Frans Masereel wrote or should I rather say cut some "novels in pictures" around 1927. They are written in powerful black and white woodcuts and were apparently printed from the original cuttings, at least that what it looks like. On the cover he cut the titles in rough wooden letters. Those letters inspired me to produce Woody. Maybe some day I will add a second weight, wich will be an extended cut. But for the time being this is enough woodwork. Your woodcutter Gert Wiescher

The Art Deco hand lettered opening credits for the 1936 French drama “La Belle Équipe” [English title: “They Were Five”] provided the inspiration for Foreign Film JNL, which is available in both regular and oblique versions. According to Wikipedia, the film “…tells the story of five unemployed workers who win the jackpot in the national lottery but their solidarity then proves fragile.”

The tale of Okiku Of The Nine Plates is an old Japanese story full of lust, deceit, murder and revenge. It tells of Okiku, a beautiful servant whose master lusts after her. After she refuses his amorous advances, he accuses her of stealing a costly plate and has her thrown down a well, where she dies. She then turns into an Onryō (a vengeful spirit). Okiku font is a thin, all caps, scratched typeface. Upper and lower case differ and can be interchanged. Okiku comes with an afterlife of diacritics.

This highly stylish, engraved blackletter font was cut by Rudolf Koch between 1919 and 1921 for Klingspor in Offenbach on Main. It was then sold under the name Deutsche Zierschrift. I completely redraw and extended this font and called it Zierfraktur. To take full advantage of this fine headline blackletter font, please use it from, at least, 18 points upward. This font contains a bunch of useful ligatures, and it is recommended to activate both Standard and Discretionary Ligatures. The round s can be reached by typing the # key, and you get the numero sign by typing the combination N-o-period and activating the OT feature Ordinals.

In the early years of the twentieth century a number of romans with a soft and slightly script like quality were evolved. Although they did not represent the future in terms of the major design influences that were to appear after the First World War, they were a break with the past, and were developed further in the nineteen twenties and thirties. Monotype Bernard Condensed is closely associated with this period, a condensed roman evoking an easy charm. The Monotype Bernard Condensed font offers many display applications where warmth and friendliness is required.

Introducing Zambeza, a modern display font that draws inspiration from vintage posters and combines it with elegant typography styles. With Zambeza, you can create unique letter combinations for lettering with a wide range of options. The font comes with open type features, including alternate glyphs and end swashes, providing you with creative freedom for your lettering designs. Zambeza is perfect for various design applications, such as logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its versatile design makes it suitable for different creative projects, adding a touch of modernity and vintage charm. To access the alternate glyphs, you will need a software program that supports OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, or Corel Draw. This allows you to fully utilize the font's design possibilities and create unique compositions. Your zip package will include the Zambeza font files in otf, ttf, and woff formats, providing compatibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, giving you all the essential elements for your designs. Zambeza also supports multilanguage characters, making it suitable for designing in various languages. Whether you're creating designs in English, Spanish, French, or any other language, Zambeza has you covered. In summary, Zambeza is a modern display font that combines vintage inspiration with elegant typography styles. With its open type features, multilanguage support, and versatile design applications, Zambeza is a great choice for your creative projects. Thank you for choosing Zambeza from our collection. Happy designing!

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

Around the turn of the twentieth-century, Steel and copper plate engraving was the most sophisticated and expensive method for producing business cards, stationery, and formal announcements. In engraved printing, the image is incised, or engraved into a hard, flat plate. Ink is applied to the plate, and then wiped off; leaving only the ink that is trapped below the surface in the incised areas. When the paper is pressed against the flat plate, the ink is drawn out of these areas and transferred to the paper. The results are twofold: printing which sits above the surface of the paper, and the reproduction very delicate lines and shapes. For business and formal printing, engraved printing was, and is, considered the best. The problem is that not everybody can afford the best. Type foundries, in the early 1900s, figured that if they could produce a typeface for traditional printing, which had appearance of engraving, they would be able to satisfy the needs of those forced to live with modest printing budgets. Engravers faces were born. Fredric Goudy’s Copperplate Gothic was one of the most popular. Plate Gothic is a version of this style updated for digital technology. It has all the charm and charisma as the metal type and yet is perfect for today's needs.

RoyalBavarian was comissioned by King Ludwig the First of Bavaria about 1834. He was probably the greatest king Bavaria ever had, but he fell in disgrace for a short affair with the infamous Lola Montez and subsequently had to resign. He died in 1868, peaceful and happy in Nice on the French Riviera. I happened on an original etching of his type-guidelines for official writers of those days about 20 years ago. I always thought it was a very nice Fraktur (Blackletter), not a sturdy militaristic one as most of them are. Being me, I started with first tests immediately and then just forgot the font on my computer. When I was sorting out old stuff a couple of months ago I happened on the etchings once again and kept on working intermittently on the letters. The Plain cut is pretty much like the king wanted it. The Fancy cut is more to my liking and very decorative. Yours in a royal mood, Gert Wiescher.

This humanistic sans serif distinguishes itself by its Japanese calligraphy influence. Being written with a felt tip rather than with a brush, its Japanese connotation is remote and non-dominant, thus providing excellent readability and a charm of its own. Parametra is a very elegant and modern typeface achieved by the strong form reduction of the individual characters and at the same time harmonizing them by given parameters. It is something of its own, but quite legible and well-suited for small text. Also, Parametra and Bohemian can be mixed perfectly since their proportions and dimensions are the same.

Meet Moreno – a semi serif typeface full of personality and flavor. A display typeface in its nature Moreno is free and informal yet stable and trustworthy. Moreno comes with extensive OpenType support - with its more than 15 OpenType features Moreno is giving you a great variety of stylistic alternatives as well as wide range of ligatures, tabular lining numerals, oldstyle numerals, fractions and many more. It comes in 8 carefully chosen weights from Extra Thin to Black plus their matching italics. Together with the 4 additional styles, Moreno becomes a diverse type family of 80 fonts suitable for a wide range of design needs like retail, package, food, branding etc. With its language support - over 200 languages, Cyrillic included - it is ready for world domination!

Sina is a strong, sturdy and self-confident serif accented face. Distinct ascenders and descenders in classical proportions ensure pleasant reading. Robust but assertively warm, it recalls and references the virtues of early classical printing types but presents a distinctly contemporary look. With its even text flow it works very well for long texts. It is also great for headlines and in larger styles. An extended, fine-tuned range of weights renders it suitable for almost every application. Sina comes in 12 styles and in OpenType format. All styles contain standard and discretionary ligatures, small caps, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fractions, and scientific numerals. Sina supports West European, Central and East European languages.

Monsterio is a futuristic modern slab serif style with Uppercase and Lowercase feel nice balanced. Provide alternates font in lowercase with wider style make the design letter looks incridible. Honestly it works perfectly for headlines, logos, posters, packaging, T-shirts and much more. Font Features : Regular and Italic version Character set A-Z in uppercase and lowercase Alternates in Lowercase Numerals & Punctuation Accented Characters Multiple Languages Supported Format File: OTF Recommended to use in Adobe Illustrator or Adobe Photoshop with opentype feature. How to access Alternate Characters? Open glyphs panel : In Adobe Photoshop choose tool Window glyphs In Adobe Illustrator choose tool Type glyphs If you have questions, just send me a message and I'm glad to help. Have a great day, Haksen Std

High Dreaming is a stylish modern and natural handwritten script font with casual chic flair. It is perfect for branding, wedding invites and cards, and maybe for red wine label. High Dreaming includes full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation and ligatures. All lowercase letters of High Dreaming Regular include ending swashes, giving realistic hand-lettered style. What you get? You will get: High Dreaming OTF High Dreaming Alternate OTF In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files: Thanks and have a great day, Haksen

THE NORWEGIAN RUNES The oldest runes discovered in Norway date from 400 AD. They were based upon the 24 - rune Elder Futhark of Germanic origin. Two of the runes in the Elder Futhark, Pertra and Eoh, have never been found in any Norwegian rune text. From 550 AD to 700 AD there was a transition period between the older 24-rune Futhark and the newer 16-rune Futharks. By the end of this period, the 24-rune Futhark went completely out of use and the 16-rune Futharks had prevailed. Then, about 900 AD, the Shorttwiggs-runes were introduced from Sweden. Shortly thereafter, from 1000 AD, Futharks with more than 16 runes became more prevalent, as these were more consistent with the Latin alphabet. These types of runes were used in Norway up to 1800 AD.

An ideal face for blocks of copy when you want them to look old. Very readable. Another faithful rendition of the original from the Keystone foundry. Actually several foundries worldwide offered this font.

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

Have you ever wondered what sign painters and rib joints have in common other than the fact that they can both make a mess? What do they know that you don't which would have them pair a sexy casual script with a down south barbeque restaurant? Smokehouse is all about association. You'll find that this sexy casual script pairs well with a wide range of associations, from barbeque shacks to fairy princesses and everywhere in-between. It makes choosing the right font for the job an easy one, and for those that need to fill a little more space you'll find Smokehouse Wide is up to the task. Discover the power of association, and see how Smokehouse fits into your font collection. Buy both Smokehouse and Smokehouse Wide together as a family and save!

Morris is a four-font family produced by HiH Retrofonts and based on the work of the very English William Morris. William Morris wanted a gothic type drawn from the 14th century blackletter tradition that he admired both stylistically and philosophically. He drew from several sources. His principal inspiration for his lower case was the 1462 Bible by Peter Schoeffer of Mainz; particularly notable for the first appearance of the ‘ear’ on the g. The upper case was Morris’s amalgam of the Italian cursive closed caps popular throughout the 12th through 15th centuries, a modern example of which is Goudy’s Lombardic Capitals. The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called “Troy Type” and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called “Chaucer Type” for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was not only to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions. Our interpretation, which we call Morris Gothic, substantially follows the Petzendorfer model used by other versions we have seen, with the following exceptions: 1) a larger fillet radius on the upper arm of the H, 2) a more typically broadpen stroke in place of the foxtail on the Q, which I do not like, 3) inclusion of the aforementioned ear on the g and 4) a slightly shorter descender on the y. We have included five ornaments, at positions 0135, 0137, 0167, 0172 and 0177. The German ligatures ‘ch’ & ‘ck’ can be accessed using the left and right brace keys (0123 & 0125). Morris Initials One and Morris Initials Two are two of several different styles of decorative initial letters that Morris designed for use with his type. He drew from a variety of 15th century sources, among which were Peter Schoeffer’s 1462 Mainz Bible and the lily-of-the-valley alphabet by Gunther Zainer of Augsburg. Each of the two initial fonts is paired with the Morris Gothic lower case. Morris Ornaments is a collection of both text ornaments and forms from the surrounding page-border decorations.

A late nineteenth-century type specimen catalog from Farmer, Little & Co. yielded this droll little typeface, originally called "Arbor". The distinctive decorations of the face suggested a fool's cap, and thus the font got its current name. And don't call me Surely.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

The name comes from a British expression about two things that couldn't be more different, and it suits this offering to a tee. The uppercase of this typeface is based on 1930s lettering by French poster artist Charles Loupot, and the lowercase is based on 1910s lettering by German plakatmeister Ludwig Hohlwein. Oddly, the two seem to play together well. Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Burges Elbow - Playful Font In 2 Styles Created with the idea of bringing happiness and joy to any project, Burges Elbow is a perfect choice for those who want to add a touch of playfulness to their design. To use Burges Elbow to its full potential, it would be great for designs aimed towards children such as book covers, posters, and flyers. Its playful and quirky nature would also make it a great choice for branding aimed at a younger audience or products that want to add a sense of fun and whimsy. Burges Elbow comes with a variety of features, including uppercase and lowercase characters, opentype alternates and ligatures, and support for multiple languages. These features allow for a wide range of creative possibilities and make it easy to use in various projects. Included in the zip package are three different file types: OTF, TTF, and WOFF, which can be used in any design software that supports font installation. With these different file types, you can use Burges Elbow on any platform or device, making it a versatile choice for any project. Add a touch of fun and playfulness to your design with Burges Elbow. Its cute and whimsical nature will surely make your design stand out and bring a smile to anyone's face. In summary, Burges Elbow is a playful font in 2 styles that is perfect for designs aimed at children or those looking to add a sense of fun and whimsy to their branding. With its various features and file types, Burges Elbow is a versatile choice that can be used in any design project.

TT Autonomous useful links: Specimen PDF | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Autonomous: The idea was born in Amsterdam when one of our colleagues took the official electric taxi at the Schiphol airport. At the moment we were thinking about creating a new wide sans-serif, and an interesting question emerged during the trip: what font would be associated with autonomous electric transport. Then we thought it would also be nice to expand this theme visually. This is how the font family TT Autonomous came about. It is a modern brutal technological sans-serif. The basic visual characteristic of the typeface is the noticeable squareness of the characters and angular internal space. In addition, the typeface proportions tend to appear monospaced, but they are not really monospaced. The width of the characters is inspired by automobile logotype proportions, which are mostly rather wide. We could not disregard the fact that code lines in software for autonomous cars are traditionally typed using monospaced fonts and added a special monospaced subfamily to the TT Autonomous typeface. Thanks to the squareness of the characters inherited from the main family and the real monospace properties, the character forms in the subfamily turned out very specific and interesting. This is especially true for oblique monospaced fonts, which are true italics. In addition, we created a couple of outline styles which are great for use in titles and large inscriptions and perfectly match the basic family and the monospaced family. As opposed to outlines that can be created in graphic editors, in TT Autonomous Outline we worked through the narrow and questionable spots, thanks to which the font looks professionally complete and harmonious. As from the very beginning, the font was developed with tomorrow's technologies in mind, we could not miss addressing variability and creating a variable font. TT Autonomous has variable versions for both the basic and the monospaced subfamilies. TT Autonomous is a complex font family that consists of 32 fonts intended to solve a broad range of design tasks. Overall, the font family features 14 regular styles, 6 monospaced styles, 7 reversed styles, 2 outline styles and 3 variable fonts. The number of glyphs varies from 630+ in the monospaced font to 790+ in the basic styles. The basic subfamily has alternates, ligatures, old-style figures, slashed zeroes, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Autonomous language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Number, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Superscripts and Subscripts, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

Movida™ is a 101-font mega family - modern, spurless, with geometric flat-sided nature. Its versatile character and huge choice of styles let it serve as a charismatic display typeface as well as clean contemporary tool for setting paragraph text. Its dynamic personality fits perfectly to such industries as sports, gaming, technology, streetwear, automotive. Movida works great for logo design & branding, magazine editorial use, web design, user interfaces and mobile applications. Movida features a super-flexible 3-axis variable font allowing fluent adjustments to width, weight and italic angle. This single font contains all the styles and features of the whole mega family. Main features: 5 widths (Narrow, Condensed, Normal, Expanded, Wide) 10 weights for each width (from Hairline to Black) + 10 corresponding italic styles 1 variable font (3 axes: weight, width, italic angle) modern, slick & sharp spurless design large x-height improving legibility in small sizes flattened oval shapes, adding vertical rhythm and elegance to narrow styles extended latin language support OpenType features (case sensitive forms, standard and discretionary ligatures, stylistic sets, contextual alternates, lining, oldstyle and tabular figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols)

Mastering Script is an aTypeface script font that comes with great alternative characters. mix of copper calligraphy in a handlettering style. Designed to convey an elegant style. Mastering Script is attractive because it is subtle, clean, feminine, sensual, glamorous, simple and very legible. Its classic style is very suitable to be applied to all types of formal items such as invitations, labels, menus, logos, fashion, make up, stationery, letterpresses, romantic novels, magazines, books, greeting / wedding cards, packaging, labels. Mastering Script features 247+ glyphs and 57 alternate characters. includes multiple language support. With OpenType features with stylistic alternates, ligatures and swash characters, which allow you to mix and match pairs of letters to suit your design, and also a touch of ornament makes this font look elegant. To activate the OpenType Stylistic alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or a later version. There is an additional way to access swashes, using the Character Map (Windows), Nexus Fonts (Windows), Font Books (Mac) or a software program such as PopChar (for Windows and Mac).

Here comes a New font,Introducing BIG BOX It's Unique Display Font is a Typeface Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. BIG BOX a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is has charming, authentic and relaxed characteristic more natural look to your text.

Here comes a New font,Introducing AALAMA It's Rough Display Font is a Authentic Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. AALAMA is a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is AALAMA has charming, authentic and relaxed characteristic more natural look to your text.

It is spurless, minimum contrast with vertical cut terminals, and it is called Algera. It sounds strong and wild, doesn't it? This font family comes in 9 weights from Thin to Black with matching italics. Each family member of Algera also equipped with useful OpenType features such as Ordinals, Superscripts, Subscripts, Stylistic Alternates, Stylistic Sets, Proportional Lining, Standard Ligatures, Fractions, Localized Forms, also Numerators & Denominators. Each font has 490+ glyphs which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Algera will give you a different touch to your creative projects. This typeface will be a great choice for logos, posters, presentations, headlines, lettering, branding, quotes, titles, magazines, headings, web banners, mobile applications, art quotes, advertising, packaging design, book title, and more!

Here comes a New font,Introducing Honey Mushroom is Another Display Cartoon is a Signature Style and classy style, Cute Cartoon Font,Bold Display , Inspired from Modern logos of brands that have very strong characteristics, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Honey Mushroom a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more!

Here comes a New font,Introducing Bright Little Star It's Unique Display Font is a Typeface Natural Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Bright Little Star a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is has charming, authentic and relaxed characteristic more natural look to your text.

Here comes a New font,Introducing REVOLUTA It's All Caps Display Font is a Textured Natural Style and classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. REVOLUTA a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is has charming, authentic and relaxed characteristic more natural look to your text.

Here comes a New font,Introducing Terrible Brush It's All Caps Display Font is a Textured Natural Style and Authentic Brush style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Terrible Brush is a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! That is has charming, authentic and relaxed characteristic more natural look to your text.

Here comes a New font, Introducing Healing Sunday It's Fun Comic Font is a Textured Natural Style and Authentic Style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Healing Sunday is a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.

Richsten is a typeface which is inspired by vintage lettering sign and art. While this font has a victorian touch, it still looks bold and solid. Very suitable for for headline, logotype, apparel, invitation, branding, packaging, advertising etc with old school / vintage theme. This typeface looks great combined with decorative ornaments. It comes in uppercase, lowercase, punctuations, symbols & numerals, stylistic set alternate, ligatures, etc also support multilingual and already PUA encoded. Features : numbers and punctuation multilingual alternates and ligatures swashes PUA encoded We highly recommend using a program that supports OpenType features and Glyphs panels like many of Adobe apps and Corel Draw, so you can see and access all Glyph variations. How to access opentype feature : letterhend.com/tutorials/using-opentype-feature-in-any-software/

Here comes a New font, Introducing Broken Dreams It's Weird Display Font is a Natural Brush Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Broken Dreams is a Brush Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.

Here comes a New font, Introducing Kostanadia It's Weird Display Font is a Natural Style and Authentic classy style, this font is great for your creative projects such as watermark on photography, and perfect for logos & branding, invitation,advertisements,product designs, stationery, wedding designs,label ,product packaging, special events or anything that need handwritting taste. Kostanadia is a natural Hand Drawn feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes,photos, photography overlays, signs, window art, scrapbooking, tags and so much more! It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes.

The world has ended, and all that remains is chaos and destruction. The remnants of civilization are scattered, and the once-great cities are now nothing more than ruins. In this post-apocalyptic wasteland, communication is more critical than ever. Your message needs to cut through the noise and grab attention, but how can you do that when everything around you is broken and damaged? Enter Octynaz—a typeface that perfectly captures the desperate spirit of this new world. With its severe damage and broken counters, Octynaz embodies the shattered landscape of the post-apocalypse. But it’s not just a broken typeface—in fact, it’s even more powerful because of its flaws. OpenType-aware programs will automatically substitute bespoke pairs to produce a grungy, realistic appearance that will make your message stand out. When you use Octynaz, you infuse your words with frantic authority and shattered vigor. You’re not just communicating—you’re commanding attention. Your message becomes a rallying cry for those who remain, a beacon of hope amidst the darkness. 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.

An American Scotch remixed in 27 fonts Mencken has twenty seven styles, divided into three widths, three optical sizes, romans and italics. Generally, optical size typeface families belong to a same common construction. It falls into the same category of type classification, while presenting different x-heights or contrasts. Mencken is unique because it is designed according to different axis and optical sizes. Firstly, Mencken Text is a low-contrast transitional typeface, designed on an oblique axis, asserting horizontal with featuring open counters. Its capitals follow Didots to better harmonize the rest of the family. On the other side of the spectrum, Mencken Head (and narrow variations) is designed on a vertical axis, high contrast, in a contemporary Didot style. The Mencken is therefore a typeface answering to different sorts of uses, whose design is different according to its uses: from oblique axis in small size to vertical axis in large sizes. Vertical proportions (x-height, capitals height, etc.) were calibrated to be compatible with many Typofonderie typeface families. Lucie Lacava and I followed the idea launched by Matthew Carter few years ago for some of his typefaces intended for publications. From Baltimore Sun’s project to Typofonderie’s Mencken It is a bespoke typeface for American newspaper The Baltimore Sun started at the end of 2004 which marks the beginning of this project. The story started with a simple email exchange with Lucie Lacava then in charge of redesigning the American East Coast newspaper. As usual, she was looking for new typeface options in order to distinguish the redesign that she had started. At the time of its implementation, a survey of the newspaper’s readers has revealed that its previous typeface, drawn in the mid-1990s, was unsatisfactory. The Mencken was well received, some reader responses was particularly enjoyable: “It’s easier to read with the new type even though the type is designed by a French.” Why it is called Mencken? The name Mencken is a tribute to H. L. Mencken’s journalistic contributions to The Sun. According to the London Daily Mail, Mencken ventured beyond the typewriter into the world of typography. Because he felt Americans did not recognize irony when they read it, he proposed the creation of a special typeface to be called Ironics, with the text slanting in the opposite direction from italic types, to indicate the author’s humour. Affirming his irreverence, the Mencken typeface does not offer these typographic gadgets. Henry Louis Mencken (1880 — 1956) was an American journalist, satirist, cultural critic and scholar of American English. Known as the “Sage of Baltimore”, he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. He commented widely on the social scene, literature, music, prominent politicians and contemporary movements. Creative Review Type Annual 2006 Tokyo TDC 2018

Go out into the wilderness. Cut down a tree. Stop and smell the roses. And then treat yourself with this unplugged, hand-lettered typeface. LiebeGerda is an effortless-but-refined, spontaneous-but-elegant brush font. She is ready for your next project, and she wants to add that little crafty something that makes the difference. Her natural breath of fresh air lets you escape those same old monotonous script fonts you’ve been using. After our successful first brush font, LiebeDoris, and our first interconnected script, LiebeLotte, we’re combining both genres and taking them to the next level: an interconnected brush script. OpenType magic varies LiebeGerda’s letterforms: Most characters have no less than three different variations that are automatically shuffled and inserted as you type. Plus, the “All-Caps” OpenType feature exchanges uppercase letters with less-swashy variants. Now you know why every one of the four styles contains more than 1,200 characters! Ulrike of LiebeFonts painted LiebeGerda’s four styles individually from scratch and carefully adjusted every detail by hand. Rather than being one typeface with different weights, LiebeGerda is a package of four individual fonts that go together really well. Ulrike’s high level of type-nerdy craftsmanship shows. When you use LiebeGerda, your designs will easily convince your audience that they’re looking at a hand-crafted piece of lettering. Feel free to add a few of the stacked ligatures like “the”, “for”, and “new” to round off the illusion. Last but not least, LiebeGerda has a lot more detail than most other brush fonts. That means there’s no ugly, lazy bézier artifacts in the brush traces. You can print words at billboard size, and people will still believe they smell the paint from your brush!