Chatnarong Jingsuphatada is a Thailand based typeface designer of foundry Typesketchbook. In 2014, he has created Orev, a type family that consists of 18 fonts, including 9 weights available as normal and oblique style. It’s a unique and modern sans typeface, which is well suited for a variety of typographic applications such as headlines and small texts. The Orev font family supports multiple languages and is available as both webfont and desktop font.

The Tempo font family was designed by R. Hunter Middleton and released between 1930 and 1931. The instant success of Futura in 1927 led to many similar designs, and Tempo is the version produced by the Ludlow foundry for large headlines in newpapers. Like Futura, Tempo font is basically geometric, but shows some humanistic influence. Tempo is popular for newspaper and commercial printing, and the heavy condensed font is excellent for headlines.

Lend a little Jazz Age elegance to your next project with this tasty typeface, a faithful rendering of Eduard Ege's eponymous Ege Schrift, released by the Genzsch and Heyse foundry of Hamburg in 1921. For best results at large sizes, choose the TrueType version, rendered at a full 2,048 UPM. Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

Original Foundry: TypeType Original name: TT Masters Pinatas Masters is a very emotional typeface. This typeface will add to your design sincerity and warmth. Pinatas Masters typeface consist of 4 different subfamilies: Pinatas Masters, Pinatas Masters Birds, Pinatas Masters Rough and Pinatas Masters Condensed. Each subfamily consists of 5 styles: Thin, Light, Regular, Bold and Black. Scope of typeface: DIY, handmade stuff, interior design, infographics, graphic design, logotypes, packaging, design of exhibitions, presentations.

Lavah Pro is the upgrade from old version of Lava Arabic 1.0. It's Arabic condensed/narrow with grunge and rough style for vintage style posters, brands or ads maybe for food ads or movie poster. Lavah Pro is supported by OpenType Features with many Stylistic Alternates and Discretionary Ligatures and It's support Arabic, Persian, Urdu and Latin. Designed and Created by Ibrahim Hamdi Copyright © 2019 by Protype Foundry. All rights reserved.

Estricta font family has been designed for Graviton Font Foundry by Pablo Balcells in 2017. It is a sans serif typeface with a geometrical and mechanic appearence, its sharp, angular edges provide a strong and solid design. It has been conceived to be most suitable for short and middle length text blocks, as well as on all sized headlines. Estricta consists of 12 styles. Each containing small caps and glyph coverage for several languages.

An inspiration for two fonts of FA Modernista was the second page of Polish vanguard magazine "Praesens" Nr 1 from 1926 designed (as the first page) by Henryk Stażewski. The type applied - Baccarat was a sans serif from Polish foundry Jan Idźkowski i S-ka. Fonts FA Modernista imitate the effect of letterpress with spilled printing ink. Letters of two cuts vary in distortion as in the old days of letterpress technology.

Bayannur is a typeface published by Monoco Type Foundry inspired by Arabic Calligraphy in Chinese Tradition. This font has extensive Latin script support with many ligatures and stylistic sets, as well as Cyrillic and unique Arabic design with contextual alternates and many ligatures. The glyphs in this font also specifically support Uyghur script typing*. Abdurrahman Hanif, designer based in Jakarta, trying to develop this font as his appreciation for this beautiful Art of Calligraphy.

Mensura font family has been designed for Graviton Font Foundry by Pablo Balcells in 2012. It is a modular, geometric typeface with subtle rounded angles that provides a soft, pleasent appearence. It has been conceived to be primarily a display typeface, but given its clarity it can also be used for composing short and intermediate length texts. Mensura consists of 8 styles and 4 weights plus italics. Each containing small caps and several alternate characters.

Tuerca font family has been designed for Graviton Font Foundry by Pablo Balcells in 2021. It is a slightly extended sans serif typeface with a strong technical appearence. Its squared, angular shapes provide a futuristic and robust aesthetics. It has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Tuerca consists of 8 styles, each containing small caps and glyph coverage for several languages.

Nafta Extended Font is the Pro version of the free Nafta Font. It features a huge language support, from all European languages to even Cyrillic and Vietnamese. The Font features handwritten marker shapes with natural edges. Nafta Extended is a brush font which you can use and enjoy again and again, for anything from promotional material and handwritten quotes, to product packaging, merchandise, and branding projects. Made by Krisjanis Mezulis ar Wildones Type Foundry.

Binaria font family has been designed for Graviton Font Foundry by Pablo Balcells in 2018. It is a sans serif typeface with a mechanic appearence. Its squared, angular shapes provide a futuristic and robust design. It has been conceived to be most suitable for logos, headlines and display design pieces as well as short length text blocks. Binaria consists of 12 styles, each containing small caps and glyph coverage for several languages.

It’s said that what goes around, comes around, and there’s no better proof of the saying than this typeface. Originally released as Latin Antique by the Stephenson Blake foundry in the 1880s, this face achieved renewed popularity in the 1950s, and it’s back again as, like, Coolsville, Daddy-o. Both versions include the complete Unicode Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Lithuanian, Moldovan and Romanian.

In 1936, Erich Mollowitz designed a typeface named »Rheingold Kräftig« for the German type foundry J. D. Trennert & Sohn (Hamburg-Altona). The original letterforms have been extended and beefed up a bit, and the result is a rollicking, righteously retro romp…a perfect choice when you want to strut your stuff. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

The typeface of Quan Slim is based on the successful Quan font family by font foundry Typesketchbook. Font designer Chatnarong Jingsuphatada created Quan Slim as a condensed version to Quan. Both type families consist of eight weights plus obliques and additional rounded versions. Quan Slim’s typeface has a clean and modern sans serif appearance. This modern geometric font is very legible and can be used for headlines as well as small and long text.

Tulk's Victorian Banner revives the tradion of 'Banner' typefaces-lettering within their own lozenge or cartouche, that made such an appealing feature in many old type foundries catalogues. Tulk's Victorian Banner makes a wonderful feature of lettering in any piece of period inspired design. It compleiments our recent Fitzgerald space especially well, but can be used alongside any typeface of your choice where you want to bring a touch of period flamboyance.

This robust, roly-poly typeface is patterned after a 1974 release from the Ludwig & Mayer foundry of Frankfurt am Main named Big Band, and designed by Karlgeorg Hoefer. The type color is even darker than the original, and the result is a delightful face that will definitely attract attention. The PC Postscript, Truetype and Opentype versions contain the complete Latin language character set (Unicode 1252) plus Central European (Unicode 1250) languages as well.

The Boston Type Foundry called the pattern for this elegant typeface "Moslem," suggesting the exotic appeal of faraway lands. The face succeeds in fulfilling its promise, with remarkably little extraneous fussiness. The font's name suggests that it's a wise choice for headlines which tout the lure of distant charms. Both versions of the font include complete Latin 1252, Central European 1250 and Turkish 1524 character sets, with localization for Moldovan, Romanian and Turkish.

The Cleveland Type Foundry strikes again, with this delightful little number from their 1893 specimen book, originally named "Mikado". This version takes its name from one of the characters in the Gilbert and Sullivan operetta of the same name, and the name aptly describes the tasty nature of this frolicking face. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

A classic font design remastered by the type foundry Intellecta Design, from the extra-rare Bruce's New York typefoundry from 1882. Distressed and antique, use this font in display purposes for a stylized type design. Great display face for headers and antique-like projects. Contains a limited amount of letter designs. Using the "0" and "2" keys you get two different fleurons to start words. Use "1" or "3" keys to close words with fleurons.

Based on William H. Page’s Clarendon Extended wood type from the 1800s, Clarified JNL is digitally available in both regular and oblique versions. In the days of wood and metal type, foundries often made changes to an existing design to make their font more unique and different from their competitors. Clarified JNL is different from Clarenwood JNL (which is partially based on another wood type Clarendon and features many alternate letter forms).

Attica is a slab typeface with inverted contrast that was inspired by Caslon’s Italian type and by Aldo Novarese’s Estro, published by the turinese foundry Nebiolo. We wanted to develop a wood type typeface and we designed the complete alphabet with a flat long brush and slowly we did the whole character set. Attica contains a big set of icons and dingbats. Enjoy it. More About Opentype Features: https://bit.ly/opentype-rsz

Veritas is a serif text family. It is a narrow-width typeface, with a taller x-height than Times Roman for added legibility, but maintains a similar character count in text. It is typeface designed for publication, newspaper (anywhere where narrow columns are necessary) and identity design. It is exquisitely spaced and kerned, even in European characters. The Digital Type Review states "...Veritas is one of the most important contributions ... from any independent foundry."

Scrawl Cursive pushes the boundaries of OpenType contextual alternates to present a font which emulates natural, modern, casual handwriting. It includes 2006 glyphs, many of these lower case alternates so that there are minimal compromises when it comes to forming and joining letters naturally. Another unusual feature is that many capital letters also join when preceding lower case letters, which creates a much more realistic flow than is normally achieved. Please view with the contextual alternates option turned on.

Welcome fashionistas, we have designed a type family based on fashion and current trends. Trendy, the new font of our studio follows the same design line that represents us, processes with brush lettering, variety of characters, OpenType programming and a special touch that reflects a boho chic style. The soul of Trendy is inspired in the logotype of one of the most influential type foundries around the world. Because of its great contribution in graphic design we have decided to pay tribute by expressing our gratitude for being an icon in the design world, the most recognized type designers of the last years have been part of that type foundry and for being source of inspiration for new designers. Trendy represents a fashion house, a place that breathes fashion, there are inside 5 determining variables for designing time: Regular, Bold, Black, Display & Stencil. Discover this new way to see the glamour world all include in a type family. To know more about our new project, Trendy, visit our web site www.estudiocalderon.co and our portafolio in Behance.

The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony. Compared to the original Bodoni designs the new typeface was a lot bolder, which was well taken by the audience in this time. The BATTISTA typeface is an remarkable design, assembled of ultra bold and very fine shapes, but in all, the spirit of Bodonis design was well preserved. BATTISTA is a classic display design. The fine details are best shown on larger text sizes.

Nutmeg is a geometric typeface with a slight flavored touch. Although its structure is stick to the traditional forms, its details transform this typeface in a boldly project that separates it from other geometric fonts. Nutmeg’s texture can be perceived as a clean typeface that is comfortable to the human eye, furthermore, if you use it in big sizes Nutmeg’s details can be seen as a display font. Under these two ways of perceiving this typefamily, we took the decision of split this type project in two families: a cleaner and more rational Nutmeg versus a Headline version that has more flavored details at the end of the characters. Designed with powerful OpenType features in mind, each weight includes alternate characters, ligatures, fractions, special numbers, arrows, extended language support and many more… Perfectly suited for graphic design and any display/text use. The 36 fonts are the first part of a larger Nutmeg family. We’re proud to introduce: Nutmeg. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

Cenzo Flare is a mixture of modern sans serif base with a touch of flare to it. The inspiration is drawn from all kinds of old Americana advertising, Italian posters, old century logos and signs. All that plus the strong trend on retro fonts now displayed on tv series and current music imagery results on Cenzo Flare. A typeface designed for headlines, posters, advertising and corporate identity. With its appealing curvy smooth edges it is sure to catch the eye. Also enjoy multiple styles that work on their own or as overlapping layers with the InLine & Line variants to create colorful designs. This 40 font family consists of four 5-weight subfamilies: Regular, InLine, Line & Condensed. All of them with matching italics. Designed with powerful opentype features, each weight includes alternate characters to play with, extended language support and many more. We’re proud to introduce: Cenzo Flare. Learn about upcoming releases, work in progress and get to know us better! On Instagram W Foundry On facebook W Foundry wtypefoundry.com

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

VTC Bloke is a revival of Miller & Richard’s classic metal typeface, ‘Egyptian Expanded’, including the three-dimensional, ‘Open’ style that was later introduced to the family. The roots of this typeface stem from the UK, where William Miller and his son-in-law Richard had their initial foundry in Edinburgh, Scotland. In addition to the beautiful and timeless type designs, the foundry gained a reputation for offering super small type sizes, designed for Bibles, dictionaries, documents, etc. Slab Serifs (or Egyptian Serifs) started to gain popularity in the early 19th century. It’s around this time, due to emerging industrial technologies, and an ever-expanding advertising industry, that type designers started to really experiment with letterforms that could help their clients distinguish themselves from the competitor, and catch people's eyes. The size of posters and advertising space was getting bigger, and bigger, and so was the type. All original letterforms have been re-drawn and cleaned up, with some more modern glyphs and characters added in. VTC Bloke supports Adobe Latin 1 Language Support.

This type of Richard Gans, has always seemed very striking, despite having the complexity of the sources extrusion, has its own personality, and readability unusual for this type of letters. Use it for composing posters, programs or logos was very common at the time. My father, Antonio Lage Parapar, typographer by profession, who composed the texts, which not only had it for profession, but he liked to do, always he spoke of sources and decorative elements of the type foundry Richard Gans, as well as other foundries, especially those that required the mender of them, exercised creator, many of these types they have already been recovered by professionals and companies with excellent results. I've been surrounded by these movable type, and the occasional catalog unfortunately lost. One of those guys that has always struck me visually speaking was the type IMAN Richard Gans, the typographer and more of German origin arrived in Spain, back in 1874, also a pioneer. This work to revive the type mentioned, as well as create non existing glyphs between documents and parts I've been finding, is and has been a personal pleasure all I want serve as a tribute to my father (of aopodo curiously "Richard"), the only sadness it has not been completed. Richard Gans, arrived in Spain in 1874 as a representative of several European factories. then liaised with journalistic and publishing companies, which led him knowledge required of the first sector art. In 1878 he created a center importer gadgets graphic arts and three years later he created his own type foundry. The first rotary newspaper ABC, very famous and the most advanced of the time, the brand manufactured Richard Gans.

Novelty Script is a bold dynamic script, sharply delineated, yet fluid. Most of the lower case letters and many of the upper case letters have joins. The typeface was designed by Nicholas J. Werner and Gustave F. Schroeder and patented in March 1893. The original release was by the Central Type Foundry of St. Louis, Missouri. Although a part of ATF from 1892, the Central Type Foundry continued to operate under its own name until 1895. Novelty Script uses our new encoding, as noted in the All_customer_readme.txt. The Euro symbol has been moved to position 128 and the Zcaron/zcaron have been added at positions 142/158 respectively. Otherwise, Novelty Script has our usual idiosyncratic glyph selection, with the German ch/ck instead of braces, Western European accented letters, lower case “o” and “u” with Hungarian umlaut and our usual Hand-in-Hand symbol. But that is not all. With the takeover of the Central Type Foundry by ATF, a group of special characters appeared. All are included in this font, except the “&Co” and the "'s", for a total of nine in all. The “Ch” and “nd” ligatures are especially interesting because of the impact they have on the color and overall appearance of the page. Download the PDF Type Specimen for locations. This is a fun font to use. Its strength is print, where it gives a page a refreshing look. The joins sometimes have difficulty on the screen, in spite of extensive hinting. Playing around with small changes on the point size can pay dividends. Not for the faint-of-heart. Are you up to the challenge?

A solid calligraphic letter designed by John Matt in the middle 1960s. The typeface did not see use until Compugraphic copied a set of the sketches in the late 1970s, naming the result Garth Graphic in honor of Bill Garth, late president and founder.

Blambot's Adversary BB family is a robust sans with a hint of retro-futurism. It was initially created for use in Blambot founder, Nate Piekos's pesonal title block for design projects. It's therefor very clean and extremely legible. The set includes regular, italic, bold, and bold italic.

Park Avenue is a lighthearted contemporary script designed by Robert E. Smith in 1933 for American Type Founders. This unique design has small x-height lowercase letters with very long ribbon-like ascenders. Park Avenue is a good design for occasional pieces such as invitations and menus.

Here's another old-timer that needed a lowercase, so we drew one. Originally issued as a caps-only type by The American Type Founders Company about 1898, this font found its way into Craftsman period design. It was the inspiration for Galadriel, a dry transfer sheet alphabet.

Monotype Lightline Gothic is a thin sans serif face cut by American Type Founders to work with Franklin Gothic, which had been designed as a bold face. The rather condensed nature of the Monotype Lightline Gothic font has made it popular for advertising display and newspaper work.

Unleash the power of modern typography with Olystar, a captivating font family meticulously crafted on the foundation of the beloved Olyford font. Olystar boasts 5 exquisite weights and more than 400 glyphs in each style. This family is perfect for logotypes, advertising, packaging, corporate identities, and more.

In 1935, Morris Fuller Benton designed Phenix American for American Type Founders. For 2017, the classic Art Deco design has been reinterpreted in an all-caps display version with an ever-so-slight "hand made" feel. Industrial Arts JNL is available in both regular and oblique versions.