A humanistic sans serif The first version of this font was created in 1994 within the framework of the bid placed by the city of Graz to become the location for the Winter Olympics in 2006. Appropriately, its original name was ”Olympia.“ The font is intended to embody classic ideals as well as to meet modern demands. The proportions of Charpentier Sans are directly derived from Roman capitals and the humanistic book-face. The contrast between strokes and thin strokes is based on medieval uncial script. And thus, a modern serif sans was created emphasizing thick and thin strokes together. Thanks to its traditional form language, Charpentier Sans is very legible, adapts to various forms of content and expresses a kind of calmness and certainty. Details resulting from writing with the quill guarantee that the font doesn’t appear too rough and unemotional. Even the tiny, pointed mini serifs contribute to the unmistakable appearance of the font. They create an exciting contrast to the soft flowing forms of the letters and are, to a great extent, conducive to the legibility. Consequently Charpentier Sans always appears with an extremely sharp and clear outline. Charpentier Sans Italique has an even more distinct ductus derived from writing. Especially the rounded forms from a, e, f, g and y reflect the handwritten humanistic cursive. Charpentier Sans is comprised of many ligatures, including discretional ones, plus proportional medieval and capital figures for the normal type as well as disproportional tabular figures with a consistent width. Above and beyond the ”normal“ Latin typeface system, small caps are available as an especially elegant form of distinction.

A Postmodern vernacular sanserif in 8 fonts Prosaic designed by Aurélien Vret is a Postmodern typographic tribute to the french vernacular signs created by local producers in order to directly market their products visible along the roads. These signs drawn with a brush on artisanal billboards do not respect any typographic rules. The construction of these letterforms is hybrid and does not respect any ductus. Nevertheless the use of certain tools provokes a certain mechanism in the development of letter shapes. It’s after many experiments with a flat brush, that’s these letterforms have been reconstructed and perfected by Aurélien Vret. This is the starting point for the development of an easily reproducible sanserif with different contemporary writing tools. From non-typographical references of Prosaic towards readability innovation The influence of the tool is revealed in the letterforms: angular counterforms contrasting to the smoothed external shapes. This formal contrast gives to Prosaic a good legibility in small sizes. These internal angles indirectly influenced by the tool, open the counterforms. In the past, to deal with phototype limitations in typeface production, some foundries modified the final design by adding ink traps. In our high resolution digital world, these ink traps — now fashionable among some designers — have little or no effect when literally added to any design. Should one see in it a tribute to the previous limitations? Difficult to say. Meanwhile, there are typeface designers such as Ladislas Mandel, Roger Excoffon, and Gerard Unger who have long tried to push the limits of readability by opening the counters of their typefaces. Whatever the technology, such design research for a large counters have a positive impact on visual perception of typefaces in a small body text. The innovative design of counter-forms of the Prosaic appears in this second approach. Itself reinforced by an exaggerated x-height as if attempting to go beyond the formal limits of the Latin typography. It is interesting to note how the analysis of a non-typographical letters process has led to the development of a new typographic concept by improving legibility in small sizes. Disconnected to typical typographic roots in its elaboration, Prosaic is somewhat unclassifiable. The formal result could easily be described as a sturdy Postmodern humanistic sanserif! Humanistic sanserif because of its open endings. Sturdy because of its monumental x-height, featuring a “finish” mixing structured endings details. The visual interplay of angles and roundness produces a design without concessions. Finally, Prosaic is Postmodern in the sense it is a skeptical interpretation of vernacular sign paintings. Starting from a reconstruction of them in order to re-structure new forms with the objective of designing a new typeface. Referring to typographic analogy, the Prosaic Black is comparable to the Antique Olive Nord, while the thinner versions can refer to Frutiger or some versions of the Ladislas Mandel typefaces intended for telephone directories. Prosaic, a Postmodern vernacular sanserif Prosaic is radical, because it comes from a long artistic reflection of its designer, Aurélien Vret, as well a multidisciplinary artist. The Prosaic is also a dual tone typeface because it helps to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Prosaic, a Postmodern vernacular sanserif

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

CAPITALIZED, geometric, bold and round. If the typo­grapher sees a font like that, it's enough to make his toes curl. But sometimes it just has to be that way. Geometrically constructed fonts do not necessarily have to be pointed and angular; It also works consistently around. And if I say it consistently, then in this case, that's done consistently. The basis for the BOULE is the circle. The letters are drawn with constant line width, the “corners“ and endings all have the same radius, the lines are all the same thickness. The BOULE consists only of capitals. There is only one difference in the use of uppercase and lowercase letters: in the uppercase letters, the round letters are circular, while the lowercase letters are narrow. The character set of the Boule contains all letters and accents to support the Western, Northern, Central and Eastern European languages with Latin alphabet. The BOULE is not only very fat, it also runs very tight; that is, the glyphs are very close to each other. To avoid "holes" due to unfortunate letter combinations, the BOULE contains ligatures for FT, ST, TT and TZ. There are also other versions of the font: BOULE Brillant on the one hand. In this version, simple highlights simulate a light incidence from the top right. These light edges give the font a decorative effect that makes it easy to think of wet sausages or balloons in some shapes. And finally the BOULE Contour. As the name implies, it is the outer contour of the letters, combined with a shadow at the bottom left. The name BOULE (French for ball) says it already: this font is globated. Therefore, it is also very suitable for all three-dimensional alienation effects. With simple light and shadow you can achieve a very convincing 3D effect with little effort.

Jan Tschichold designed Sabon in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in response to a request from German master printers to make a font family that was the same design for the three metal type technologies of the time: foundry type for hand composition, linecasting, and single-type machine composition. Tschichold turned to the sixteenth century for inspiration, and the story has a complicated family thread that connects his Sabon design to the Garamond lineage. Jakob Sabon, who the type is named for, was a student of the great French punchcutter Claude Garamond. He completed a set of his teacher's punches after Garamond's death in 1561. Sabon became owner of a German foundry when he married the granddaughter of the Frankfurt printer, Christian Egenolff. Sabon died in 1580, and his widow married Konrad Berner, who took over the foundry. Tschichold loosely based his design on types from the 1592 specimen sheet issued by the Egenolff-Berner foundry: a 14-point roman attributed to Claude Garamond, and an italic attributed to Robert Granjon. Sabon was the typeface name chosen for this twentieth century revival and joint venture in production; this name avoided confusion with other fonts connected with the names of Garamond and Granjon. Classic, elegant, and extremely legible, Sabon is one of the most beautiful Garamond variations. Always a good choice for book typography, the Sabon family is also particularly good for text and headlines in magazines, advertisements, documentation, business reports, corporate design, multimedia, and correspondence. Sabon combines well with: Sans serif fonts such as Frutiger, Syntax. Slab serif fonts such as PMN Caecilia, Clairvaux. Fun fonts such as Grafilone, Animalia, Araby Rafique. See also the new revised version Sabon Next from the Platinum Collection."

Introducing "Wasleyton," a vintage ephemera font that weaves the elegance of a bygone era into your modern design projects. Drawing inspiration from the timeless charm of elegant signage, gold leaf craftsmanship, and the artistry of old label products, Wasleyton is more than just a font—it's a journey into the aesthetics of the past. Unleash the power of nostalgia as Wasleyton offers a plethora of alternate characters, ensuring your designs are not just eye-catching but also uniquely authentic. The versatility of this font makes it a perfect choice for a range of applications, from authentic logos and elegant headings to the artistry of sign painting and captivating posters. Infuse your projects with a touch of vintage sophistication as Wasleyton lends its charm to letterheads, branding materials, magazines, album covers, and book covers. Watch as your designs come alive in movies, apparel, flyers, and label designs, each one telling a story of craftsmanship and timeless style. Combine Wasleyton with other fonts, be it a script for a touch of fluid elegance, a serif for classic appeal, or a sans serif for a modern twist. Add a few effects, and suddenly, your project transforms into a masterpiece—classic yet contemporary, elegant yet bold. Elevate your design game with Wasleyton's ability to transport your audience to a different era. Whether you're working on product packaging that demands attention or creating an atmosphere on a movie poster, Wasleyton brings that touch of vintage authenticity that turns your project from ordinary to extraordinary. In summary, Wasleyton isn't just a font; it's a time machine to the aesthetics of yesteryears. Perfect for logos, signage, posters, branding, magazines, album covers, and much more, Wasleyton is your key to infusing a timeless vintage charm into the modern design landscape. Add it to your toolkit, and let your creativity unfold in a tapestry of nostalgia and elegance.

The most space-saving sans serif This font saves more space than any of its kind! Slim proportions, but not “condensed” Characters which nearly touch Sparse ascenders and descenders Distinct forms How close to each other can the characters of a font get? Theoretically, as close as you want. But obviously, the words should still be legible. And as any designer knows, body clearance of characters also depends on other parameters such as point size and line spacing. In practice, there are always situations in which as much information as possible has to be positioned in as little space as possible. The ingoFont ÉconoSans is made for exactly this purpose. Even the name of the font implies its function: French for the infinitive “to save” is “économiser.” Now if that doesn’t sound good… The shapes of the upper and lower case letters are completely matter-of-fact, the way a modern font has got to be. The letters c e, and s are wide open to their neighbors. An especially distinguished trait of this font is the design of the “triangular” characters v w y x k z and A V W Y Z K X M N. And the open form of B R and P is also not typical in a sans serif. The distance between letters is kept tight and often the characters nearly touch, but only nearly. With ÉconoSans you gain approximately 20% more text in a line than with »Tahoma«, and even still more than 10% compared to »Helvetica«. ÉconoSans also includes tabular figures as well as ligatures. Among the ligatures, the double mm is especially unusual and is hardly familiar, but can contribute greatly to saving space without catching the reader’s eye.

PF Champion Script Pro is perhaps the most advanced and powerful calligraphic family ever made. It received an award for Excellence in Type Design from the International Type Design Competition ‘Modern Cyrillic 2009’ which was held in Moscow. Most recently, it received another award from the 3rd International Eastern Type Design Competition - Granshan Awards 2010. This typeface was first presented in June 2007 at the 3rd International Conference on Typography and Visual Communication (ICTVC) and was met with rave reviews. It is based mainly on the manuscripts of the 18th century English calligrapher Joseph Champion. Developed over a period of two and a half years, each one of the 2 weights is loaded with 4300 glyphs(!), offering simultaneous support for all European languages based on the Latin, Greek and Cyrillic scripts. Furthermore, a wide selection of alternate forms and ligatures is included for all languages, in order to accommodate diverse design aesthetics. These alternates are either applied automatically through an advanced programming scheme, or manually through several OpenType features. An attempt was made to design a contemporary script typeface with classic roots, by following certain guidelines, i.e. lowercase characters were designed so they are less inclined, have a higher x-height and are less condensed than the original. Several characters were stripped-off their connecting lines in order to enhance legibility. Four sets of alternate swashed capitals as well as a plethora of ornaments and frames (117) was included. Small caps and their alternate forms were designed to replace the capitals which disrupt the flow of text within a sentence with their extravagant swashes. All characters were carefully designed with the proper weight in order to sustain harsh printing conditions (on special papers), a situation which affects mainly the light connecting parts of calligraphic typefaces. Finally, it was programmed in such a way as to preserve handwriting qualities, by designing an extensive array of ligatures and alternate glyphs in all languages, never before released or incorporated within the same font.

The original metal Neue Haas Grotesk™ would, in the late 1950s become Helvetica®. But, over the years, Helvetica would move away from its roots. Some of the features that made Neue Haas Grotesk so good were expunged or altered owing to comprimises dictated by technological changes. Christian Schwartz says Neue Haas Grotesk was originally produced for typesetting by hand in a range of sizes from 5 to 72 points, but digital Helvetica has always been one-size-fits-all, which leads to unfortunate compromises."""" Schwartz's digital revival sets the record straight, so to speak. What was lost in Neue Haas Grotesk's transition to the digital Helvetica of today, has been resurrected in this faithful digital revival. The Regular and Bold weights of Helvetica were redesigned for the Linotype machine; those alterations remained when Helvetica was adapted for phototypesetting. During the 1980s, the family was redrawn and released as Neue Helvetica. Schwartz's revival of the original Helvetica, his new Neue Haas Grotesk, comes complete with a number of Max Miedinger's alternates, including a flat-legged R. Eight display weights, from Thin to Black, plus a further three weights drawn specifically for text make this much more than a revival - it's a versatile, well-drawn grot with all the right ingredients. The Thin weight (originally requested by Bloomberg Businessweek) is very fine, very thin indeed, and reveals the true skeleton of these iconic letterforms. Available as a family of OpenType fonts with a very large Pro character set, Neue Haas Grotesk supports most Central European and many Eastern European languages.

Geodeco font family brings to you the recovery of the typographic forms from the beginning of the 20th century, with a strong ArtDecó flavour but from a new point of view: modernity and geometry. Modernity in the visual contrast between lowercase and capital letters, where rounded shapes are opposed to the breaks and graphic tensions of the strokes of the capital letters. which gives it an enormous originality. Generous doses of internal whites, assure a powerful legibility even with the spite of its short ascending and descending strokes. What we get is a coherent and martial look where fluidity and homogeneity is the main note. Soft and rounded minuscule, with large internal whites for super legibility, bombproof, especially on screens, where Geodeco lives with an astonishing naturalness. The capital letters, used alone as display, or as companions of the minuscule characters, give the family a touch of originality and exotic flavor. Like the spices in the food; a brief but intense note. Breaking the rectangular shapes so that the appearance of the letter comes out benefits from enlarging the internal whites and making them consistent with the white of the lower case. GeoDeco works very well in plain text with the obvious limitation that it is not a type for small bodies, but exceptionality weldon for plain text and signage. Maximum visibility, total beauty on screens. A family of this new century with the flavour of that epoch of experimentation that were the years 20. Extensive multilanguage support and almost all Opentype functionalities. Try it and it will convince you - for sure!

Alfie™ is lively, friendly, inviting and easy on the eyes. What more could you want in a script? How about four flavors of the same design? Alfie Script is a delightful connecting script with a touch of comfortable elegance. Use it for everything from social announcements to headlines and packaging. Alfie Casual is a little more laid-back with letters standing on their own. It works great in short blocks of text copy, subheads and navigational links. Alfie Informal has spirited serifs and its own demeanor, while Alfie Small Caps does a fine job of supporting its other siblings. There’s an immediacy to words and messages set in these lighthearted confections. Jim Ford was practicing drawing with a new brush pen when the inspiration for Alfie came to him. He had filled several pages in a notebook with letters and, at one point, realized that there might be a typeface among them. As it turned out, there were four. The process, however, wasn’t choosing one design and modifying it. The makings of all the designs were on the pages. It was just a matter of culling out the right collection of characters to build the foundations for the four flavors of Alfie. Because they share the same family roots, each design in the Alfie family can be paired and intermixed. Ford admits that there’s a hint of Emil Klumpp’s 1950s Murray Hill typeface (https://www.myfonts.com/fonts/bitstream/murray-hill/) in the Alfie family. Just enough to give the design a 50s vibe. (Some fashions never go out of style.)

The four weight semi-condensed Bartholemé family came into existence as a family expansion based on the designer's earlier concept, Bartholemé Open. This hybrid family was inspired by and loosely based on a number of contemporary mid-twentieth century type concepts having Old Face or Modern influence. Those inspirational type designs were primarily designed for various proprietary photolettering technologies of the time. The award-winning* Bartholemé Open and its companion design Bartholemé small capital open were inspired by various Shaded, Inline and Handtooled type models from the nineteenth and twentieth centuries. Most of those inspirational type designs were designed as titling fonts with all capital sets only. To set it apart from the earlier models, Bartholemé Open is semi-condensed intentionally designed with a lowercase. Design qualities include a large x- height, tightly curved ample counters, crisp serifs and tight bracketing. The overall plan of the family was originally intended for display usage in titling and short passages of text. At higher output resolutions all fonts read well at smaller point sizes. The Bartholemé family works well on its own, but also is compatible with type styles possessing qualities that complement or enhance its own. The Bartholemé family consists of a Regular weight complementing a Bold weight, along with Medium complementing an Extra Bold weight. The companion true-drawn italics are based on the Bartholemé roman design. * Award for Design Excellence bukva: raz! Type Design Competition of the Association Typographique Internationale, 2001

Boardwalk Avenue is an elegant type collection of three styles and two weights of each. It’s divided into Boardwalk Pen, Boardwalk Antiqua and Boardwalk Serif. Boardwalk Avenue’s core is a connected mono linear script that works fantastic when paired with either of the impressive serif styles. All the fonts work great on their own but try putting them all together for a complete display font setup for a project. Here’s a short introduction on what’s included: Boardwalk Avenue Pen is a connected Script. It’s great for headlines, quotes or in packaging. It has a casual hand drawn vibe to it but it’s clean and legible. It’s equipped with automatic Contextual Alternates that keep the connections smooth and versatile. For instance when you type double letter another of them will automatically change to add variation. Or if you type “i” for example, as a first letter after space or after capital letter the code will add starting point to the letter to keep the letterforms more balanced. If you need more ambitious letterforms you can try Swash or Titling Alternates -there’s alternates for every standard letter and seek for even more alternates from the glyph palette. Boardwalk Avenue Antiqua is a high contrast serif with strong character. It’s great for glamorous headlines or as a logotype. Boardwalk Avenue Serif is a low contrast serif with bulky character. It’s great for strong and sturdy headlines or as a logotype.

Introducing the third reincarnation of TT Chocolates! The popular typeface was updated to stay up-to-date with the latest requirements and trends in design! TT Chocolates is an elegant Humanist sans serif with a dense typesetting and well-balanced proportions similar to the classical tradition. This font's nice and friendly nature makes it seem like something close and familiar. It has earned a reputation among designers as the perfect font for confectionery, but the application range of the TypeType's "sweetest" typeface goes well beyond that! In 2023, we decided to do a full-scale font update referring to extensive sans-serif market research. We figured out where the trends are headed and what users want—this information helped us enhance TT Chocolates. Specifically, we introduced a new Condensed font version, a narrow font style with the authentic proportions of the standard version. At the same time, TT Chocolates Condensed boasts a more expressive personality than the base subfamily, which allows designers to solve even more creative tasks using only one typeface. The third version of TT Chocolates has become even more modern and advanced. A large number of characters, various OpenType features, and stylistic sets make the font suitable for multiple purposes and tasks. TT Chocolates is a perfect match for both branding and layouts. The font's dynamic shapes make it easy to read in small point sizes, allowing the eye to move effortlessly across the line. This typeface can also be used in web design due to the TrueType manual hinting option. TT Chocolates 3.000 includes: 29 font styles: 14 roman, 14 italic, and one variable font; Condensed version consisting of 14 new font styles; Carefully crafted contours; Optimized font rhythm and completely new kerning; Enhanced italics in basic subfamily; Variable font with three axes of variation: width, weight, and slant; 32 OpenType features, counting in 13 new ones; 901 characters in each font style—the character set has grown compared to the previous version, which had 629 characters in each font style; 230+ languages support, including the new ones: 35 Cyrillic-based and 16 Latin-based. Elevate your design's appeal with TT Chocolates!

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

This is Emoji font(Dingbat), contains many cute motif like animals, heart, ribbon, foods, fashion goods. I think you can use it for decorate contents for children, and use web font as icon. You can use as it is, I think that you can paint the color inside. It might be interesting even if you hang a hat or put on a ribbon by combining several characters like a sample. I make it will be cute, and you use it with happy feeling, I will be happy if you think so. ＜「omekashiemoji」紹介文＞ 動物やハートやリボン、食べ物、ファッション小物などかわいいモチーフがたっぷりな絵文字フォントです。 子供向けコンテンツの装飾に使ったり、webフォントをアイコンとして使ってもいいんじゃないかなと思います。 そのまま使ってもいいですし、中に色を塗ってもいいと思います。サンプルのように数文字組み合わせて帽子を被せたり、リボンをつけたりしても面白いかもしれないです。 かわいくなるように、使って楽しい気分になれるようにとの思いを込めて作りました。 その思いが少しでも伝われば幸いです。 ＜スタイルカテゴリー＞ 絵文字、Dingbat ＜価格＞ 税抜1200円

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

Thanks for checking out Winter Glows! A fabulously fun yet elegant script font with tons of energy, allowing you to create beautiful hand-made typography in an instant. With extra bouncy curves & loops, Winter Glows is guaranteed to make your text stand out - perfect for logos, printed quotes, invitations, cards, product packaging, headers and whatever your imagination holds. What's really awesome is that Winter Glows comes with a complete set of lowercase alternates, which allows you to create even more authentic custom-feel text. Another great feature is the bonus ornaments font, which allows you to add some really unique and elegant finishing touches to your script text. Winter Glows Family includes 5 font files; Winter Glows • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. Winter Glows Alt 1 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Alt 2 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Alt 3 • This is a second version Winter Glows, with a completely new set of both lower and uppercase characters. this versions do not contain as many glyphs as the Regular style. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Winter Glows Extras • A set of hand-drawn swashes & doodles, the perfect finishing touch to underline your Winter Glows text & doodles for perfect lettering logos. Simply install this as a separate font, select it from your font menu and type any A-Z, a-z & 0-9 character to create a swash & Doodles. Standard Ligatures • Are also available for several lowercase characters (double-letters which flow more naturally). Ligatures will automatically replace the standard letter pairs whenever available, when using any OpenType capable software.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

An entry in the Second Linotype Design Contest, Linotype Brewery, designed by Gustavs Andrejs Grinbergs, became part of the TakeType Collection in 1997. Brewery No 2 represents a significantly improved version of its precursor, and the typeface has been both extended and enhanced. When asked about prototypes, Grinbergs cites German typefaces of the early 20th century. It is thus not surprising that the characters of Brewery™ No 2 are based on geometrical forms. However, this is no mere synthetic Grotesque-derived typeface. It has significant contrasts in line thickness and triangular line terminals that are not unlike serifs, placing it in the middle ground somewhere between a Grotesque and serif font. The contrast between the features of a synthetic Grotesque and an Antiqua gives the characters of Brewery No 2 their distinctive charm and is the distinguishing attribute of this contemporary typeface. Additional vibrancy is provided by bevelled line endings (as in the case of the 'E' and the 'F'), the circular punctuation marks and the slight curve of the descending bar of the 'k'. Thanks to a generous x-height and its open counters, Brewery No 2 is also highly legible in small point sizes. Only in its bolder versions is another aspect of Brewery No 2 apparent; Grinbergs has here made the linking elements more rectangular and has emphasized the counters, so that the Bold variants of Brewery No 2 exhibit elements typical of a broken typeface. Brewery No 2 is available in seven finely graduated weights, ranging from Light to Black. Every variant has a corresponding, slightly narrower Italic version. In addition, the lowercase 'a' is given a closed form, the 'e' is more rounded and the 'f' has a descender. The character sets of Brewery No 2 leave nothing to be desired. In addition to small caps and ligatures, there are various numeral sets with old style and lining figures for setting proportional text and table columns. In its most extensive form (the Pan-European variant), Brewery No 2 can be used to set texts in many languages that employ the Latin alphabet and also texts in international languages that use Cyrillic or monotonic Greek orthography. Although some of the features of Brewery No 2, such as the tiny serifs, are only evident in the larger point sizes, this typeface is not just at home when used to set headlines. Brewery No 2 also cuts a good figure in short or medium length texts. This contemporary typeface with its formally elegant quality looks good, for example, on posters, in newspapers and promotional material. It can also be used for websites as it is also available as a web font.

In an era of typographic neutrality, Pria Ravichandran adds spirit and flavour to the humanist sans, a genre that is known for legibility. Introducing Olivine. Olivine is a versatile type family that performs admirably across sizes. It is designed with maximum care ensuring legibility across various sizes, angles and distances. The sturdy shapes and the exaggerated ink traps fade to produce an even typographic colour and a lively texture in smaller text sizes. In larger display settings, the details become self-conscious and highlight the spectacular quality of the design. Olivine is neither experimental nor minimal, striking a balance between formality and friendliness. Olivine is clean as well as organic at the same time. Consisting of seven weights in roman and italics, the type-family address typographic hierarchy for texts of all kinds and sizes. Distinctive, yet neutral letterforms add personality to the type family. The counter-forms are large and open giving the design plenty of internal space which is balanced against the generous spacing of the characters. These features of Olivine make the reading process enjoyable in digital as well as the print medium. No squinting to read this type-family! If you are looking to add some flavour into your design, try Olivine. It is a trend-setting typeface that we predict is going that extra mile. Try before you buy, Olivine Medium and Medium Italic are available free for unlimited commercial usage.

Radona is a blast from the 80’s that's rader than rad. Radona is the typeface version of Synthwave, an electronic music subgenre that takes influence from the 1980s but builds on it, resulting in a construct that lives in the minds of both those who have experienced it and those who haven't. Radona expresses a nostalgia for 1980s culture, attempting to replicate and appreciate the era's vibe, but extends it further with something new. This sans family has plenty of 80's flavor, but with some fresh twists to push it to the limit. Radona is a geometric sans-serif typeface. Radona has a few quirky characteristics, but it has a generally neutral tone and structure that makes it ideal for usage in print, especially when a contemporary look is desired. It looks amazing in both body text and headlines. The geometric grotesques that were popular in the 1980s served as inspiration. It's a typeface that's been crafted for usage in a range of design fields, from branding to packaging, and it can be used in anything from interfaces to apps. Radona is an excellent typeface for use on websites and other digital applications. Radona comes with a wide variety of styles and a large selection of stylistic alternatives, ligatures, small caps and other special features. Along with parachute pants, synthesized guitar riffs, and VHS scanlines, Radona brings back the 1980’s.

It all started with a simple idea back in 1998: do a digital version of a "lost" 70's typeface, and make up the missing letters that were not present in the only available example Jeff Levine had to work with. Jeff wasn't yet doing his own digital font creation, so he hooked up with Brad Nelson who owns a small foundry called Brain Eaters Fonts. Together, they collaborated on "Action Is"- a freeware font named after the source of the type example. This was a title page for a commemorative photo album of images from the 60's TV music show "Where the Action Is", formerly hosted by Jeff's employer at the time, singer-writer-producer Steve Alaimo. The free font took off like a rocket, being released just at the peak of the 60’s/70’s retro craze in the late 1990’s, and it was EVERYWHERE! It showed up on TV shows, packaging and web design -- and was even spotted on signage used on the side of a major amusement resort’s retro-themed hotel. From that point on, Jeff kept getting requests for a version with a lower case. Although they shared the copyright in the freeware version, Brad Nelson gave Jeff his blessing to re-work and take Action Is into the realm of commercial type. Newly improved and re-released as Groovy Happening JNL, it became one of Jeff's better selling type designs. A simplified, yet similar font was issued called Groovy Summer JNL. Now, after about a decade, Jeff had decided to clean up the 3-D (drop shadow) version that was originally freeware with many minute design flaws and re-release it commercially. Groovy 3D Caps JNL is an all-caps, limited character set font which ties in well with the previous releases, yet retains itís 1960s-1970s era charm. The font flag art is courtesy of Barbara D. Berney and is used by permission.

Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

Jean Evans' interest in type design dates back to her third-grade fascination with fancy script writing. Years later, work at a sign-painting school she found in the Yellow Pages® cemented her relationship with letterforms. Evans went on to study with master calligraphers and type designers, including the likes of Donald Jackson, Hermann Zapf and Matthew Carter. Evans' designs have been exhibited and collected around the globe, and her distinctive calligraphic style has been lauded by leading trade organizations, annuals and publications. Hatmaker, one of Evans' more popular typefaces, was originally developed for the Boston-based broadcast design firm of the same name. Inspiration for the design came from Ben Shahn's famous hand-constructed alphabet. Shahn's alphabet, however, was limited to capital letters. Daunted by the idea of designing a lowercase that would measure up to Shahn's capitals, I developed a second set of caps-simple, quirky, yet almost classic-to work as 'lowercase' with the Shahn-like caps," explains Evans. Mixing the two in Hatmaker, creates a lively interplay of light and dark."

Aeroport is a new typeface in the spirit of both German geometric sans serifs and Swiss neogrotesques. Its deliberately wide proportions and relatively short capitals account for the excellent way the type carries the line. Its short ascenders and descenders allow for very tight leading. When used in large point sizes, Aeroport reveals its industrial ancestry and its unconventional design: the somewhat unbalanced top of the lowercase a, the capital B that has deliberately not been compensated optically, the overly wide capital M. In smaller sizes the type creates a starkly different effect: its measured widths and low contrast make a text setting appear neutral and homogenous. This versatility is what makes Aeroport a multipurpose sans serif suitable for a wide variety of typographic applications. The family includes four weights with their italics and a monospased style. Character set includes an alternate lowercase a, two sets of figures and currency symbols, uppercase punctuation, and a set of arrows. Includes Latin and Cyrillic sets supporting over forty languages. Designed by Gayaneh Bagdasaryan & Vyacheslav Kirilenko, 2017.

Mela was created with a pointed brush and walnut ink using thick brushstrokes. The original idea was to make a kind of urban graffitti with a fat brush, but the final result is more refined and elegant. Something new - light and bold together. The letters are a little bit slanted using sharp strokes, the brush gives the illusion of a fat-tipped marker. This handmade typeface has a lot of contrast, it brings together the beauty of the calligraphic shapes and strokes with the esthetics of a modern urban style. It creates a carefree feeling, contemporary, adding a perfect modern touch to your work. The possibilities for customized layouts are limitless, using the opentype ligatures and alternates to you make Mela your own. Mela Pro contains 473 glyphs: alternates, ligatures, icons, ornaments, and much more. Mela regular is limited to letters, figures and punctuation. Mela & Mela Pro are perfect for headlines and short texts. Use it for magazines, packaging, advertising, branding, posters, editorials, TV, movies and websites to give to your projects the unmistakable human touch of beautiful handwritten letters.

Introducing Mullingar, our latest submission to the display typeface’s world library. Heavily inspired by the letters that are used in old/classic advertisements and signpainting culture, with a little magic touch of modern twist to keep this family relevant. Mullingar letterforms were built from bold and blocky base, unique serif combinations, clean plus smooth curves, and sharp edges. Available in six styles (Regular, Bold, Light, plus Slanted in each version), that guaranteed to give you joy in designing. Mullingar family is a reminiscent of retro sign painting, featuring a rustic architecture that makes it quite at home in a wide variety of design themes. Its blocky characters are best used in bold signage, headlines, advertising, logo designs, product packaging, merchandise, apparel, posters, album artwork, book covers, titling, etc. This typeface also provides additional versatility through OpenType feature, offering discretionary ligatures, standard ligatures, and stylistic alternates. It extends multilingual support to Basic Latin, Western European, Euro, and Pan African Latin languages for design projects intended for an international audience.

EraMax Radial is a geometric sans serif meant to be set BIG, for big statements. It's the perfect face for signage, packaging posters, branding and so on and on, where a strong voice is needed. It has a modern look that will work in a retro setting. Or, should that be a vintage look that will work in a modern setting. This is the first of what is to be a series to typefaces inspired by the original hand painted signage found in the TH&B train station in Hamilton Ontario. This classic Art Deco, Or, more precisely, Art Moderne building designed by the New York architectural firm of Fellheimer and Wagner and completed in 1933. The original lettering included about 75% of the uppercase letters only, so the balance of the uppercase and the lowercase plus all the other glyphs were extrapolated from the look and feel of the existing uppercase letters. Figures are based on the numerals on the station clock, with adjustments made to harmonised with the letters.

The typeface Fry was developed in 2008 specially for the Sky-Fish company (fish and seafood dealer). Type is designed for small texts, it has friendly and fairytale historic flavor. Fry takes openness and dynamism of humanistic sans serif, simple and softness of lubok's letters (primitive style) and fluidity of shallow marine fry. Despite of funny style, Fry works well even in the 5 point size. In large sizes Fry demonstrates its originality, vivacity and softness, in the small characteristics become less visible, and Fry's readability becomes more important. So this makes the typeface suitable for many tasks of typography. The typeface includes extended set of Latin, old style and lining figures, historical alternates and special local features. The combination of lubok's aesthetics and funny dynamic forms make a nature of Fry. Fry was exhibited at the Svjato Kyrylyci (Kharkov, Ukraine) festival in 2008. It was awarded for excellence in type and graphic design at Modern Cyrillic 2009 competition. Fry was selected among 50 typefaces for the Call for type exhibition in the Gutenberg museum (2013).

"Basurero Humano" is a bold and avant-garde typeface that defies conventions. Its irregular and captivating letters are framed within rectangles, creating a unique and eye-catching visual effect. With influences from the poster Punk style, this typeface stands out for its rebellious energy and its ability to break boundaries. "Basurero Humano" is ideal for projects that aim to convey a sense of rebellion, challenge, and originality. Whether it's in posters, fashion designs, album covers, or urban art projects, this typeface becomes the focal point, capturing the viewer's attention and leaving a lasting impression. With its striking style and deconstructed shapes, "Basurero Humano" becomes a versatile tool to communicate provocative messages and break away from conventional aesthetics. This typeface is perfect for those who want to push boundaries and make a bold statement in their designs. Discover the power of "Basurero Humano" and elevate your projects to a new level of originality and expression. Let this unique typeface be your ally in creating designs that stand out and leave a lasting impression in the minds of your audience.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Sporty and brawly, Magnesit Stencil creates impact everywhere it lands. Impressive headlines are its specialty, but it feels right at home used in packaging, branding and poster design. With a very tall x-height, wide language support and minimalistic yet playful appearance, it can take on any serious typographic job. Four distinct styles expand the possibilites even further: the straight to the point Regular, the friendly Soft and the determined Hard styles share metrics across related Magnesit and Magnesit Dark families, so you can mix and match to achieve exactly the effect you need. The SuperSoft style unique to the Magnesit Stencil family carries the concept to the extreme, mixing soft organic curves with rigid modularity inherent to stencil signage. Magnesit Stencil works great with illustrations, the generous shapes can be easily filled with strong imagery to great effect. Based on the best-selling Grim, Magnesit is a vast improvement of the concept with long awaited addition of lowercase, reworked proportions, spacing and kerning, expanded language support and useful icons to satisfy even the most demanding typographers’ needs.

Sonny Gothic is our most rational-geometric typefamily until so far. It’s inspired by the geometric style of the 70s, specifically by Herb Lubalin’s work. Since we were students, we have been gazing Lubalin’s logos, typefaces and magazines as inspiration that still lives in our subconscious. At first, we made a pure geometrical typeface with modern caps proportion, then we combine those proportions with the 70s traditional caps ligatures. It was at that point that we knew Sonny Gothic was ready to arise. Even though Chile is not the origin of a modern visual culture, for us geometric typefaces and Lubalin’s work are one of the most attractive aesthetics of the creative realm, and therefore, this is our homage. Designed with powerful opentype features, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for the several areas of graphic design. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

A tessellation is a shape that can be used to completely fill the plane without gaps or overlaps—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. TessieSomeMore has two family members, a solid style that must have different colors to be useful and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes in TessieSomeMore are Escher-like. Over half are either bug-like and bird-like shapes. There are also a few animal and other object shapes as well as some geometric or abstract shapes that have visual appeal.

In Northern Sumatra, the crystal clear waters of Lake Toba lap gently against the surrounding mountains. In the middle of the lake sits the island of Samosir, for centuries the secluded home of the Batak people. Visitors arrive by ferry into the tiny town of Tuk Tuk, escaping the heat and humidity of the Sumatran jungle. Throughout the village, restaurants and guest houses are adorned with hand-painted signs in bright colors. Perhaps due to Sumatra's long history of European colonization, the letterforms are reminiscent of those used for posters and handbills in America and Europe at the end of the 19th century, but with a distinctly Southeast Asian flavor. Charles Nix, intrigued by the combination of Victorian fancy and Batak arabesque, photographed, sketched and translated the letterforms into a design that is now ITC Batak. Named for the proud ancestors of Samosir's inhabitants, it is a bold condensed letter with hexagonal serifs - a sort of properly dressed grotesque. Batak is available in either Condensed or Condensed Bold.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.