Evergreen is Koziupa and Paul going all Zeitgeist after a few Malbec drinks. Two fonts praise nature from when the lights go out to the crack of dawn, and vice versa. That's 24/7/365 of wild leafy Kumbaya. Even butterflies and flowers were mystified so much they had to get in there. Evergreen is local, organic, and certified free trade. At some point we wrote down the name of the jungle where it originated, then lost the parchment in the hot springs a few hours later. But that's immaterial. Crank up your Deep Forest sound, prep your Earthtone and Foliage palettes, and get into the big herbal.

Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

ITC Ludwig has an edge. It's nervous, tense - maybe even a little scary. Drawn by Italian designer Giuseppe Errico, ITC Ludwig refuses to be confined to a traditional baseline. Its twisted lowercase g" and an "e" that could double as an upside-down "a" both add to the design's spooky personality. As a young man, Errico studied to be a fine artist. He became a graphic designer only after a “long reflection period,” he says. His early training is evident in many of ITC Ludwig's suggestive qualities. There is far more to this face than cranking up the “distort” knob in Fontographer. Reflection and personal expression are at its core."

Here’s a new take on an old favorite, the Lubalin-Carnase classic Fat Face. This version, intended for large headlines, cranks the original’s very high contrast up another notch. Both versions of this font contain the complete Unicode Latin A character complement, with support for the Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavan, Norwegian, Polish, Portuguese, Provençal, Rhaeto-Romanic, Romanian, Romany, Sámi, Samoan, Scottish Gaelic, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish and Welsh languages, as well as discretionary ligatures and extended fractions.

The Raphael of Flowers is what they called Pierre-Joseph Redouté a couple hundred years ago. The Belgian native became famous in France, where he painted floral watercolors for both Marie Antoinnette and Empress Josephine. But what cemented his legacy was his perfection of a stipple engraving technique that brought his art to the masses. Botanical Scribe is modeled after the neat, cursive hand-inscribed legends on these antique prints. Because it simulates handlettering, the font retains a warm, organic quality not seen in fancy modern scripts while remaining both elegant and legible. (Its many ligatures lends to this authenticity.) Good for formal invitations or historical simulations.

The Cochin font is based on the work of eighteenth-century punchcutter, Cochin. Charles Peignot commissioned the revival of this strong typeface in 1912. The capitals are squarish. The lowercase has long ascenders and sharp serifs, giving Cochin an unusual elegance. The curved ascender in the italic lowercase d is a major characteristic and the p and q lack foot serifs. Cochins overall vivacity derives from the engravings on copper, produced in France in the eighteenth century. Cochin is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

Named after the strong cold winds on Southern France, the Mistral font family is another original creation displaying the panache of the French graphic artist Roger Excoffon. Mistral is an informal script in which all letters link up in vigorous strokes. First issued in 1953, its brush-like stems look spontaneous and fresh. The descenders are fairly long and the whole alphabet has a distinctive and unforgettable effect on the page. Mistral is a good complement to sans serif typefaces. Mistral is a trademark of Heidelberger Druckmaschinen AG, which may be registered in certain jurisdictions, exclusively licensed through Linotype Library GmbH, a wholly owned subsidiary of Heidelberger Druckmaschinen AG.

Finnish type designer Julia Sysmäläinen created this script FontFont inspired by Franz Kafka’s manuscripts in 2008. The family contains several styles and is ideally suited for unique visual identities, festive occasions, music and nightlife as well as software and gaming. FF Mister K provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript character, and stylistic alternates. This FontFont is a member of the FF Mister K super family, which also includes FF Mister K Dingbats , FF Mister K Informal , and FF Mister K Splendid . Find more information on FF Mister K’s very own Website ffmisterk.com .

Americana was designed by typeface artist Richard Isbell in 1965. The generous forms of this typeface contain large inner spaces. Lines of text look light and airy and require generous line spacing. The high cross strokes and the open inner spaces make this font highly legible even in small and very small point sizes. The triangular serifs are a distinguishing characteristic of Americana. These first appeared in the 19th century in France and inspired by the developments in lithography, which allowed for freer forms. The forms were typical for advertisement and display typefaces. The sophisticated Americana is particularly suitable for advertisements and personal correspondence.

Patricia Pothin-Roesch's Saussa typeface began life as brush-lettered artwork for fruit salad packaging in France. After the key letters had been painted, Patricia Pothin-Roesch switched to digital tools to create the final font. True to its roots, Saussa is a real advertising face, perfect for point-of-purchase displays. Even its name is consistent with its intended area of application: Saussa sounds a lot like the word “sauce.” Saussa is an informal script; its outstrokes function almost like serifs, and the capitals have a lowercase structure. The feelings this typeface conveys are due to the hand of its creator, Patricia Pothin-Roesch, an experienced brush-letterer.

Roseva was inspired by the France art decade between art nouveau to art deco which combines classic typography with awesome features to bring a classic touch to this decade. This font is good for logo design, Social media, Movie Titles, Books Titles, short text even long text letters, and good for your secondary text font with sans or serif. **Featured:** * Standard Uppercase & Lowercase * Numeral & Punctuation * Multilingual : ä ö ü Ä Ö Ü ß ¿ ¡ * Alternate & Ligature * PUA encoded We recommend programs that support the OpenType feature and the Glyphs panel such as Adobe applications or Corel Draw. so you can use all the variations of the glyphs. Hope you enjoy our fonts!

This set of decorated initial letters was inspired by those used in 1510 in Nancy (France, Lorraine) for printing of "Recueil ou croniques des hystoires des royaulmes d'Austrasie ou France orientale[...]" Author Symphorien Champion, unknown printer. There were three sorts of initials family, but only one complete and clear, except a very few characters. The printer used some letters to represent others, as V, turned over to make a A, D to make a Q, M for E, So, the reconstruction was a little less difficult. Thorn, Eth, L slash and O slash were also added. The original font's letters was only drawn in white on a black background only, but it was tempting to propose a negative version in black on white. A few letters have multiple appearance, but only the A was clear enough to be reproduced. It can be used as variously as web-site titles, posters and flyer design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font... This font supports strong enlargements revealing its fine details and remaining very smart. Its original medieval height is about one inch equivalent to about three to four lines of characters. This font may be used with all our blackletter fonts, but as well with "1543 Humane Jenson", "1557 Italic" and "1742 Civilite", without any fear about anachronism.

From Weimar to København/Copenhagen, picking up some decadent traits on its journey. The design of Copenhagen Grotesk is inspired by the great German grotesque type design history, although it will not fall into ranks in all aspects. Indeed, Copenhagen Grotesk will not be put into one single time pocket of style, so you'll notice that there's a hint of art deco style in its capital letters. The visual expression is first and foremost firmly rooted in the style of Scandinavian design, so feel free to use Copenhagen Grotesk for functional typographic design in relation to multiple media types.

The engraver Jean Jannon ranks among the significant representatives of French typography of the first half of the 17th century. From 1610 he worked in the printing office of the Calvinist Academy in Sedan, where he was awarded the title "Imprimeur de son Excellence et de l'Academie Sédanoise". He began working on his own alphabet in 1615, so that he would not have to order type for his printing office from Paris, Holland and Germany, which at that time was rather difficult. The other reason was that not only the existing type faces, but also the respective punches were rapidly wearing out. Their restoration was extremely painstaking, not to mention the fact that the result would have been just a poor shadow of the original elegance. Thus a new type face came into existence, standing on a traditional basis, but with a life-giving sparkle from its creator. In 1621 Jannon published a Roman type face and italics, derived from the shapes of Garamond's type faces. As late as the start of the 20th century Jannon's type face was mistakenly called Garamond, because it looked like that type face at first sight. Jannon's Early Baroque Roman type face, however, differs from Garamond in contrast and in having grander forms. Jannon's italics rank among the most successful italics of all time – they are brilliantly cut and elegant.

Font designed from that used in France in 1492 to print the peace treaty between French and Enqlish Kings in Etaples, French town in Normandy. This font include "long s", naturally, as typically medieval, and only a few special characters as there were not very often used in the text, no more than abbreviations. Added, a lot of accented characters no longer existing on this time. A render sheet, joined with the font file, makes it easy to identify on a keyboard. This font is used as variously as web-site titles, posters and fliers design, editing ancient texts, greetings... This font supports as easily enlargement as small size, remaining a readable and beautiful regular gothic.

Burdigala is a clean-cut, modern yet classic typeface inspired by Didones and Aicher’s Rotis family. Burdigala Sans is especially well suited for on-screen usage such as in apps and pdf documents. It is also ideal for larger amounts of (printed) texts in brochures, magazines and books. It is slighty narrow in order to conserve space, but spacious enough to faciliate reading and overall clarity. Check out its sibling, the Burdigala Semi Serif version. The expanded versions, being wider and more open, works equally well in media intended both for print and on-screen reading, e.g. in Pdf-documents etc. Burdigala is the ancient Roman name of the city of Bordeaux France.

Transat is a geometric sans serif typeface, with caps inspired by Art Deco signage — found inside the “Gare Maritime” (literally “sea station”) ocean liner terminals in both Le Havre and Cherbourg, France, in the early 1930s. The name “Transat” is the common shortening of “Compagnie Générale Transatlantique,” the company that operated majestic ocean liners like the SS Normandie out of Le Havre from 1862–1974. (Transat also has a more rational text-friendly companion font, " Transat Text ") Transat includes many OpenType features, such as ligatures (ff/ft/fft), small capitals, case sensitive forms, stylistic alternates, arbitrary fractions, and a full complement of proportional, tabular, and oldstyle figures. Transat is released in 5 weights plus including optically-corrected obliques.

The hand lettered words “Pere Noel” under a vintage French magazine’s photo of Santa with two bikini-clad beauties inspired the digital version of this quirky, condensed type style. Unusually Deco JNL is available in both regular and oblique versions From Wikipedia: “Père Noël “Papi Christmas”, sometimes called ‘Papa Noël’ (“Daddy Christmas”), is a legendary gift-bringer at Christmas in France and other French-speaking areas, identified with the Father Christmas and/or Santa Claus of English-speaking territories. Though they were traditionally different, all of them are now the same character, with different names, and the shared characteristics of a red outfit, workshop at the North Pole/Lapland, and a team of reindeer.”

Made in La Chaux-de-Fonds (Switzerland), Hyper Top is born while the designer (Bisou) watches "One from the Heart", a movie from Francis Coppola where Las Vegas is completely rebuilt in studio. The opening scene stages the signboard of the Dunes hotel and casino. This is the starting point of the most modern font ever designed by Bisou. Hyper Top is thought from ground up to give a strong impact. Dynamic, joyful, fast, this modern bold font is best suitable titles. It works perfectly with short texts for advertisement like candies, fireworks, protein bars or chewing gums. Just hang it over a prank and trap shop and see the coolest bad ass kids come in.

France 1727, the book Le chemin Royal de la Croix is published. Centuries later the historical publication comes into the hands of Josep Patau, who uses its printed pages as a reference for a new digital typeface. Previously created for printing, those shapes adapt now to the screen and show the sophistication and authenticity of true Garalde types. Frenchute is a multipurpose typeface with 3 optical sizes. All the shapes were modified to cover different typographic needs. The diagonal axis and the moderate stroke contrast are taken further in the italics letterforms, where the design is far more expressive. The character set includes decorative forms and italic capitals with swashes, so the text looks prettier.

A Roman typeface with emphasized triangular serifs. A font like this one could have been designed in 18th century France. To some extent, Auxerre is a precursor of “Etienne,” which later became popular as an advertising typeface of the 19th century. Auxerre is available in five font weights: light, regular, semibold, bold and black. Auxerre supports Western and Central European languages including Scandinavian languages. Plus, the font includes lots of ligatures, tabular figures as well as a “Capital German Double S.” Auxerre fits perfectly with any topic related to the past two centuries. It also works amazingly well on technical issues. And of course it fits very well with topics of fine art and art history.

Font designed from work by an anonymous printer in Lyon (France) to print the French popular novel Les Grandes et inestimables Chroniques du grand et enorme geant Gargantua [...] in 1532. The original font has a relatively small number of characters. This font include a “long s”, as typicaly medieval, but also a few ligatures . A render sheet, enclosed with files help to identify them and accented or special others characters on keyboard. It can be used as web-site titles, posters and fliers, editing ancient texts, menus or greeting cards as a very decorative font... Although this font remains clear and easy to read from 8 or 9 points on screen, it is clearly designed for print works.

Plantin is a Renaissance Roman as seen through a late–industrial-revolution paradigm. Its forms aim to celebrate fine sixteenth century book typography with the requirements of mechanized typesetting and mass production in mind. How did this anomalous design come about? In 1912 Frank Hinman Pierpont of English Monotype visited the Plantin-Moretus Museum in Antwerp, returning home with “knowledge, hundreds of photographs, and a stack of antique typeset specimens including a few examples of Robert Granjon’s.” Together with Fritz Stelzer of the Monotype Drawing Office, Pierpont took one of these overinked proofs taken from worn type to use as the basis of a new text face for machine composition. Body text set in Plantin produces a dark, rich texture that’s suited to editorial and book work, though it also performs its tasks on screen with ease. Its historical roots lend the message it sets a sense of gravity and authenticity. The family covers four text weights complete with italics, with four condensed headline styles and a caps-only titling cut. Plantin font field guide including best practices, font pairings and alternatives.

Vandelvira is a typographic project that delves into the historical legacy of the province of Jaén (northern Andalusia), aimed to spread the culture and tradition of this territory, based on one of its greatest artistic exponents: the architect Andrés de Vandelvira. In the forms and ornaments of these letters, the characteristics of his work during the 16th century are graphically reflected, and it serves as a memory and honor, as a historical legacy of this marvelous "genius loci" of the Spanish Renaissance. 363 CHARACTERS / 636 GLYPHS / 2 INSTANCES (Regular & Italic) / 37 LANGUAGES / 14 LAYOUT FEATURES / Designed by Fran Lara in 2020 - "Cuchi qué Tipo" Foundry

Font designed from this who was used by an unknown printer in Lyon (France) to print the “Conte de Griseldis ” (Griseldis' tale), from Petrarque, inspired by Boccace, in 1495. The original font has a relatively small number of special characters and ligature, for the time. This font includes “long s”, naturally, as typicaly medieval but numerous letters - as accented ones - were added for this version. A render sheet, enclosed with the file, helps to identify them on keyboard. It is used variously in web-site titles, posters and fliers design, editing ancient texts or greeting cards as a very decorative and fine font... This font works at a small size like 9, remaining clear and easy to read on screen, but always better when printed.

This family was created inspired from the first font carved and cast in France, for the Sorbonne University’s printing workshop (Paris). The characters were drawn by Jean Heynlin, rector of the university - inspired from Pannartz’s - and in all probability was carved by Adolf Rusch. It has only one style, in one size (about 14 Didots points). We have added the U, J, W and Y, some accented characters and others not in use in the original, but the standard and historical ligatures and the numerous Latins abbreviations are these of the original font. The font is proposed in two choices : Basic Latin, MacTT & TTF, free for a private use, and “Pro”, TTF/OTF, available for standard basic Latin plus Central Europe, Baltic, Turkish, Croatian, Romanian, Celtic.

Veteran designer Bo Berndal has created Cartesius, an oldstyle serif typeface with roots in the 16th and 17th centuries, France and Venice. Bo Berndal: "Rene Decartes, the great French philosopher, was invited to Sweden in the 17th century, when the country was at the height of its power. In the university city of Uppsala he used the Latin name form Cartesius. The typeface that carries his name is inspired by letterforms from the 1600s, but upper case letters are of pure Roman type". Cartesius holds up well even under less than perfect circumstances, and is suitable for magazine and book design. It comes with a full range of styles, including small caps. Swedish type foundry T4 premiere new fonts every month. Cartesius is our fifth introduction.

The new sans-serif Franzi typeface family – as neutral as can be, but at the same time individual and striking. Its unmistakable character lies in the detail, with no effect pushing itself to the fore. As a wide-running typeface with a relatively large x-height, the typeface family is perfectly suited to small text sizes but, with its elegant details, it leaves nothing to be desired in display applications either. Originally designed with constructed, often rectangular elements, Franzi has gradually been rounded during the development process and is now less hard in order to guarantee optimal legibility. Franzi Variable is designed alongside the italic and the weight axes. The italics are softly and elegantly drawn, while the upright characters appear much more severe. The design appeal reveals itself in the two-storey ‘a’ – a tribute to legibility in body copy; however, for those who prefer the geometric in applications, an alternative single-storey ‘a’ is also available. All styles have small caps, superscript and subscript lowercase letters, lining, non-lining and small caps figures, fractions as well as several ligatures, alternative fonts, symbols and arrows. The Latin uppercase letters are also available as discreet swash variants. In addition to the extended Latin alphabet, the typeface family also includes the complete Greek, Cyrillic and International Phonetic Alphabet IPA. Franzi was created as a further development of an order to produce a sign for a therapy practice in Vienna’s Franz-Hochedlinger-Gasse – hence the name, which is more common as an abbreviation for Franziska than as a diminutive for the male name Franz: Franzi is therefore a hybrid typeface name which has female tendencies.

Tuscan wood types cover a fairly wide range of styles, and there is sometimes confusion over what is classified as a Gothic Tuscan and what is considered an Antique Tuscan. HWT American Chromatic and P22 Tuscan Expanded are more precisely faces of the Antique Tuscan variety. Gothic Tuscans are generally absent of the heavy serifs typically associated with their Antique Tuscan brethren (although decorative bifurcation of terminals can imply serifs). Additional internal decoration with spikes along the stems gives some Tuscans their distinctive look, these faces are often described as “Circus Types.” Tuscan Extended is an extremely wide design, with a distinctive slab crossbar running through the center of most characters. Each letter is a complex system in its own right. This typeface is best used very large in short headline work. The style defies falling clearly into either the Antique Tuscan or Gothic Tuscan category. The new HWT version of Tuscan Extended has been meticulously redrawn by Frank Grießhammer. During production, he also incorporated a number of new letterforms, bringing the font to over 300 characters (including a full ASCII character set and Central European accented characters).

FHA Condensed French One could speculate that FHA Condensed French probably started life as wood type for displays, headlines and posters. The exaggerated sharp serifs and condensed forms were not uncommon for that period. At some point, sign painters picked up Condensed French added their own character. At the end of the nineteenth century, Frank H. Atkinson included Condensed French in his samples of lettering for his book, ”Sign Painting, A Complete Manual.” This book became one of the definitive guides for signwriting and hand lettering. In 1999, Mike Adkins digitized Condensed to add to our Atkinson collection. For its re-release, Condensed French has been updated with more language support, ligatures, and OpenType alternates. It has true vintage character but still plays well in more modern designs. A font for all seasons, the condensed forms and sharp serifs fit in every layout from wildwest days posters and creepy film credits to Christmas ads and Mother’s Day cards. While I can’t really see FHA Condensed French as the font for phone aps or video game text, it will provide impact to logos, branding, and product labeling.

Loft is a typeface family of extremes: from the extra compressed Hairline to the extra wide Mammoth. Paris-based designer Julien Janiszewski’s aim was to create a type family based on a strict hierarchy — a suite that would provide graphic designers with a tool to create systematic solutions. Its design was inspired by 19th-century wood type as well as the sign saying “DÉFENSE D'AFFICHER” (Post No Bills) that is ubiquitous in France. Loft comes in seven weights with matching italics. Interestingly, counter widths remain the same across all weights. As weights increase, the characters extend by building stroke thickness outside the counter. Loft is space-efficient in lighter weights while making an increasingly stronger statement as the designs become heavier. The Loft typeface family is distinctive, versatile, and always intriguing.