After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used 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. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

Decora Pro font family is designed by Naghi Naghashian. A modern interpretation of classic Roman characters in 1 weigh and 2 styles: Regular and Regular Italic. It is a Liaison between the classic Roman typeface and script style. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Cream is a retro soft serif typeface comprising 12 fonts. It can handle most typographic applications from branding to body copy with its range of weights and inherent legibility. Whatever you type will have a friendly message, but it really comes into its own when you start applying some of the additional ligatures and alternates that are built into this type family. You’ll soon be creating distinctive typographic compositions that are pleasing to the eye. There are 12 fonts altogether, ranging from Light to Black weights in both roman and italic. It has an extensive character set that covers all Latin European languages. Key features: 6 weights in Roman and Italic 75 Alternates 37 Ligatures Full European character set (Latin only) 730 glyphs per font.

Quite unusual, Musenberg started his Raldo design with the italic. However, he managed to preserve the temperament and vividness of the italic in the roman without questioning the stability of the individual characters. Raldo is a modern Sans Serif family already quite popular in Germany. The German IGEPA group chose Raldo as corporate typeface family. Now, Marc Musenberg redesigned and extended his Raldo typeface family. The new Raldo RE Pro comprises 10 styles, 5 roman and 5 corresponding italics. All fonts now include the complete Latin character set plus fractions, different sets of figures and fractions as well as small caps and small caps figures for Raldo RE Pro Text, Regular, Semibold and Bold. Raldo RE Pro has been chosen to be part of the URW++ SelecType.

Roumi Pro is designed by Naghi Naghashian. It is a headline font, as modern interpretation of classic Roman characters in 1 weight: Regular. The naming is driven from the name of Rumi (the Roman), Persian philosopher and poet, 1207-1273. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Fusion Sans is an amalgamation of traditional early nineteenth-century sans-serif letters. Despite its monotone structure it retains certain features common to roman. For instance lowercase ‘a’ and the two-storey ‘g’ are normal roman characters, while most letters are designed with a thinning of stroke at the junction of rounds to stems. Other letters are borrowed from earlier gothics, like lowercase ‘t’ which was first seen on a typeface that was developed by Paul Rand for Westinghouse in 1960. Fusion Sans is a tall family of 4 weights which is suitable for long headlines. The new ‘Pro’ version developed in 2006, provides support for all European languages including Greek and Cyrillic while it comes loaded with 19 special OpenType features.

Venetic is an extinct Indo-European language, usually classified into the Italic subgroup, that was spoken by the Veneti people in ancient times in northeast Italy (Veneto and Friuli) and part of modern Slovenia, between the Po Delta and the southern fringe of the Alps, associated with the Este culture.[3][1][4] The language is attested by over 300 short inscriptions dating from the 6th to the 1st century BCE. Its speakers are identified with the ancient people called Veneti by the Romans and Enetoi by the Greeks. It became extinct around the 1st century when the local inhabitants assimilated into the Roman sphere. Inscriptions dedicating offerings to Reitia are one of the chief sources of knowledge of the Venetic language

An Arabic font designed by a German living in Berlin’s Neukölln district, between Karl-Marx-Strasse and Sonnenallee. This is the Latin+Arabic version of poster/display font Pivnaya designed and published by Roman Type. Designer Roman Wilhelm finds himself constantly surrounded by Arabic type and hand-lettering in his neighborhood. With this font, he is trying to answer to all these linguistic, type-related, and cultural inspirations. It works for Afrikaans, all languages of the Arab World, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Farsi, Finnish, French, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Maltese, Norwegian, Polish, Portugese, Romanian, Slovak, Slovenian, Spanisch, Swedish, Turkish, Urdu, Vietnamese, Zulu. Equipped with a wide coverage of the International Phonetic Alphabet (IPA), the font is equipped for multi-purpose usage.

Emperatriz—with deep roots in the Roman tradition—is an elegant font and, above all, firmly situated in the present, featuring monumental forms and a classical design yet with a contemporary twist. It is a refreshing, clean, modern display font, perfect for the editorial design of magazines and catalogs, for the creation of titles and short texts, on book covers and large format publications, or as part of a corporate identity, logos, packaging and labels. Every variant in the family has generous counter forms, with ligatures and alternative capitals (Q, R, P, O), as well as oldstyle and Roman numerals, manicules, and monetary and mathematical symbols, providing a complete set with language support for more than 200 Latin script languages.

Analogia is a digital interpretation of types used in the mid-18th century in books printed at Leuven by Martin van Overbeke. It is intended primarily for use in running text. The roman is businesslike, yet with a distinct personality; it has a generous x-height and is slightly condensed, though without appearing cramped. It is complemented by a more lively italic, which retains some irregularities in the angle of slant that are characteristic of the original. Analogia provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

Honesty is sans serif font with flared stems. As such, it belongs to the incise genre which is historically inspired by the roman civilisation and letters carved in granite or marble. One of the major example of it is the Trajan’s Column in Rome which inspired a font called Trajan, designed by Carol Twombly in 1989. Honesty is also inspired by more brutal font such as the Albertus, designed in 1938 by Berthed Wolpe, and its shape is highly influence by the work of the hammer. Despite this brutality and urgency due to the carving technique, the design of Honesty bring softness to it thanks to its low contrast and smooth curves. Honesty’s design include 16 styles, from thin to black in roman and italic.

Juliet is a modern calligraphy script with flowing curves. It will add a romantic touch to any crafting project!

Valentine Dream is a brand new sweet handwritten font. It will add a romantic touch to any crafting project!

The lowercase has classical Roman letterforms, and together with the cute, swirly capitals they make for a slightly more feminine take on the genre. Trajan lettering - with added sugar! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Think of Garamouche as Garamond's drunken cousin. This font replicates a long lost document ravaged by time and the elements (with a little sloppy printing for good measure.) Unlike the fake bolding option found in software programs, Garamouche Bold is a variant with more appropriate thick and thin features. The "dancing along the baseline" that has made Garamouche a favorite, is also a feature in Garamouche Bold, but the letters align and tilt in on their own terms. Using the two Garamouche fonts together can produce much more expressive results than just hitting "bold". P22 Garamouche Ornaments is a set of 72 ornamental embellishments designed to complement the Garamouche fonts but can be used with almost any layout that calls for historical decoration.

This family was created inspired from the Garamond patern set of fonts used by S. Millanges "imprimeur ordinaire du Roy", in Bordeaux, circa 1580-1590. Especially for reprint L'instruction des curés (Instructions to parish priests), from Jean Gerson. The set contains two styles, Normal and Italic, the second one with a lot of caps and ligatures variants. The initials, except a few decorated letters (six in total) where only large caps, covering no more than three lines. Added are a few fleurons. It can be used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very elegant and legible font... This font supports strong enlargements as easily as small size (legible from 6 points when printed) remaining very smart and fine. Its original cap height is about five millimeters. Decorated letters like 1512 Initials, 1550 Arabesques, 1565 Venetian, can be used with this family without anachronism.

Emilio is a modern serif family available in 14 styles. It's an elegant typeface with friendly and warm personality which seeks a balance between traditional and modern. Emilio is inspired by the visuality of the 1980s and the typefaces that were widely used in advertising at the time, such as Times and Garamond. However, Emilio offers a contemporary take on the serif font family, adding new elements such as reductive, calligraphy-inspired details or the "K" and "R" legs shape. If you want a more traditional look, you can achieve it with the stylistic alternatives available. Of course, the typeface also provides standard and discretionary ligatures and many other Open Type features. In addition, it offers support for most Latin languages. The big headlines and titles are where Emilio shines the most, but due to large x-height and decent contrast will work for smaller text as well. Emilio is the ideal typeface for editorial design, posters, covers, branding and much more.

Aldine 401 is a Bitstream version of Bembo type family. It was designed on the base of artwork of Francesco Griffo for Aldus Manutius. Originally the font appeared in “De Aetna” in 1495 — the book by Pietro Bembo about his journey to Mount Etna. Griffo’s design was one of the first old style typefaces followed by Garamond. It was the forerunner for the standard text types in Europe for the next two centuries. A modern version of Bembo was designed at Monotype under the supervision of Stanley Morison in 1929. Aldine 401 is still very popular in book design due to its well-proportioned classic letterforms and lack of peculiarities. Italic was based on the handwriting of Giovanni Tagliente. Books and other texts set in Aldine 401 can encompass a large variety of subjects and formats because of its classical beauty and high readability. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

Aragon ST is a special version of Hans van Maanen’s Aragon family. It was developed for science writing, and it serves as the very first introduction of SciType, an innovative new way of building fonts specifically for typesetting science text. For more information about SciType, please consult the SciType FAQ PDF in the Gallery section. The Aragon design is a remodelling of the classic mid-1500s Garamond forms through a modern lens. It is a text workhorse that performs very well in a variety of sizes, from footnotes and legal copy to lengthy, immersive-reading body sets. Its efficient and legibility-asserting traits are wedge serifs and uniquely tapered stems that slightly shift the weight stress to the top half of the forms while maintaining the clarity and synergy of the counterspace’s sequence. Aragon ST takes all that a step further for science writers. For details about the functionality of Aragon ST, please consult the Aragon ST Access Chart PDF in the Gallery section.

Antika is a beautiful modern script font featuring flowing letters. It will add a romantic touch to any crafting project!

Shiva font family is a very narrow family for text and titling. Even though shiva has very thin strokes, the letterforms give a strong, impactful and dignified image. a, e, f, g & y in Roman and g & y Italic have their alternate glyphs that can be used with OpenType salt feature.

Patriot is the sans-serif version of Exocet and, like Exocet, is based upon early Greek and Roman stone-carving, yet it adheres more closely to the shared historical source material. Patriot was developed to include unique forms and alternative characters, becoming a striking original typeface in its own right.

The Symbol PS font contains Times New Roman Greek capitals and lowercase, figures and basic punctuation together with a collection of mathematical signs and general purpose Pi characters. Use the Symbol PS font for setting mathematical and scientific work and as a complement to the symbols found in standard fonts.

Frenzy evolved from a logo for a Gen X product offered by a very staid company. It is a sythesis of Classic Roman Capitals and American Typewriter—with a bit of frenetic energy stirred in. It is dedicated to the designers son, who is the epitome of the font... contained chaos.

Coliseo is a lively and fun Art Nouveau inspired typeface, inspired by stone lettering seen on facade of the Coliseum Theatre in London. It's beautifully characterful let legible making it ideal for poster work or anything where it's useful to combine Roman display faces with a feeling of life and energy.

Ornate Blackboards is a beautiful collection of ornaments from Intellecta Design, excellent for use in works of art and editorial publications, like book covers, headpieces to sections of books, magazines, packaging works, and many other solutions. Good to use with roman versals, chiseled fonts and many other different kinds of typefaces.

Unitext Variable Regular is a single font file that features one axis: Weight. TFor your convenience, the Weight axis has preset instances from Hairline to Black. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum.

Alphabet set made of two white parallel lines. They are looked like infinite looped icons. Ideal for dynamic app, minimalism design, sports identity, technology adv. What's included? Uppercase (lowercase are the same) Numbers Symbols Punctuation Multilingual support Please feel free to request any help you need: kaer.pro@gmail.com Best, Roman.

Sting is a hybrid of Blackletter lowercase with Roman Capitals. This style drawn by Michael Clark in pen and ink evolved over several years and is now avaiable in font form. 12 alternate lowercase characters are included. Great for historical and official document titling as well as many decorative uses.

Catigan recreates classical attitudes by reflecting some of the attributes of transitional typefaces. Catigan does not, however, follow historical models. Catigan is warm with a very personal expression and also with excellent text qualities. The complementary Italic makes a distinctly calligraphic impression and stands in lively contrast to the roman weights.

Brohillo font is created from the frequent use of typeface for wedding needs. This font has an elegant and bold concept. It is perfect for designs with romantic themes such as wedding properties, Valentine cards, romantic quotes and others. This Dio font when combined is really good with a bold and bold serif combined with an elegant and spontaneous script to create an awesome design.

The design of Cyan was inspired by features found in classic Roman and styles like Trajan and Bodebeck. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. The Capitals version contains Roman numerals. Cyan's weight is similar to Trajan's but the horizontal strokes are slightly bolder resulting in better legibility for small sizes, especially for lowercase characters. Cyan Sans evolved out of the hugely successful Cyan Serif family. Cyan Sans retains the same geometric Roman proportions with open centers in B,P,R b, d, p . This helps create a thick and thin stroke illusion since the actual strokes don't vary much. There are many subtle details in Cyan Sans that become more interesting in larger sizes. The beauty of Cyan Sans is that it has no features that "jar" the eye. The result is a very pleasing and distinctive sans that scales well. Cyan Sans is a robust font that will exceed expectations in areas never explored before. The name is inspired by the Greek word cyan, meaning "blue". Blue as a primary color that has many hues and uses. Cyan the font, we hope will be seen in a similar light. Obviously Cyan Sans is a perfect companion to the Cyan Serif family.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family. Bembo® Book font field guide including best practices, font pairings and alternatives.

Guadalupe –from the family of classic Didots– is a high performance font with a great set of alternates & swashes and carefully refined details. Especially suited for fashion magazines, logotypes and luxury contexts with a range of two different terminal versions; “Regular” –a classic roman typeface– and “Gota”, much more expressive for word setting.

A roman face designed in the early 1980s by Ed Benguiat for ITC, ITC Benguiat shows a strong Art Nouveau influence. As with ITC Korinna, the stress of the ITC Benguiat font family occurs in the upper half of each capital. This distinctive typeface is particularly useful for display and advertising work.

Oksana Sans Narrow is a space-saving addition for Oksana Sans Roman faces. In six weights from Thin to Heavy it works well in long as in short texts. Supports Western, Central, Baltic Latin and European Cyrillic codepages. Old-style digits, some ligatures, alternative characters and Ukrainian hryvnia sign are also included.

Hello! Do you need a weird font for your lettering, invitations, or banners? Please try it. There are a lot of ligatures and multilingual glyphs. What you will get: * Uppercase (lowercase glyphs are same) * Multilingual support * Numbers and symbols If you have any questions or issues, please contact me: kaer.pro@gmail.com Best, Roman.

The hand lettered title on the 1915 sheet music for “On the Banks of the Amazon” was the design model for Nouveau Spurred JNL, which is available in both regular and oblique versions. This gently spurred Art Nouveau Roman is a beautiful choice for headlines, book titles and other retro-influenced projects.