Bourton Line. This led to an experimentation with rounded Bourton Text completely and thus a complete set of duplicated characters with rounded terminals. By using the Opentype Panel, a rounded font is a single click away. Every feature has been carefully thought out and updated across the entire font. In total, Bourton boasts over 2,300 glyphs, 42 font files with 3 widths and 7 weights in upright and italic.

Welcome to Jillsville, the charming slab-serif typeface that will give your message a delicate and sympathetic tone. With its lovely curls and unusual design, Jillsville stands out from the crowd and offers a contemporary and unique touch to your design. One of the most striking features of Jillsville is its slab-serif design, which adds a touch of boldness and solidity to your text while still maintaining a delicate touch. Whether you’re creating a logo, a title, or a piece of body text, Jillsville’s distinct and eye-catching design will help your message stand out. In addition to its elegant design, Jillsville also offers a wide range of symbols and numerals, including mathematical symbols, fractions, numeric ordinals, and monetary symbols. This makes it a versatile and practical choice for a variety of design projects. With seven weights and italics to choose from, Jillsville offers plenty of flexibility and options for your design. Whether you’re looking for a bold and impactful headline or a softer and more delicate body text, Jillsville has the perfect weight and style for your needs. Overall, Jillsville is a must-have slab-serif for any designer looking for a contemporary and unique typeface. Its charming design and practical features make it an ideal choice for a variety of design projects, from branding and marketing to editorial and web design. Try Jillsville today and see how it can take your designs to the next level. 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.

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ITC Garamond? was designed in 1977 by Tony Stan. Loosely based on the forms of the original sixteenth-century Garamond, this version has a taller x-height and tighter letterspacing. These modern characteristics make it very suitable for advertising or packaging, and it also works well for manuals and handbooks. Legible and versatile, ITC Garamond? has eight regular weights from light to ultra, plus eight condensed weights. Ed Benguiat designed the four stylish handtooled weights in 1992." In 1993 Ed Benguiat has designed Handtooled versions.

Introducing Ornatique: Where Elegance Meets Grace Discover the beauty of Ornatique, a stunning and feminine calligraphy typeface designed to add a touch of sophistication to any project. With its clean lines and delicate curves, Ornatique captures the essence of graceful handwriting. This versatile typeface offers four scripts to choose from: the classic Regular script for a timeless look, the Italic script for added flair and elegance, and the Alternate versions that provide even more variety and creative possibilities. But that's not all! Ornatique is truly a global communicator, supporting a staggering 87 languages. Whether you're designing for English, Spanish, French, or countless others, this typeface has got you covered. Embrace the power of seamless multilingual design. What sets Ornatique apart is its collection of 58 swash endings, crafted as ligatures. These intricate and decorative elements bring an extra layer of beauty and charm to your designs. From elegant flourishes to delicate swirls, each swash ending adds a touch of enchantment, making your typography truly remarkable. Whether you're creating wedding invitations, branding materials, or simply adding a touch of elegance to your personal projects, Ornatique is the perfect choice. It combines clean lines with feminine grace, ensuring that your designs will captivate and inspire. Let your creativity soar with Ornatique and discover the magic of calligraphy that transcends language and culture. Elevate your designs and leave a lasting impression with this exquisite typeface. Embrace the beauty of Ornatique today and let your imagination flow! Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu How to access flourish ending? Just type from ""aa01"" to ""aa58"" at the end of your word :) How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

DIN Serif: Specimen Manual PDF The DIN Type System: A Comparison Table This is the first ever release of a true serif companion for the popular DIN typeface. DIN Serif originated in a custom project for a watchmaking journal which required a modern serif to work in unison and match the inherent simplicity of DIN. As a result, a solid, confident and well-balanced typeface was developed which is simple and neutral enough when set at small sizes, but sturdy and powerful when set at heavier weights and bigger sizes. It utilizes the skeleton of the original DIN and retains its basic proportions such as x-height, caps height and descenders, whereas ascenders were slightly increased. DIN Serif makes no attempt to impress with ephemeral nifty details on individual letters, but instead it concentrates on a few modern, functional and everlasting novelties which express an overall distinct quality on the page and set it apart from most classic romans. This is a low contrast typeface with vertical axis and squarish form which brings out a balance between simplicity and legibility. Its narrow proportions offer economy of space which is critical for newspaper body text and headlines. At small sizes the text has an even texture, it is comfortable and highly readable. The serifs are narrow at heavy weights and when tight typesetting is applied at large sizes, the heavier weights become ideal for headlines. DIN Serif was inspired by late 19th century Egyptian and earlier transitional roman faces. Bracketed serifs were placed on the upper part of the letterforms (this is where we mostly concentrate our attention when we read) whereas small clean square serifs were placed on and under the baseline to simplify the letterforms. In order to reduce visual tension at the joins and make reading smooth and comfortable, a slight hint of bracketed serif was added at the joins in the form of a subtle angular tapered serif, which softens the harsh angularity. These angular tapered serifs tend to disappear at smaller sizes (or smooth out the joins) but stand out at bigger sizes exuding a strong, modern and energetic personality. What started out as a custom 2 weight family, it has developed into a full scale superfamily with 10 styles from Regular to ExtraBlack along with their italics. Additional features were added such as small caps, alternate letters and numbers as well as numerous symbols for branding, signage and publishing. All weights were meticulously hinted for excellent display performance on the web. Finally, DIN Serif supports more that 100 languages such as those based on the Latin, Greek and Cyrillic alphabet.

A true workhorse. The only Grotesk you’ll ever need. Allrounder Grotesk is a neutral, powerful Neogrotesk member of the Allrounder superfamily. An unobtrusive teamplayer as well as an excellent soloist, this hard-working sans-serif typeface is ready for any task you’ll throw it at. A workhorse that lives up to its name, Allrounder Grotesk consists of ten weights ranging from a delicate Air to a powerful Black with 900+ glyphs per font. Each weight is accompanied by carefully hand-corrected italics. Allrounder Grotesk supports more than 200 Latin-based languages, containing the complete “LatinPlus” glyph set developed by Underware. It also provides you with plenty of OpenType features and additional goodies: small capitals, ten sets of figures, case-sensitive forms, ligatures, superiors, fractions and arrows. Equipped like this, you’ll be ready for any kind of sophisticated typesetting scenario you might encounter. With Allrounder Grotesk, you’ve got a sans that works great for body text, yet looks crisp and clean in headlines and display sizes. Whether annual reports, magazine and editorial layouts, nonfiction books, branding and packaging work, large-scale advertising, forms and contracts, or contemporary posters: Allrounder Grotesk is up for it. This multitalented font family was developed in a 2-year process by Moritz Kleinsorge. It was the first release of the Allrounder superfamily, a series of typefaces sharing the same color and horizontal metrics (cap height, small cap height and x-height): a typesetting system whose components match each other perfectly. Any other part of this design kit, e. g., Allrounder Antiqua or Allrounder Monument, may be easily combined with Allrounder Grotesk. Perfect Pairing: Allrounder Antiqua + Allrounder Grotesk Allrounder Antiqua is the ideal complement to Allrounder Grotesk. They both share common vertical metrics and a common color. This allows you to pair both typefaces within the same layout—even within the same paragraph—without creating visual disruption. Head over to the Family Page of Allrounder Antiqua to get more information about this typeface. Design Trick: Bilingual Design With the Allrounder Superfamily Combining Allrounder Grotesk with Allrounder Antiqua is an ideal approach for bilingual designs, wherein both languages get the same emphasis yet are distinguished with two different typefaces. It's also best practice to set headlines in a different typeface than the body text if they harmonize with each other. Allrounder Grotesk and Allrounder Antiqua provide you with the perfect pair for this purpose. In any kind of design, in any type of medium, working with Allrounder fonts is effortless. That’s why Allrounder got its name.

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display sub-family is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dynamic texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs. According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

To design a text typeface "at the top with, at the bottom without" serifs was an idea which crossed my mind at the end of the sixties. I started from the fact that what one reads in the Latin alphabet is mainly the upper half of the letters, where good distinguishableness of the individual signs, and therefore, also good legibility, is aided by serifs. The first tests of the design, by which I checked up whether the basic principle could be used also for the then current technology of setting - for double-sign matrices -, were carried out in 1970. During the first half of the seventies I created first the basic design, then also the slanted Roman and the medium types. These drawings were not very successful. My greatest concern during this initial phase was the upper case A. I had to design it in such a way that the basic principle should be adhered to and the new alphabet, at the same time, should not look too complicated. The necessary prerequisite for a design of a new alphabet for double-sign matrices, i.e. to draw each letter of all the three fonts to the same width, did not agree with this typeface. What came to the greatest harm were the two styles used for emphasis: the italics even more than the medium type. That is why I fundamentally remodelled the basic design in 1980. In the course of this work I tried to forget about the previous technological limitations and to respect only the requirements then placed on typefaces intended for photosetting. As a matter of fact, this was not very difficult; this typeface was from the very beginning conceived in such a way as to have a large x-height of lower-case letters and upper serifs that could be joined without any problems in condensed setting. I gave much more thought to the proportional relations of the individual letters, the continuity of their outer and inner silhouettes, than to the requirements of their production. The greatest number of problems arose in the colour balancing of the individual signs, as it was necessary to achieve that the upper half of each letter should have a visual counterbalance in its lower, simpler half. Specifically, this meant to find the correct shape and degree of thickening of the lower parts of the letters. These had to counterbalance the upper parts of the letters emphasized by serifs, yet they should not look too romantic or decorative, for otherwise the typeface might lose its sober character. Also the shape, length and thickness of the upper serifs had to be resolved differently than in the previous design. In the seventies and at the beginning of the eighties a typeface conceived in this way, let alone one intended for setting of common texts in magazines and books, was to all intents and purposes an experiment with an uncertain end. At this time, before typographic postmodernism, it was not the custom to abandon in such typefaces the clear-cut formal categories, let alone to attempt to combine the serif and sans serif principles in a single design. I had already designed the basic, starting, alphabets of lower case and upper case letters with the intention to derive further styles from them, differing in colour and proportions. These fonts were not to serve merely for emphasis in the context of the basic design, but were to function, especially the bold versions, also as independent display alphabets. At this stage of my work it was, for a change, the upper case L that presented the greatest problem. Its lower left part had to counterbalance the symmetrical two-sided serif in the upper half of the letter. The ITC Company submitted this design to text tests, which, in their view, were successful. The director of this company Aaron Burns then invited me to add further styles, in order to create an entire, extensive typeface family. At that time, without the possibility to use a computer and given my other considerable workload, this was a task I could not manage. I tried to come back to this, by then already very large project, several times, but every time some other, at the moment very urgent, work diverted me from it. At the beginning of the nineties several alphabets appeared which were based on the same principle. It seemed to me that to continue working on my semi-finished designs was pointless. They were, therefore, abandoned until the spring of 2005, when František Štorm digitalized the basic design. František gave the typeface the working title Areplos and this name stuck. Then he made me add small capitals and the entire bold type, inducing me at the same time to consider what to do with the italics in order that they might be at least a little italic in character, and not merely slanted Roman alphabets, as was my original intention. In the course of the subsequent summer holidays, when the weather was bad, we met in his little cottage in South Bohemia, between two ponds, and resuscitated this more than twenty-five-years-old typeface. It was like this: We were drinking good tea, František worked on the computer, added accents and some remaining signs, inclined and interpolated, while I was looking over his shoulder. There is hardly any typeface that originated in a more harmonious setting. Solpera, summer 2005 I first encountered this typeface at the exhibition of Contemporary Czech Type Design in 1982. It was there, in the Portheim Summer Palace in Prague, that I, at the age of sixteen, decided to become a typographer. Having no knowledge about the technologies, the rules of construction of an alphabet or about cultural connections, I perceived Jan Solpera's typeface as the acme of excellence. Now, many years after, replete with experience of revitalization of typefaces of both living and deceased Czech type designers, I am able to compare their differing approaches. Jan Solpera put up a fight against the digital technology and exerted creative pressure to counteract my rather loose approach. Jan prepared dozens of fresh pencil drawings on thin sketching paper in which he elaborated in detail all the style-creating elements of the alphabet. I can say with full responsibility that I have never worked on anything as meticulous as the design of the Areplos typeface. I did not invent this name; it is the name of Jan Solpera's miniature publishing house, in which he issued for example an enchanting series of memoirs of a certain shopkeeper of Jindrichuv Hradec. The idea that the publishing house and the typeface might have the same name crossed my mind instinctively as a symbol of the original designation of Areplos - to serve for text setting. What you can see here originated in Trebon and in a cottage outside the village of Domanín - I even wanted to rename my firm to The Trebon Type Foundry. When mists enfold the pond and gloom pervades one's soul, the so-called typographic weather sets in - the time to sit, peer at the monitor and click the mouse, as also our students who were present would attest. Areplos is reminiscent of the essential inspirational period of a whole generation of Czech type designers - of the seventies and eighties, which were, however, at the same time the incubation period of my generation. I believe that this typeface will be received favourably, for it represents the better aspect of the eighties. Today, at the time when the infection by ITC typefaces has not been quite cured yet, it does absolutely no harm to remind ourselves of the high quality and timeless typefaces designed then in this country.In technical terms, this family consists of two times four OpenType designs, with five types of figures, ligatures and small capitals as well as an extensive assortment of both eastern and western diacritics. I can see as a basic text typeface of smaller periodicals and informative job-prints, a typeface usable for posters and programmes of various events, but also for corporate identity. Štorm, summer 2005

Blossoms, leaves, buds and tendrils create fragile objects of words and letters. · Weingut Script Flourish is a decorative display font with high contrasts, perfectly hand-drawn to the tiniest details. The font is trimmed to fairly large font sizes and is highly suitable for chapter titles or book jackets as well as Headlines, Invitations and wine labels :), although also impressing with an astounding legibility in small typesettings. Inspired by the handmade Blätterschrift from the 19th century Mettenleiter’s Schriftenmagazin, its basic structure is related to the English Script which makes it a perfect wedding font. The Weingut Family – noticable bouquet, beautiful structure with full fruit and a long finish. · Design with bicoloured capitals: In Weingut Script and Weingut Flourish, leaves and letters are available separately. You can stack them and apply different colours to the foreground and background. · Decoration and patterns: Weingut Swashes and Ornaments offers extra decorative elements in a separate font. Leaves, flourishes and borders available on their own or merged to ornaments. · Please make sure to use an application that supports the layering of text (two-coloured capitals) and OpenType features (contextual alternates). Be aware if you intend to combine Weingut Script Flourish and Weingut Flourish that these two do not go together. The floral outlines differ slightly and inaccurate overlaps will be the end result. · View other fonts from Georg Herold-Wildfellner: Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut · Language Report for Weingut Script / 151 languages supported: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic, Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chickasaw, Cofan, Corsican, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hiligaynon, Hopi, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Latino Sine, Lojban, Lombard, Low Saxon, Luxembourgish, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romansh, Rotokas, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois, Shawnee, Shona, Sicilian, Slovio, Somali, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek, Venetian, Volapuk, Voro, Walloon, Waraywaray, Warlpiri, Wayuu, Wikmungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni