The Joanna® Nova design, by Monotype Studio designer Ben Jones, is an extensive update to Eric Gill’s original Joanna typefaces and brings this much admired – but underused – slab serif typeface into the 21st century. Joanna Nova features 18 fonts – more than twice as many as the original Joanna – with a wide range of weights including thin and ultra black, which were not available in the original design. Every glyph has been redrawn using a variety of reference sources, including Gill’s original sketches and the copper patterns used in Joanna’s initial production. When Jones set out to design Joanna Nova, he saw that the ‘real Joanna’ was not immediately evident. “Some of Gill’s original drawings have a sloped ‘M’; there is also a ‘K’ and ‘R’ with a curled leg and a letter ‘d’ without the flat bottom,” he explained. “Is this Joanna? Or is it the version used to print Gill’s Essay on Typography? Or is it the digital version with which most people are surely more familiar than any other version? Ultimately, I think, none of these and all of these were ‘Joanna’ because, as with any typeface, it is more the idea or concept behind the typeface that makes it what it is. My approach was to create a version of Joanna that appears in your mind when you think of Joanna.” Jones noted that one of the most distinguishing aspects of Joanna is the italics; and that, for reasons unknown, many of the characters in the current versions are much more condensed than those in the hand-set fonts of metal type., The newer designs being almost unusable at small sizes. The italics in Joanna Nova have been reworked to be more legible and closer to their original widths. Joanna Nova expands the original Joanna in several ways that open up new typographic possibilities, These additions include several new weights, support for Greek and Cyrillic scripts, small caps for all scripts in both upright and italic styles, several numeral options and a host of context-sensitive ligatures. The Joanna Nova typeface family is part of the new Eric Gill Series, drawing on Monotype's heritage to remaster and expand and revitalize Eric Gill’s body of work, with more weights, more characters and more languages to meet a wide range of design requirements. The series also brings to life new elements inspired by some of Gill’s unreleased work, discovered in Monotype’s archive of original typeface drawings and materials of the last century.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times?, Times? Europa, and Times New Roman? are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times? is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times? Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times? Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer."

Early in the 19th century, foundries began releasing a variety of decorated ornamental letters based on the Tuscan letterform. Fancy Tuscan letters quickly became so popular, they eventually came to represent the cluttered extremes of Victorian design. Foundries competed with each other to produce most extravagantly decorated letterforms. As often happens, success turned to excess. What is often overlooked is the long history of the Tuscan style. Early examples have been traced back to ancient Rome. Indeed, the characteristic bifurcation may have represented a fishtail to the early Christians, thus sharing in the roll of symbolic identification played by the simple drawing of a fish as a whole. Later. trifurcation was developed as an alternate termination, followed by loops, full fishtails, curls, hooks and other fancy variations. Nicolete Gray provides an extensive history in her Appendix One of NINETEENTH CENTURY ORNAMENTED TYPEFACES. According to Gray, the first metal typeface based on the Tuscan form was the Ornamented of 1817 by Vincent Figgins of London. Thorowgood followed suit in 1821, Fry in 1824 and Caslon in 1830. Each was to re-visit the form many times during the Victorian era. Here we present our interpretation of what Figgins might have produced in a basic, plain Tuscan form - free of the decorative additions. We are pretty safe here because Figgins was very creative. He explored many of the terminal variations listed above and combined them with different decorative devices to produce a constant stream of new faces to meet the demands of the marketplace. Figgins Tuscan ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. There are also a few glyphs for Anglo-Saxon, Gaelic and Old Gaelic. Total of 355 glyphs. 2. Added OpenType GSUB layout features: aalt, ornm and liga ˜ with total 34 lookups. 3. Added 351 kerning pairs. 4. Redesigned several glyphs: the comma, quotes, brackets, braces, acute accent, and grave accent. 5. Revised vertical metrics for improved cross-platform line spacing. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling provides you with a historic yet adventurous look for your library. This addition from insigne found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring. Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library. Through the centers kindness, I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created. While I studied the maps, I narrowed in on some of the original types unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the faces legibility--largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps. In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through over-refining the forms. The result is an elegant family with far more than seafaring potential. This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne fonts are fully loaded with OpenType features. Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including normalized capitals and lowercase letters. There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors. OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure. Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages. In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging. Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper--details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.

Historical Background Old South Arabian Script (OSA) was used before the Islamic era not only in the southwest corner of the Arabian Peninsula, but actually in the entire Peninsula. In addition, samples of OSA have been found as far as Uruk in Mesopotamia, Delos in Greece, and Giza in Egypt. Archaeological finds show that as far back as the 8th century BCE, OSA was used in trade, religious writing, and in civil records. Following the spread of Islam in Yemen, the decline of OSA began in the 7th century CE as it was gradually supplanted by Arabic script. OSA was typically known by the name of the then-dominant peoples in the Southern Peninsula. At various times, it was known as Sabaean, Qatabani, or Hadramite, among others. Although it was used for a variety of languages, OSA is most strongly associated with Sabaean. Many Peninsular languages borrowed OSA before introducing further changes of their own. Prime examples are the Thamudic, Safaitic, and Lihyanite scripts which eventually developed into independent scripts. The westward migration of the Sabaean people into the Horn of Africa introduced the South Arabian consonantal alphabet into the region. The transplanted script formed the roots of the Geez script of Ethiopia, which, in time and under presumably external influences, developed into a rich syllabary unlike any other Semitic script in history. Even a cursory examination of the letter forms of Modern Ethiopic writing reveal a striking similarity to South Arabian Script. OSA inscriptions typically reveal a dominant right-to-left directionality, although there are also many cases of alternating directions, known as boustrophedon writing. Figure 1 is a fine example of this style of writing. OSA inscriptions were discovered early in the 19th century. Soon thereafter, two orientalists, Gesenius and Rödiger, made great strides towards deciphering the script. Styles of Writing Old South Arabian inscriptions have survived primarily on stone, ceramic, and metallic surfaces. Hundreds of artifacts have been found and, to this day, continue to be discovered. Some of the best examples number of inscriptions on softer materials, such as wood and leather, have also been discovered. Although there is a significant difference between the styles of letters on the hard surfaces and those on the soft. Old South Arabian (Musnad) is composed of 29 letters , that is one letter more than the Arabic alphabet, which is between “S” and “Sh”, and names “Samekh”. Aspects of difference between Musnad and the present Arabic writing is that Musnad is written in separate letters, and the shape of the letters do not change according to its place in the word. However, some letters change according to the beginning of the writing. Musnad is either prominent, or deep. Prominent writings are for important writings and deep writings are for ordinary. The material on which the Musnad was written were stones, rocks, wood, and metal. In the course of its development the Musnad use appeared in the “Lehyanite’, “Thamudic”, “Safaitic”, pen to which many changes and amendments were made. And from it “Habashi’ writing was born. As regards his place among the Arabs of the Peninsula , when we look at the internet and its role in cultural dialogue , the Arabs of the Peninsula considered Musnad inscription which was indisputably their national writing until the dawn of Islam. It was used by people in all parts of Arabia in their homeland and abroad . It was their means of chronology and record of their glories and history.2- Features of Musnad Script: 1. It is written from right to left and vice versa. 2. Its letters are not joined. 3. Shape of letters are uniform despite their positions in the word. 4. Words are separated by vertical lines. 5. A letter is doubled in case of assertion. 6. No points and punctuations. 7. Easy to be learned by beginners. My OSA Musnad Font My design and technical work is only a treatment of the OSA Musnad as a symbol of writing. And it is possible to use in computer.. My design is not aimed at demonstrating the linguistic and intellectual structure of the Old South Arabian (Musnad). It is so simple that it could be easy to learn by learners and those who are interested in the OSA Musnad letters in computer. The basis of such importance is that it spares a lot of time and effort for researchers and students in this field. Formerly they used to write the Musnad texts either by handwriting or scan them , But now they can easily write its texts in OSA Musnad by using keyboard directly, so that they can change , amend and fulfill easily and accurately . So, we made use of speed, easiness and accuracy. And anyone interested in the South Arabian history in any part of the world can due to this design read and write OSA Musnad letters most easily. This design will also be used by historians and archeologists. , as well as specialist linguistics . The design also demonstrates the aesthetics of the Himyarit writing. About this font family Old South Arabian is An Arabic, Old South Arabian and Latin typeface for desktop applications ,for websites, and for digital ads. Old South Arabian font family contains two types: Old South Arabian and Old South Arabian serif. The font includes a design that supports Arabic, Old South Arabian and Latin languages. Old South Arabian typeface comes with many opentype features.

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

Since its foundation in 1901, the iconic building in the Rotterdam neighborhood Kop van Zuid, is shining. Where previously the Holland America Line was housed, you will now find Hotel New York. A building with a tremendous history. We’re glad to take you back in time with captivating memories. In 1991, catering entrepreneurs Daan van der Have, Hans Loos and Dorine de Vos refurbished the at the time vacant property into a hotel/restaurant. To honor its 25 years existence, we celebrate this happening with a brand-new font, ‘America Line’. A tribute to Wim ten Broek, the multi-talented Dutch Graphic Designer. As early as the 1930’s before the Second World War, Wim ten Broek made the famous posters for the Holland-America Line. The influence of A.M. Cassandre here in, is clearly recognizable. Wim ten Broek also worked for HAL with large surfaces and fixed lines in which primary colors dominate, accentuated with shadows acquired by spraying technique. He also made graphic works for, among others, the World Exhibition in New York, the Dutch railway company ‘Werkspoor’ and the royal Dutch steel factory ‘Hoogovens’. His drawings and lettering gave me a love for the trade and naturally gave me a completely different view on fonts. That’s how I slowly but surely made my way to the trade. Based on the letters I had at my disposal from the Holland – America Line poster, I started to complete the alphabet in the same style as the original text. I digitized everything in order to acquire a usable and modern font. The Holland America Line Font comes with uppercase and lowercase with all the needs of modern times to create a good digital font and to be able to use it for all graphic purposes. The font is ideal for headtext, posters, logos, etc... Don't hesitate and use this unique historical font! It will give your work that glamour that you will find in few fonts. Enjoy the Holland America Line. The Holland America Line Font comes with uppercase, lowercase, numerals, punctuations so you can use the Holland America Line font to customize all your designs. The Holland America Line font is designed by Coert De Decker in 2018 and published by Kustomtype Font Foundry. The Holland America Line Font can be used for all graphic purposes. It is ideal for headtext, posters, logos,  logos, letterhead, apparel design, package design, label design etc... Don't hesitate any longer and enjoy this unique historical font! It will give your work the glamour that you will only find in a few fonts. Enjoy your journey with the Holland America Line!

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

The ITC Franklin™ typeface design marks the next phase in the evolution of one of the most important American gothic typefaces. Morris Fuller Benton drew the original design in 1902 for American Type Founders (ATF); it was the first significant modernization of a nineteenth-century grotesque. Named in honor of Benjamin Franklin, the design not only became a best seller, it also served as a model for several other sans serif typefaces that followed it. Originally issued in just one weight, the ATF Franklin Gothic family was expanded over several years to include an italic, a condensed, a condensed shaded, an extra condensed and, finally, a wide. No light or intermediate weights were ever created for the metal type family. In 1980, under license from American Type Founders, ITC commissioned Victor Caruso to create four new weights in roman and italic - book, medium, demi and heavy - while preserving the characteristics of the original ATF design. This series was followed in 1991 by a suite of twelve condensed and compressed designs drawn by David Berlow. ITC Franklin Gothic was originally released as two designs: one for display type and one for text. However, in early digital interpretations, a combined text and display solution meant the same fonts were used to set type in any size, from tiny six-point text to billboard-size letters. The problem was that the typeface design was almost always compromised and this hampered its performance at any size. David Berlow, president of Font Bureau, approached ITC with a proposal to solve this problem that would be mutually beneficial. Font Bureau would rework the ITC Franklin Gothic family, enlarge and separate it into distinct text and display designs, then offer it as part of its library as well. ITC saw the obvious value in the collaboration, and work began in early 2004. The project was supposed to end with the release of new text and display designs the following year. But, like so many design projects, the ITC Franklin venture became more extensive, more complicated and more time consuming than originally intended. The 22-font ITC Franklin Gothic family has now grown to 48 designs and is called simply ITC Franklin. The new designs range from the very willowy Thin to the robust Ultra -- with Light, Medium, Bold and Black weights in between. Each weight is also available in Narrow, Condensed and Compressed variants, and each design has a complementary Italic. In addition to a suite of new biform characters (lowercase characters drawn with the height and weight of capitals), the new ITC Franklin Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages. ITC Franklin Text is currently under development.

Bodoni Ferrara™ Fashionable, Luxury Heritage: The Original Bodoni Ferrara Sculpted from hi-res photos and scans of Bodoni's original Ferrara Font—his 1818 Manuale Tipografico and 1768 specimens. It has never before been available. This cut of Bodoni specially selected by Dave Lawrence from rare book specimens. Part of the California Type Foundry Origin Series. 3 Display Fonts in One!! And 6+ style mixes. Bodoni's 1st Draft - Transitional Serif Bodoni was often inspired by French type designs. His first draft of Ferrara was inspired by Pierre Simon Fournier. But Bodoni added his own Italian sensibilities. Bododni’s first, transitional style can pair with humanist sans, and transitional fonts. Bodoni's Rework - Modern Serif Later, Bodoni reworked Ferrara to match the later neo-classic style or modern serif of Firmin Didot¹. Bodoni’s modern style can pair with geometric sans, grotesque sans, neo-grotesque sans, gothic sans, copperplate script, . Informal On™ - Informal Mode by CAL Type Foundry This can pair with “infant” fonts. Geometric sans, and other sans or serifs with one-storied a’s. + Bodoni’s Tivoli a for another option! Works great with Fournier¹ fonts and grotesques, since the terminals will match. Font Pairing Guide This font includes a 78 page Ferrara Pairing Guide. This book shows you 131 pairings with text fonts. 47 pairings with subheader fonts! We want to help you get more out of your font collection. Design Features • Subtle forward angle (0.5-1.5°) makes Ferrara more lively and engaging than most Bodoni or Didot fonts. • Round curves make this font feel letter-pressed. • Bodoni's original tall x-height and slightly condensed proportions: great for headlines, where space is at a premium. • Better uppercase. Uppercase punctuation for design apps. • Proportional oldstyle and lining figures, both modern style and transitional numbers. Every pair of numbers is kerned for display sizes: no unsightly gaps! • Multiple special symbols for whenever you need a design to pop, including 3 of Bodoni’s amazing ampersands. Language Features Latin standard for western European and other languages. +Advanced support for: German, French, Spanish, Portuguese, Italian, and French. Special, uppercase umlauts for titles! Compare to metal Bauer¹ Bodoni! Special context kerning for French, Spanish, Portuguese, Italian, and French, to allow better better words like L'Angelique & “¿Nosotros?”. This kerning gets rid of unsightly gaps between “¿ and other combinations. Can’t Find the Pairing Guide? Can't find the pairing guide? Google “California Type Foundry” and grab the pairing guide. Get another free pro font while you’re there! Ferrara: many sizes, styles, moods and situations. It's a classic, fashionable font for display, headlines, and titles. Grab Ferrara today! ----------- ¹Trademarks of their respective owners. Ferrara™ is a trademark of the California Type Foundry.

Introducing Steelfish, a typeface that will take your designs to a whole new level. This condensed typeface is inspired by newspaper headlines from the turn of the twentieth century, and it is designed to be compact and efficient. Unlike other typefaces that try to emulate specific metal types, Steelfish is a unique blend of various headline fonts that gives it a one-of-a-kind character. Steelfish doesn’t rely on modern-day embellishments or antique ornamentation, which means it can be used seamlessly in both historical and contemporary themes. With its seven weights, including oblique styles, Steelfish is a versatile typeface that can be used for a wide range of design projects. Whether you’re working on a website, a brochure, or a poster, Steelfish is the perfect choice to add a touch of sophistication to your work. In addition to the classic Steelfish, there are other variations to choose from as well. The Steelfish Rounded is perfect for designs that require a softer touch, while the Steelfish Hammer is ideal for bold and impactful designs. Steelfish Steeled adds an industrial edge to your designs, and the Steelfish Unleaded is a stripped-down version for when you need a more minimalist look. Overall, Steelfish is the typeface you need to make a statement in your designs. Its compact letterforms and unique blend of headline fonts give it a character that is both historical and contemporary, making it a versatile and timeless choice for all your design needs. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Worldly Even though it’s a new arrival, FS Brabo has seen the world. Designed by a Brazilian working in London and studying in Belgium under a Dutchman, it’s certainly well-travelled. And it was inspired by the extraordinary archive of early book typefaces at the world-renowned Plantin-Moretus Museum in Antwerp, while Fernando Mello was attending Frank Blokland’s Expert class Type Design course at the Plantin Institute of Typography. It was there that Fernando became engrossed in the collection of early metal type, matrices, punches and type samples by figures such as Garamond and Granjon. So much so that he took on the mighty task of developing ‘a beautiful, functional, serifed text font’ of his own. Heroic FS Brabo’s journey from sketch to font family took an epic three years, starting in Antwerp, continuing at Fontsmith in London, and reaching its conclusion back in Fernando’s home city of São Paulo. No wonder Fernando was reminded of another titanic face-off: that of Antwerp’s Roman hero of legend, Silvius Brabo, and the evil ogre, Antigoon. Brabo came to the town’s rescue after the tyrannical giant had been charging ships’ captains extortionate taxes and chopping off the hands of those who refused to pay up. Having finally downed Antigoon after a long and terrible duel, Brabo cut off the giant’s own hand and threw it into the river Scheldt, unwittingly giving the town its name: the Dutch for ‘hand-throw’ is hand werpen. What better way for Fernando to name his literary typeface than after the hero of Antwerp’s oldest tale? The garalde factor FS Brabo is not a revival, but a very much a contemporary, personal interpretation of a garalde – a class of typeface originating in the 16th century that includes Bembo, Garamond and Plantin, with characteristically rounded serifs and moderate contrast between strokes. Brabo’s ‘ct’ and ‘st’ ligatures, upper-case italic swashes and contextual ending ligatures – ‘as’, ‘is’, ‘us’ – all preserve the beauty and character of traditional typefaces, but its serifs are chunkier than a garalde. Their sharp cuts and squared edges give them a crispness at text sizes, helping to bring a beautifully bookish personality to hardworking modern applications. A workhorse with pedigree It may give the appearance of a simple, four-weight typeface, but FS Brabo has hidden depths beneath its simplicity and beauty. OpenType features such as cap italic swashes, contextual ending swashes – programmed only to appear at the end of words – and stylistic alternatives make this a complete and well-equipped typeface. Comprehensive testing was carried out at text and display sizes, too, to prevent counters from filling in. All of which makes FS Brabo a very modern take on a traditional workhorse serif typeface: colourful and versatile enough to adorn not just editorial projects but also signage, advertising and logotypes.

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

Rev your engines and get ready to add some muscle to your typography with Threefortysixbarrel, the ultimate typeface for those who live life in the fast lane. This high-octane typeface was peeled right off the air filter of a 1970 Plymouth Barracuda. With Threefortysixbarrel, you’ll be able to proclaim your message with confidence and authority. This no-nonsense alphabet is barely street legal, just like the muscle cars it takes inspiration from. And with three different styles to choose from, you can customize your typography to match your message perfectly. First up, we have Threefortysixbarrel. This is the serious, clean version of the font, with a powerful personality that commands attention. It’s perfect for when you need to make a statement that can’t be ignored. If you’re looking for a more vintage feel, Threefortysixbarrel Intake is the way to go. This style features a realistic rusty letterpress effect that will make your typography look like it’s been around since the golden age of muscle cars. It’s perfect for adding a touch of nostalgia to your designs. And finally, we have Threefortysixbarrel Exhaust. This style is raspy and faded, barely hanging on—just like a muscle car that’s been pushed to its limits. It’s the perfect choice when you want your typography to have a scruffy, worn-in feel. But that’s not all—the textured styles of Threefortysixbarrel also include custom pairs that will be substituted automatically in apps that can handle OpenType ligatures. This means that repeated character textures will be broken up, resulting in an even more realistic, scruffy effect. So what are you waiting for? Grab the pistol grip, slam the pedal down, and peel out with Threefortysixbarrel. This typeface is the ultimate choice for anyone who wants to add some serious muscle to their designs. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Type designer Xavier Dupré’s Garalda is a charming 21st century family that renews a legacy of finesse. As paragraphs on a page, Garalda’s overall impression is of a workaday personality, committed to the main purpose of the job: easy long-form reading. But setting it in display sizes proves something different: This reinvented Garamond is anything but basic. The Garalda story begins with the serendipitous finding of a book typeset in a rare Garalde, called Tory-Garamond, with which Dupré was not immediately familiar. This Garamond was used in bibliophile books in the decades surrounding 1920, but after that it became déclassé for an unknown reason. Dupré found the italic styles especially charming and discovered the family was probably the mythical Ollière Garamond cut from 1914. He obtained low resolution scans of the typeface and used them, rather than high resolution scans, as the basis for his new type family. This allowed Dupré the mental freedom to experiment and remix as he saw fit, culminating in a contemporary family with heritage. As seen in the simplistic rectangular serifs, Garalda is a humanist slab serif, but with a mix of angles and curves to give the classic shapes a fresh, unorthodox feeling. While almost invisible in paragraph text, these produce a graphic effect in display work. The set of ligatures in the roman and italics lend themselves to unique display use, such as creating lovely logotypes. In the italics, some swashes inspired by different historic Garamonds are included, sometimes breaking their curves to be more captivating. Just look at how the italic ‘*-s’ ligatures create ‘s’ with a cursive formation rather than merely a flowing slant. And how the roman ‘g’ link swings as wide as a trainer’s whip. These are all balanced by squared serifs in the roman to keep an overall mechanised regularity. The Garalda family comes in eight styles, includes some of the original arrows and ornaments, and speaks multiple languages for all typesetting needs, from pamphlets to fine book printing. The complete Garalda family, along with our entire catalogue, has been optimised for today’s varied screen uses.

High-contrast? High impact? Have Courage? Eye-catching and (extra, extra) bold, Courage balances ultra-high stroke weight, delicate details, and unique letterforms with a self-indulgent passion that will make you feel a little guilty using it. Honestly, use it large and don’t try to force it into a small space, because these fearless letterforms need room to move. Flavored with both upright and italic styles, each font includes an indulgent level of alternates, swashes and titling options, visual elements and more. A backstory with a different name Years ago, I was commissioned to take my Lust typeface and produce something unique to use for large format graphics for an event…cool. It needed to be hyper-contrast with a lot of over-the-top details. With a tight turnaround, I looked for primers within my development catalogue to help me, and settled on some early work on a typeface I had drawn called Hedonist. I used those sketches and its conventions to retrofit and build out Lust Hedonist (only to see the project go bust on the client’s end). I intended to go back shortly after the Lust Hedonist release to finalize a retail version of the OG Hedonist, but I never could settle on the look of the 'g' or the numerals, got distracted with other projects, and never picked it back up… until last year. After randomly doodling a fat, flat ‘g’ with an extremely tilted counter axis, I knew immediately how it could be used and that (re)set things in motion. Only problem was, in the process of refining the letterforms I began truly dissecting the pieces, rediscovering all of the recklessness within Hedonist, and decided on fundamentally rewriting the approach to the typeface… literally flaying it to the bone. I’m much, much happier with this finished typeface now, but the name no longer fit the moniker given to the first, adolescent approach—there’s far more audacity and cleverness in these letterforms, tenacious in their resolution now. As a result, the name Courage fit the mettle of this typeface so much more, so I kept it.

Mizwinki Display is an all caps sans serif font family that seamlessly blends organic elegance with ornate industrial precission reminiscent of the Art Deco period. The typeface has organic forms that give it a clean decorative and somewhat oriental appeal. This trendsetting trio consists of three font styles, all denoted as MD (Mizwinki Display): MD-Base: This style forms the foundation of the font family, featuring smooth stems and geometric terminals. It blends organic and industrial designs, with letterforms like E, F, W, N, and M crafted from continuous flowing geometry. MD-Ink: Building upon MD-Base, this style introduces spurs and slits, evoking the ornate look synonymous with classic tattoo art letterforms. MD-InkLine: A unique offshoot of MD-Ink, this style features an inline aesthetic that enhances the ornate appeal. Tighter spacing between letterforms allows the glyphs to blend into each other while maintaining legibility within the inline letter silhouettes. Ideal for logos, headlines, packaging, digital ephemera, and apparel, Mizwinki Display is versatile. Despite being a display font, it works well at smaller sizes and is suitable for low-count body copy. Technical Specs: _____________________________________________________ 3 Font Styles / 12 Open Type Features / Extended Latin Character set (Basic Latin; Western, Central and South Eastern European Latin) / Currency Symbols / Punctuation and Parenthesis / Arrows / Basic Mathematical Symbols / Special Symbols / Basic Numerals / Circled Numerals / Numerators and Denominators / Table Figures / Inferiors and Superiors & Fractions Support for 112 Languages: _____________________________________________________ Afrikaans / Akan / Albanian / Asturian / Asu / Bafia / Basque / Bemba / Bena / Breton / Catalan / Chiga / Colognian / Cornish / Croatian / Czech / Danish / Duala / Dutch / Embu / English / Estonian / Ewe / Faroese / Filipino / Finnish / French / Friulian / Fulah / Galician / Ganda / German / Gusii / Hungarian / Icelandic / Igbo / Inari Sami / Indonesian / Irish / Italian / Jola-Fonyi / Kabuverdianu / Kalenjin / Kamba / Kikuyu / Kinyarwanda / Koyraboro Senni / Koyra Chiini / Langi / Latvian / Lingala / Lithuanian / Lower Sorbian / Luba-Katanga / Luo / Luxembourgish / Luyia / Machame / Makhuwa-Meetto / Makonde / Malagasy / Maltese / Manx / Masai / Meru / Metaʼ / Morisyen / Northern Sami / North Ndebele / Norwegian Bokmål / Norwegian Nynorsk / Nuer / Nyankole / Oromo / Polish / Portuguese / Quechua / Romanian / Romansh / Rombo / Rundi / Rwa / Samburu / Sango / Scottish Gaelic / Sena / Serbian / Shambala / Shona / Slovak / Soga / Somali / Spanish / Swahili / Swedish / Swiss German / Taita / Tasawaq / Teso / Turkish / Upper Sorbian / Uzbek (Latin) / Vai / Volapük / Vunjo / Walser / Welsh / Western Frisian / Yoruba / Zarma / Zulu

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!

Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks useful links: Specimen | Graphic presentation | Customization options About TT Ricks: We are glad to present you the new font TT Ricks, which continues the line of trendy and yet affordable TypeType Starter Kit fonts. TT Ricks is a flamboyant elzevir-type serif, for which the words “cute” or “calm” are not a fitting definition. TT Ricks can be classified as a display title typeface that works especially well at large and medium sizes in packaging design, book graphics and posters. The typeface is inspired by the pre-digital font “De Vinne”, which was designed in 1892 by the designer Gustav F. Schroeder. We liked certain aspects of the historical prototype, but at the same time, when creating TT Ricks, we did not want to limit ourselves—on the contrary, we were eager to discover a completely new spirit and bring bright details to the font. The TT Ricks typeface stands out for its strong contrast, noticeable sharp serifs, narrow letterforms with a pronounced displacement of flows in the arches. The typeface has very dense spacing, and in the bold style, the text set begins to resemble Gothic by its richness and tension. Important visual features of TT Ricks are the dashing shapes of ascenders and descenders, the thin and sharp stroke endings, and the “elzevier legs” of the letters R K k. In the lowercase round characters c e s, you can notice the pronounced slope of the oval, which contrasts with the general set of the font. These "slanted" signs and ascenders and descenders of the letters f and y are designed to cut the monotony of a set and to entertain the reader's eyes. The TT Ricks typeface consists of three weights (Regular, Medium, Bold) and one variable font. Each style consists of 553 glyphs and contains 18 OpenType features. The most interesting features are stylistic alternates for the letters R K k with alternative short leg shapes, two sets of figures for working with upper and lower case characters, and a set of original icons that further reveal the spirit of the family. Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org Attention! Important information! There is no Cyrillic support in TT Ricks! TT Ricks OpenType features: aalt, ccmp, locl, numr, ordn, tnum, onum, lnum, pnum, case, liga, calt, ss01, ss02, ss03, ss04, ss05, ss06 TT Ricks language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish,

Neue Haas Unica by Toshi Omagari: The original purpose behind the creation of the typeface Haas Unica was to provide a sympathetic update of Helvetica. But now the font designer Toshi Omagari has decided to make this typeface his own and has thus significantly supplemented and extended it. In the late 1970s, at the same time at which hot metal typesetting was being replaced by phototypesetting, the Haas Type Foundry commissioned a group of specialists known as "Team '77" consists of Andre Gurtler, Christian Mengelt and Erich Gschwind to adapt Max Miedinger's font The characters of Haas Unica are somewhat narrower than those of Helvetica so that the larger bowls, such as those of the "b" and "d", appear more delicate and have a slightly more pleasing effect. In general, the spacing of Haas Unica was increased to provide for improved kerning and thus enhance the legibility of the typeface in smaller point sizes. Major changes were made to the lowercase "a", in that the curve of the upper bowl became rounder and its spur was eliminated. The form of the "k" was additionally modified to remove the offset leg so that both diagonals originate from the main stem. The outstroke of the uppercase "J" was also significantly curtailed. In addition to many minor alterations, such as to the length of the horizontal bars of the "E", "F" and "G" and to the angle of the tail of the "Q", the leg of the "R" was extended and made more diagonal. In the case of the numerals, the upper curve of the "2" was reduced and the lower loops of the "5" and "6" were correspondingly adapted. The sweep of the diagonal of the "7" was also reduced. Several decades later, Toshi Omagari returned to the original sketches with the objective of reinvigorating this almost totally forgotten typeface. First, however, he needed to revise the drafts prepared by Team '77 to adapt them for digital typesetting. So Omagari carefully adjusted the proportions of the glyphs, achieving a more uniform overall effect across all line weights and removed details that had become redundant for contemporary typefaces. It was also apparent from the old drafts that it had been the case that the original plan was to create more than the four weights that were published. Omagari has added five additional styles, giving his Neue Haas Unica? a total of nine weights, from Ultra Light to Extra Black. He has also greatly extended the range of glyphs. Providing as it does typographic support for Central and European languages, Greek and Cyrillic texts, Neue Haas Unica is now ready to be used for major international projects. In addition, it has been supplied with small caps and various sets of numerals. With its resolute clarity and excellent typographic support, Neue Haas Unica is suitable for use in a wide range of new contexts. The light and elegant characters can be employed in the large point sizes to create, for example, titling and logos while the very bold styles come into their own where the typography needs to be powerful and expressive. The medium weights can be used anywhere, for setting block text and headlines.

I love geometric sans serifs, their crispness and rationality. Le Havre taps into this style, but for a while, I've wanted to create a font recalling the printed Futura of the 1940s, which seems to have an elusive quality all its own. After seeing an old manual on a World War II ship, I developed a plan for "Le Havre Metal" but chose to shelve the project due to Le Havre's small x-height. That's where Steagal comes in. When Robbie de Villiers and I began the Chatype project in early 2012 (a project which led one publication to label me the Edward Johnston of Chattanooga!), we started closely studying the vernacular lettering of Chattanooga. During that time, I also visited Switzerland, where I saw how designers were using a new, handmade aesthetic with a geometric base. I was motivated to make a new face combining some of these same influences. The primary inspiration for the new design came from the hand-lettering of sign painters in the United States, circa 1930s through 1950s. My Chatype research turned up a poster from the Tennessee Valley Authority in Chattanooga, Tennessee, which exhibited a number of quirks from the unique hand and style of one of these sign artists. Completing the first draft of Steagal, however, I found that the face appeared somewhat European in character. I turned then to the work of Morris Fuller Benton for a distinctly American take and discovered a number of features that would help define Steagal as a "1930s American" vernacular typeface--features I later learned also inspired Morris Fuller Benton's Eagle. The overall development of Steagal was surprisingly difficult, knowing when to deliberately distort optical artifacts and when to keep them in place. Part of type design is correcting optical illusions, and I found myself absentmindedly adjusting the optical effects. In the end, though, I was able to draw inspiration from period signs, inscriptions, period posters, and architecture while retaining just enough of the naive sensibility. Steagal has softened edges, which simulate brush strokes and retain the feeling of the human hand. The standard version has unique quirks that are not too intrusive. Overshoots have almost been eliminated, and joins have minimal corrections. The rounded forms are mathematically perfect, geometric figures without optical corrections. As a variation to the standard, the “Rough” version stands as the "bad signpainter" version with plenty of character. Steagal Regular comes in five weights and is packed with OpenType features. Steagal includes three Art Deco Alternate sets, optically compensated rounded forms, a monospaced variant, and numerous other features. In all, there are over 200 alternate characters. To see these features in action, please see the informative .pdf brochure. OpenType capable applications such as Quark or the Adobe Creative suite can take full advantage of the automatically replacing ligatures and alternates. Steagal also includes support for all Western European languages. Steagal is a great way to subtly draw attention to your work. Its unique quirks grab the eye with a authority that few typefaces possess. Embrace its vernacular, hand-brushed look, and see what this geometric sans serif can do for you.

The general idea: Can You imagine to yourself, what the hydroelectric power station is? The building of this electricity production foundry is half hidden under the water, but the visible above-water part astonishes your sense. It is a construction almost 1,5 km length dammed out the powerful river stream. Besides thousand of electricity conduction lines supports it bears also the highway and the railroad. From a faraway distance the train seems like a caterpillar that has climbed up the stout tree. There are also the navigable sluices, the flood channels and other erections. The idea of this typeface outlines arrived to the authors exactly on the viewing platform, under the impression of the waterfalls, which are escaping from the dam womb, falling from almost 50 meters altitude and becoming white-haired during this flight. Release: in the form of "gorod.Volgograd" font with the one style. We work with other styles now and sometime we will be very glad to introduce the Bold and Italic styles to You. We should explain the font name meaning. "Gorod" is "city of" in Russian and Volgograd is the old, big and famous Russian city. The Volga hydroelectric power station of a name of XXII congress of the CPSU caused the Volgograd sea formation. It expands of 14 km width and more than 600 km along the Volga river-bed. But HEPS isn't the sole Volgograd sight. There are many interesting places here. The most known tourist sight, the visit card of Volgograd is the Mamaev Hill. Being here You can see almost all 100 kilometers of city length. Due to its geographical position, Mamaev Hill has got a great importance during the Great Patriotic War (1941-1945). It became and still is the Main Height of Russia. Soviet people have built the huge stately memorial ensemble here. There are many other witnesses of the heroic past of Volgograd: the Alley of Heroes, the Perished Fighters Square, the Soldiers Field and others. The line of tank turrets is stretched out along all town not far from Volga bank. It marks the line, where fascist troops was stopped in 1943. It is very amazingly when You dive under the ground on a usual tram. Volgograders have built a few underground station for the high-speed tramway. The river tram need a quarter of an hour to get an island in the Volga. And You need the same time to walk across the river station. The Volga-Don navigable channel starts from Volgograd. There are planetarium, circus, some theatres, many museums in Volgograd. One of football matches of Euro-2004 qualifying round took a place in the "Rotor" stadium in Volgograd. Volgograd holds the longest - above 50 km - park in the world. Its avenues, squares, embankments are beautiful, Volgograd central districts are built in unique architecture style called the Stalin Empire. You can enjoy fountains, parks, attractions, water-pools and other Volgograd sights. If You visit Volgograd once You'll never forget it. You can read about the ancient history of Volgograd city on the Tsaritsyn font page. Also we plan to create the Stalingrad font and give You a short story about another period in Tsaritsyn-Stalingrad-Volgograd history.

The name of this font brings back memories of an old fried chicken restaurant in Willow Springs Illinois circa 1960’s and 1970’s, my family would all get in the car and take a long drive down to an old country road Illionis Rt 171 through a forest preserve where we’d come upon the old Willowbrook motel with a bar and restaurant next door. The restaurant was called Kegal’s, when you entered the building you had to walk through the smoky bar first to get to the restaurant, I can still see the hard wood floors with all the finish worn off from decades of foot traffic. Up until the mid 1960’s Kegal’s used to raise their own chickens behind the restaurant, back then fried chicken in the Midwest was either coated in flour or bread crumbs, Kegal’s was covered in a beautiful layer of golden bread crumbs. Before your meal arrived they’d bring a basket of dinner rolls along with crackers, bread sticks and country butter, on the side they’d serve coleslaw with a vinegar sauce, which is very common in the Midwest, the first time you try it your face puckers up like you just sucked on a lemon but you get used it over time. After waiting for what seemed like forever to a child the waitress comes out of the kitchen with a huge tray of that golden deliciousness and your mouth begins to water, in her other hand was another tray filled to overflowing with crinkle cut french fries all made by hand, I’d eat a hole handful of those french fries first then take a bite of that tender juicy farm raised chicken. Today a fine Italian restaurant occupies the old Kegal’s building and the motel is long gone, only my fond memories remain. Fast forward to 2020 and FontMesa has just made some Fried Chicken as an eight weight type font family with alternates. With the Fried Chicken slab serif font family we’ve broken some rules by removing a few of the slabs on certain letters for a unique homemade look. Fried Chicken is perfect for your next product label, t-shirt design, logo, headline or cookbook cover. Treat yourself to some good ol’ Fried Chicken today.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Over the past few years, every designer has seen the surprising outbreak of blackletter types in marketing campaigns for major sports clothing manufacturers, a few phone companies, soft drink makers, and more recently on entertainment and music products. In such campaigns, blackletter type combined with photos of usual daily activity simply adds a level of strength and mystique to things we see and do on a regular basis. But we couldn't help noticing that the typography was very odd in such campaigns, where the type overpowers all the other design elements. This is because almost all blackletter fonts ever made express too much strength and time-stamp themselves in a definite manner, thereby eliminating themselves as possible type choices for a variety of common contemporary design approaches, such as minimal, geometric, modular, etc. So extending the idea of using blackletter in modern design was a bit of a wild goose chase for us. But we finally found the face that completes the equation no other blackletter could fit into: Leather is a digitization and major expansion of Imre Reiner's forgotten but excellent 1933 Gotika design, which was very much ahead of its time. In its own time this design saw very little use because it caused problems to printers, where the thin serifs and inner bars were too fragile and broke off too easily when used in metal. But now, more than seventy years later, it seems like it was made for current technologies, and it is nothing short of being the perfect candidate for using blackletter in grid-based settings. Leather has three features usually not found in other blackletter fonts: - Grid-based geometric strokes and curves: In the early 1930s, blackletter design had already begun interacting back with the modern sans serif it birthed at the turn of the century. This design is one of the very few manifestations of such interaction. - Fragile, Boboni-like serifs, sprout from mostly expected places in the minuscules, but are sprinkled very aesthetically on some of the majuscules. The overall result is magnificently modern. - The usual complexity of blackletter uppercase's inner bars is rendered simple, geometric and very visually appealing. The contrast between the inner bars and thick outer strokes creates a surprising circuitry-like effect on some of the letters (D, O, Q), wonderfully plays with the idea of fragile balances on some others (M, N and P), and boldly introduces new concepts on others (B, F, K, L, R). Our research seems to suggest that the original numerals used with this design in the 1930s were adopted from a previous Imre Reiner typeface. They didn't really fit with the idea of this font, so we created brand new numerals for Leather. We also expanded the character set to cover all Western Latin-based languages, and scattered plenty of alternates and ligatures throughout the map. The name, Leather, was derived from a humorous attempt at naming a font. Initially we wanted to call it Black Leather (blackletter...blackleather), but the closer we came to finishing it, the more respect we developed for its attempt to introduce a plausible convergence between two entirely different type categories. Sadly for the art, this idea of convergence didn't go much further back then, due to technological limitations and the eventual war a few years later. We're hoping this revival would encourage people to look at blackletter under a new light in these modern times of multiple design influences.

"Crypto Currency - Block Chain" quickly entered our lives and its use is increasing day by day. Blockchain became more popular in web, TV and printed works. It is necessary to use their logos when defining "Crypto Currencies". But it is not easy to access these logos fast. "Cryptocurrency Font Family" which I prepared for you, is a resource that you can reach without searching for too many logos. Cryptocurrency Font Family contains 200+ logos. These are the most popular "Block Chain" logos in recent years. The popularity rankings changed over time and you can contact me if you need new logos and changing logos. I can create the "Block Chain" logo you need or apply the changes. You can send your new logo and logo change requests to me at "buyuksel@hotmail.com". Subsequent corrections and additions will be completely free. After the first purchase, there is no additional payment for updates. When using Cryptocurrency Font Family, "Cryptocurrency No.00 Guide Map" is absolutely free to download and use. This will help you a lot to define coins. "Guide Map" contains the letter and the Unicode numbers. --- Contents --- Ardor ARDR, Bitcoin BTC, Bitcoin Cash BCH, Bitcoin SV BSV, Bitcoin Gold BTG, Bitcoin Diamond BCD, Bitcoin Private BTCP, Bitcoin Plus ZBC, Bitcoin Z BTCZ, Etherium ETH, Etherium Classic ETC, Xrp Ripple XRP, Ripple, Teher USDT, Litecoin LTC, Litecoin Cash LCC, Eos EOS, Binance Coin BNC, Monero XMR, Cardano ADA, Steller XLM, Tron TRX, Tezos XTZ, Unus Sed Leo LEO, Chain Link LINK, Cosmos Atom ATOM, Huobi Token HT, Neo NEO, Hedge Trade HEDG, Crypto.com CRO, Iota MIOTA, Dash DASH, Maker MKR, Usd Coin USDC, Ontology ONT, Nem XEM, Ve Chain VET, Dogecoin DOGE, Basic Attention BAT, Z Cash ZEC, Paxos Standard PAX, Ftx Token FTT, Decred DCR, Qtum QTUM, Syntehetix Network SNX, True Usd TUSD , Raven Coin RVN, Ox ZRX, Okex OKB, Algorad ALGO, Holo HOT, Centrality CENZ, Augur REB, ZB Token ZB, Seele SEELE, Omisego OMG, Swipe SXP, Waves WAVES, Horizen ZEN, Kucoin Shares KCS, Theta THETA, Nano NANO, Nervos Network CKB, Byton BTM, Lisk LSK, Molekular Futures MOF, Digibayt DGB, Bittorent BTT, Icon ICX, V Systems VSYS, Iost IOST, Abbc Coin ABBC, Komodo KMD, Nexo NEXO, Siacom SC, Monacoin MONA, Luna LUNA, Enjin ENJ, DxChain Token DX, Hyper Cash HC, Verge XVG, Bytecoin BCN, Steem STEEM, Zilliqa ZIL, Maidsafe Coin MAID, Energi NRG, Bitshares BTS, Digixdo DGD, Rif Taoken RIF, Aeternity AE, Block Stamp BST, Zcoin XSC, Matic Network MATIC, Quart QNT, Silverway SLV, Kyber Network KNC, Iexec Rlc RLC, Electironeum ETN, Ren REN, Status SNT, Status Euro EURS, Single Colleteral SAI, Nash Exchange NEX, Grin GRIN, Decentraland Mana MANA, Stratis STRAT, Solve SOLVE, Kick Token KICK, Aelf ELF, Golem GLT, Pumdi X NPXS, Enigma ENG, Metaversa Etp ETP, Digitex Futures DGTX, Elastos ELA, Gxchain GXC, Chiliz CHZ, Ripio Credit RCN, Aion AION, Fetch Ai FET, Loopring LRC, Dragon Coin DRG, Wayki Chain WICC, Thunder Token TT, Iotex IOTX, Nebulas NAS, Hedera Hashgraph HBAR, Bread BRD, Hyperion HYN, Ignis IGNIS, True Chain TRUE, Wax WAX, Tierion TNT, Wanchain WAN, Reddcoin RDD, Wink WIN, Gatechain Token GT, Diamond Platform DPT, Nuls NULS, Yap Stone YAP, Vertcoin VTC, Project Pai PAI, Denta Coin DCN, Ark ARK, Fun Fair FUN, Loom Network XMX, Edu Care EKT, Aragon ANT, Factom FCT, Populous PPT, Revain R, Harmony ONE, Qash QASH, Groestl Coin GRS, Civic CVC, Fantom FTM, Swiss Borg CHSB, Santiment Network SAN, Moeda Loyalty MDA, GoChain GO, Dent DENT, Edc Blockchain EDC, Storj STORJ, Divi DIVI, Pivx PIVX, Bancor BNT, Metal MTL, Loki LOKI, Wirex Token WXT, Bitkan KAN, Gnosis GNO, Network NEW, Thorchain RUNE, Odem ODE, Bibox Token BIX, Bosagora BOA, Oceon Protocol OCEON, Celer Network CELR, Chimpion BNANA, Mixin XIN, Veritasium VERI, Mine Bee MB, Bankera BNK, Bitcoin2 BTC2, Casino Coin CSC, Bitforex Token BF, Dynamic Trading DTR, Poseidon Network QQQ, Obyte GBYTE, Cloak Coin CLOAK

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

With its extended complement, this comprehensive redesign of Bank Gothic by Elsner+Flake offers a wide spectrum for usage. After 80 years, the typeface Bank Gothic, designed by Morris Fuller Benton in 1930, is still as desirable for all areas of graphic design as it has ever been. Its usage spans the design of headlines to exterior design. Game manufacturers adopt this spry typeface, so reminiscent of the Bauhaus and its geometric forms, as often as do architects and web designers. The creative path of the Bank Gothic from hot metal type via phototypesetting to digital variations created by desktop designers has by now taken on great breadth. The number of cuts has increased. The original Roman weight has been augmented by Oblique and Italic variants. The original versions came with just a complement of Small Caps. Now, they are, however, enlarged by often quite individualized lower case letters. In order to do justice to the form changes and in order to differentiate between the various versions, the Bank Gothic, since 2007 a US trademark of the Grosse Pointe Group (Trademark FontHaus, USA), is nowadays available under a variety of different names. Some of these variations remain close to the original concept, others strive for greater individualism in their designs. The typeface family which was cut by the American typefoundry ATF (American Type Founders) in the early 1930’s consisted of a normal and a narrow type family, each one in the weights Light, Medium and Bold. In addition to its basic ornamental structure which has its origin in square or rectangular geometric forms, there is another unique feature of the Bank Gothic: the normally round upper case letters such as B, C, G, O, P, Q, R and U are also rectangular. The one exception is the upper case letter D, which remains round, most likely for legibility reasons (there is the danger of mistaking it for the letter O.) Because of the huge success of this type design, which follows the design principles of the more square and the more contemporary adaption of the already existing Copperplate, it was soon adopted by all of the major type and typesetting manufacturers. Thus, the Bank Gothic appeared at Linotype; as Commerce Gothic it was brought out by Ludlow; and as Deluxe Gothic on Intertype typesetters. Among others, it was also available from Monotype and sold under the name Stationer’s Gothic. In 1936, Linotype introduced 6pt and 12pt weights of the condensed version as Card Gothic. Lateron, Linotype came out with Bank Gothic Medium Condensed in larger sizes and a more narrow set width and named it Poster Gothic. With the advent of photoypesetters and CRT technologies, the Bank Gothic experienced an even wider acceptance. The first digital versions, designed according to present computing technologies, was created by Bitstream whose PostScript fonts in Regular and Medium weights have been available through FontShop since 1991. These were followed by digital redesigns by FontHaus, USA, and, in 1996, by Elsner+Flake who were also the first company to add cursive cuts. In 2009, they extended the family to 16 weights in both Roman and Oblique designs. In addition, they created the long-awaited Cyrillic complement. In 2010, Elsner+Flake completed the set with lowercase letters and small caps. Since its redesign the type family has been available from Elsner+Flake under the name Bank Sans®. The character set of the Bank Sans® Caps and the Bank Sans® covers almost all latin-based languages (Europe Plus) as well as the Cyrillic character set MAC OS Cyrillic and MS Windows 1251. Both families are available in Normal, Condensed and Compressed weights in 4 stroke widths each (Light, Regular, Medium and Bold). The basic stroke widths of the different weights have been kept even which allows the mixing of, for instance, normal upper case letters and the more narrow small caps. This gives the family an even wider and more interactive range of use. There are, furthermore, extensive sets of numerals which can be accessed via OpenType-Features. The Bank Sans® type family, as opposed to the Bank Sans® Caps family, contains, instead of the optically reduced upper case letters, newly designed lower case letters and the matching small caps. Bank Sans® fonts are available in the formats OpenType and TrueType.

Fioritura is a floral display typeface inspired by Sandro Botticelli's "Primavera" ("Spring") and Guiseppe Arcimboldo's "The Four Seasons" paintings. Fioritura means flowering in Italian, and the character composition consists of stems, leaves, flowers, and flying pollen. Scripts: Latin, Greek, Cyrillic. Language count: 480+. Glyph count: 1103. Kerning: 936 class pairs. Hinting: Not applied. Contextual Alternates: AA BB CC DD EE FF GG LL MM NN OO PP RR SS TT ZZ aa bb cc dd ee ff gg ll mm nn oo pp rr ss tt zz. To keep the writing natural, every second of two frequently repeated letters is automatically replaced by its alternative version. Turned on by default. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: ABCDEFGLMNOPRSTZ abcdefglmnoprstz. Supported languages: Abenaki, Abron, Acheron, Achinese, Achuar-Shiwiar, Adamawa Fulfulde, Adangme, Afar, Afrikaans (Latin), Aghem, Aguaruna, Aja, Akan, Albanian, Alsatian, Amahuaca, Amarakaeri, Amis, Andaandi (Dongolawi), Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asháninka, Asturian, Asu, Atayal, Awa-Cuaiquer, Awetí, Aymara, Azerbaijani (Latin, Cyrillic), Baatonum, Bafia, Bagirmi Fulfulde, Balinese, Balkan Romani, Bambara (Latin), Baoulé, Bari, Basaa, Bashkir (Latin), Basque, Batak (Latin), Belarusian (Latin, Cyrillic), Bemba, Bena, Biali, Bikol, Bini, Bislama, Boko, Bora, Borgu Fulfulde, Bouna Kulango, Bosnian, Breton, Buginese (Latin), Bulgarian, Buryat, Bushi, Candoshi-Shapra, Cape Verdean Creole, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Chachi, Chamorro, Chavacano, Chayahuita, Chechen, Chewa (Latin), Chickasaw, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Colognian, Cornish, Corsican, Creek (Muscogee), Croatian, Czech, Dagaare, Dagbani, Danish, Dawan, Dehu, Delaware, Dendi, Dholuo, Dimli, Dinka, Ditammari, Drehu, Duala, Dutch, Dungan, Dyula, Embu, English, Erzya, Ese Ejja, Esperanto, Estonian, Ewe, Ewondo, Falam Chin, Fanti, Faroese, Fijian, Filipino, Finnish, Folkspraak, Fon, French, Friulian, Frisian, Fula, Gagauz (Latin), Galician, Ga’anda, Garifuna, Gen, Genoese, German, Gikuyu, Gilbertese, Gonja, Gooniyandi, Greek, Greenlandic (Kalaallisut), Guadeloupean Creole, Guarani, Gusii (Latin), Gwich’in, Haitian, Hakha Chin (Latin), Hän, Hani, Hausa (Latin), Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Hotcąk (Latin), Huastec, Hungarian, Icelandic, Ido, Igbo (Latin), Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Ixcatlán Mazatec, Jamaican, Javanese (Latin), Jèrriais, Jola, Kabuverdianu, Kabiyè, Kabuverdianu, Kabyle (Latin), Kaingang, Kako, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk (Cyrillic), Kamba, Kanuri, Kaonde, Kapampangan (Latin), Kaqchikel, Karachay (Cyrillic), Karakalpak (Latin), Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Khalkha (Cyrillic), Khasi, Khoekhoe, K’iche’, Kikuyu, Kimbundu, Kinyarwanda (Ruanda), Kiribati, Kirmanjki, Kirundi (Rundi), Kissi, Kituba, Klingon, Kölsch, Kongo, Konzo, Koyra Chiini, Koyraboro Senni, Kpelle, Krio, Kuanyama, Kumyk, Kurdish, Kven Finnish, Kwasio, Kyrgyz (Cyrillic), Ladin, Ladino, Lakota, Lamnso’, Langi, Latgalian, Latin, Latino sine Flexione, Latvian, Ligurian, Limba, Lingala, Lithuanian, Lobi, Lojban, Lombard, Low German, Lozi, Luba-Katanga, Luba-Lulua, Luo, Luxembourgish, Luyia, Maasai, Maasina Fulfulde, Macedonian, Machame, Madurese (Latin), Makhuwa, Makonde, Makwe, Malagasy (Latin), Malaysian Malay (Latin), Maltese, Mam, Maninkakan, Manx, Maore Comorian, Māori, Mapudungun, Marquesan, Marshallese, Masai, Matsés, Mauritian Creole, Mbelime, Megleno-Romanian, Mende, Meriam Mir, Meru, Meta’ (Latin), Metlatónoc Mixtec, Mezquital Otomi, Mi’kmaq, Minangkabau, Mirandese, Mískito, Miyobe, Mizo, Mohawk, Moksha, Moldovan, Mongolian (Cyrillic), Montagnais, Montenegrin (Latin, Cyrillic), Mossi, Mundang, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Naga Pidgin, Nagamese Creole, Nahuatl, Nama, Nateni, Navajo, Ndebele, Ndonga, Neapolitan, Ngazidja Comorian, Ngiemboon, Ngiyambaa, Ngomba, Nigerian Fulfulde, Niuean, Nobiin, Nomatsiguenga, Noongar, Norwegian (Bokmål, Nynorsk), Novial, Nuer, Nyamwezi, Nyanja, Nyankole, Nyemba, Nzima, Occidental (Interlingue), Occitan, Ojitlán Chinantec, Old Icelandic, Old Norse, Onĕipŏt, Oromo, Oroqen, Oshiwambo (Ovambo), Ossetian (Latin, Cyrillic), Otuho, Páez, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamentu, Pedi, Picard, Pichis Ashéninka, Piedmontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Prussian, Pulaar, Pular, Purepecha, Qiandong Miao, Quechua, Rarotongan, Romani, Romanian, Romansh, Rombo, Rotokas, Russian, Rusyn, Rwa, Sakha, Samburu, Sami (Inari, Lule, Northern, Southern, Pite, Skolt, Ume), Samoan, Sango, Sangu, Saramaccan, Sardinian, Scottish Gaelic, Secoya, Sena, Serbian, Seri, Seychellois Creole, Shambala, Sharanahua, Shawnee, Shilluk, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Siona, Slovak, Slovene (Slovenian), Slovio (Latin), Soga, Somali, Soninke, Sorbian (Lower, Upper), Sotho (Nothern, Southern), Spanish, Sranan, Sukuma, Sundanese (Latin), Susu, Swahili, Swazi, Swedish, Swiss German, Tachelhit (Latin), Tagalog, Tahitian, Taita, Tajik (Cyrillic), Talysh, Tasawaq, Tatar (Cyrillic, Latin), Tedim Chin, Teso, Tetum, Ticuna, Timne, Tiv, Toba, Tojolabal, Tok Pisin, Tokelauan, Tonga, Tongan, Tosk, Totontepec Mixe, Tsafiki, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin, Cyrillic), Tuvaluan, Tuvan, Twi, Tzeltal, Tzotzil, Uab Meto, Ukrainian, Ulithian, Umbundu, Urarina, Uyghur (Cyrillic), Uzbek (Latin, Cyrillic), Vai, Venda, Venetian, Veps, Vietnamese, Volapük, Võro, Vunjo, Waama, Waci Gbe, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray, Warlpiri, Wasa, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof (Latin), Xavante, Xhosa, Xwela Gbe, Yagua, Yanesha’, Yangben, Yanomamö, Yao, Yapese, Yindjibarndi, Yoruba (Latin), Yucateco, Záparo, Zapotec, Zarma, Zazaki, Zulu, Zuni. The promo images used photos of Cottonbro, Maria Lindsey from Pexels, and Andreea Popa, Wyron A from Unsplash.

Aphrodite Slim Pro is not just a lighter version of its sister Aphrodite Pro. Aphrodite Slim Pro has duplicated the quantity of characters of its partner, and that means more than 500 new glyphs, reaching a total of more than 1000. More delicate and meticulous, Aphrodite Slim Pro is once more a new typography with deep calligraphic ideals: We immersed ourselves into the world of each calligraphy ductus and each calligraphy masters by studying from decoration to lettering books. This was the key for the logic of Aphrodite Slim’s behavior. The new concept of Aphrodite Slim Pro was to join diverse styles of calligraphy in one in order to achieve an autonomous expressiveness, in fact, this is what calligraphy aims to, and we agreed to bring those ideals to the world of typography: It is justifiable to be inspired in hundred-year-old calligraphies, but it is even better if the results you obtain have a plus. A personal plus. During the creation process we were wondering whether it was possible to mix certain strokes of such rigid styles as uncial, (Li·n’s favourite style), with strokes of the copperplate, (Sav’s favourite style), and also to take and mix cualities of cancelleresca cursiva, formata and moderna; finally giving our creation a roman-transition italic look. So Aphrodite Slim takes ideals and aspects from those formal styles, following its own logic though, and emphasizing the fact of being a decorative typography. Calligraphy masters of our past are who we are in debt with. They are the cause we have lovely letters now. They have been spontaneous at the moment of creation, what differs from the type-designers of nowadays, whose spontaneity is more limited. Digital faces that we are used to see these days are a result of long hours of optical adjustments, grids, macros and inspirations of other existing typography, but without personal contributions. Aphrodite Slim wants to refute this. Its mission is to rescue de spontaneity of the artesanal lettering in order to obtain unique words; those which only calligraphy masters of our past or lettering artists of our present could give us. We have worked hard to achieve this, making Aphrodite the most universal font we could: It was necessary to study the most common words, focalizing more in the ones referring to “sensitivity”, of four of the most spoken languages in the world. Aphrodite Slim has an enormous quantity of decorative characters and special ligatures for phrases and words in English, French, Spanish and German. (See English, Français, Español, Deutsch PDF in the gallery section). We promise there is no existing type that decorates/ligates glyphs and words like Aphrodite Slim does: It is the first time a font like this really considers its purpose. -The way glyphs are ligated is insane- : Aphrodite Slim rescues some ideals of persons like Jan van den Velde (Italian cancilleresca writing of XVI Century) who understands ascenders and descenders as possibilities to beautify the lines of writing with curved strokes that seem to be dancing above and below of the words. This master also creates ascenders and descenders even where they are not necessary, on letters that do not actually need them: Aphrodite Slim takes this ideal. The font counts with a wide range of glyphs that seem not to be satisfied with its more primitive form and prefer to extreme their parts to be decorative. It also existed masters of calligraphy like José de Casanova of XVII Century, who, with a magnificant skill and a really personal mark, had the particularity of ligating words that were actually separated with spaces. This is another innovative feature in Aphrodite Slim. An investigation of the most common beginnings and endings words of the English language was done. Having that feature activated (discretionary ligatures), common words will start to ligate or to be decorated even when they are separated by spaces. Impossible to forget Francesco Periccioli of XVII Century and our experience us designers to face with works of him: His letters, that today are included in the group of cancellerescas modernas, have been a direct inspiration to the oldstyle figures and historical forms variables in Aphrodite Slim. Giovanni Antonio Tagliente (XVI Century) and his particular way of making tails and diagonals longer than usual, qualities that our creation reflects too. Finally, our adventures in Biblioteca Nacional and Barrio San Telmo, Buenos Aires, were essential for us to make Aphrodite Slim more complete and interesting: Sav did an excellent work when studying how the decorative miscellanea and swirls of early XX century were. She also investigated what particularities made those roman titling characters look antique so she could rescue some ideals for the oldstyle figures and historical forms variables. This also leaded her to create the ornaments variable in Aphrodite Slim. We are really proud of presenting Aphrodite Slim Pro, a typography that was the result of days and nights of working hard, because we do love what we do; and we are glad we are living in a present that gives us the possibility to spread this kind of art, because that is the way we consider our job: Aphrodite Slim Pro is Art. Hope you can appreciate the enormous work this type has. Features. Aphrodite Slim Pro is the most complete variable. It includes more than 1000 glyphs. Thanks to the Open-Type programming, it counts with a easy way to change/alternate glyphs if the application in which the font is used supports this. The variables contained in Aphrodite Slim Pro are also offered separately. Aphrodite Slim Text: It is the variable for lines and paragraphs. Thus it is the least ornamental and the most accurate to achieve a satisfying legibility. It has the Standard Ligatures feature in order to improve the possible conflicts some glyphs could have by others. Aphrodite Slim Contextual: It is the one that makes emphasis in decorating. It has the particularity of ligating/decorating words of common use in English, French, Spanish and German. It also has the quality of ligating common beginnings and endings of the common words in English. Aphrodite Slim Stylistic: With similar features of Slim Contextual. It includes a set of decorative numbers for a display use. Aphrodite Slim Swash: This one has special beginnings and endings to decorate words. Aphrodite Slim Endings: It makes words look as a signature. Aphrodite Slim Historical: It adds an antique look to the written word. It also has the special historical ligature function. Aphrodite Slim Titling: This one is the most decorative. Its copperplate inspired ornaments give words a special color, in order to handle the quantity of decoration, it comes with the standard ligature feature, which has the most common ligatures plus others that make decorative swirls not to be conflictive. Aphrodite Slim Ornaments: A set of 52 ornaments. Aphrodite Slim Pro includes all this features plus the Stylistic Set 1; Stylistic Set 2 and the possibility of Slashed Zero. We recommend you to check out the gallery in order to see all these features in action.

Type designers are crazy people. Not crazy in the sense that they think we are Napoleon, but in the sense that the sky can be falling, wars tearing the world apart, disasters splitting the very ground we walk on, plagues circling continents to pick victims randomly, yet we will still perform our ever optimistic task of making some little spot of the world more appealing to the human eye. We ought to be proud of ourselves, I believe. Optimism is hard to come by these days. Regardless of our own personal reasons for doing what we do, the very thing we do is in itself an act of optimism and belief in the inherent beauty that exists within humanity. As recently as ten years ago, I wouldn't have been able to choose the amazing obscure profession I now have, wouldn't have been able to be humbled by the history that falls into my hands and slides in front of my eyes every day, wouldn't have been able to live and work across previously impenetrable cultural lines as I do now, and wouldn't have been able to raise my glass of Malbeck wine to toast every type designer who was before me, is with me, and will be after me. As recently as ten years ago, I wouldn't have been able to mean these words as I wrote them: It’s a small world. Yes, it is a small world, and a wonderfully complex one too. With so much information drowning our senses by the minute, it has become difficult to find clear meaning in almost anything. Something throughout the day is bound to make us feel even smaller in this small world. Most of us find comfort in a routine. Some of us find extended families. But in the end we are all Eleanor Rigbys, lonely on the inside and waiting for a miracle to come. If a miracle can make the world small, another one can perhaps give us meaning. And sometimes a miracle happens for a split second, then gets buried until a crazy type designer finds it. I was on my honeymoon in New York City when I first stumbled upon the letters that eventually started this Affair. A simple, content tourist walking down the streets formerly unknown to me except through pop music and film references. Browsing the shops of the city that made Bob Dylan, Lou Reed, and a thousand other artists. Trying to chase away the tourist mentality, wondering what it would be like to actually live in the city of a billion tiny lights. Tourists don't go to libraries in foreign cities. So I walked into one. Two hours later I wasn't in New York anymore. I wasn't anywhere substantial. I was the crazy type designer at the apex of insanity. La La Land, alphabet heaven, curves and twirls and loops and swashes, ribbons and bows and naked letters. I'm probably not the very first person on this planet to be seduced into starting an Affair while on his honeymoon, but it is something to tease my better half about once in a while. To this day I can't decide if I actually found the worn book, or if the book itself called for me. Its spine was nothing special, sitting on a shelf, tightly flanked by similar spines on either side. Yet it was the only one I picked off that shelf. And I looked at only one page in it before walking to the photocopier and cheating it with an Argentine coin, since I didn't have the American quarter it wanted. That was the beginning. I am now writing this after the Affair is over. And it was an Affair to remember, to pull a phrase. Right now, long after I have drawn and digitized and tested this alphabet, and long after I saw what some of this generation’s type designers saw in it, I have the luxury to speculate on what Affair really is, what made me begin and finish it, what cultural expressions it has, and so on. But in all honesty it wasn't like that. Much like in my Ministry Script experience, I was a driven man, a lover walking the ledge, an infatuated student following the instructions of his teacher while seeing her as a perfect angel. I am not exaggerating when I say that the letters themselves told me how to extend them. I was exploited by an alphabet, and it felt great. Unlike my experience with Ministry Script, where the objective was to push the technology to its limits, this Affair felt like the most natural and casual sequence of processions in the world – my hand following the grid, the grid following what my hand had already done – a circle of creation contained in one square computer cell, then doing it all over again. By contrast, it was the lousiest feeling in the world when I finally reached the conclusion that the Affair was done. What would I do now? Would any commitment I make from now on constitute a betrayal of these past precious months? I'm largely over all that now, of course. I like to think I'm a better man now because of the experience. Affair is an enormous, intricately calligraphic OpenType font based on a 9x9 photocopy of a page from a 1950s lettering book. In any calligraphic font, the global parameters for developing the characters are usually quite volatile and hard to pin down, but in this case it was particularly difficult because the photocopy was too gray and the letters were of different sizes, very intertwined and scan-impossible. So finishing the first few characters in order to establish the global rhythm was quite a long process, after which the work became a unique soothing, numbing routine by which I will always remember this Affair. The result of all the work, at least to the eyes of this crazy designer, is 1950s American lettering with a very Argentine wrapper. My Affair is infused with the spirit of filete, dulce de leche, yerba mate, and Carlos Gardel. Upon finishing the font I was fortunate enough that a few of my colleagues, great type designers and probably much saner than I am, agreed to show me how they envision my Affair in action. The beauty they showed me makes me feel small and yearn for the world to be even smaller now – at least small enough so that my international colleagues and I can meet and exchange stories over a good parrilla. These people, whose kindness is very deserving of my gratitude, and whose beautiful art is very deserving of your appreciation, are in no particular order: Corey Holms, Mariano Lopez Hiriart, Xavier Dupré, Alejandro Ros, Rebecca Alaccari, Laura Meseguer, Neil Summerour, Eduardo Manso, and the Doma group. You can see how they envisioned using Affair in the section of this booklet entitled A Foreign Affair. The rest of this booklet contains all the obligatory technical details that should come with a font this massive. I hope this Affair can bring you as much peace and satisfaction as it brought me, and I hope it can help your imagination soar like mine did when I was doing my duty for beauty.