Isonorm was created in 1980 by the International Standards Organization (ISO). The font's design is simple, clean, and geometric, with strokes that all have rounded ends. Isonorm is a font whose forms are very legible by both the human eye and machine readers. The font is also a good choice for drafting and architectural purposes, as well as for technical charts and graphics.

Volume is a 3D font, with interlocked characters, inspired by vintage wooden block capitals! Superimposed weights bring light and shadow on the structure and allows many coloured combinations. Cubo est une fonte en volume dont les lettres s'imbriquent, inspirée d'anciens caractère d'imprimerie en bois. Les diiférentes graisses se superposent, créant des effets d'ombre et de lumière, et facilitant la colorisation des caractères.

Goldie Sans is a clean sans serif that is perfect for logos, quotes, long-form copy, and more. Both uppercase and lowercase are included in light and bold, but I am particularly fond of using it as an all caps font for logos, headlines, and short quotes. INCLUDED uppercase letters lowercase letters numbers & punctuation light and bold fonts foreign language characters

With designs drawn specifically for comfortable reading in everything from on-screen digital content to print in periodicals and books, Mundo Serif is ready to take on just about any project. Carl Crossgrove drew the suite of typefaces to complement his Mundo Sans family’s classic humanistic design traits – and added a subtle modern influence. Restrained stroke modulation, generous counters, commanding x-height and tall ascenders ensure that content set in Mundo Serif is both legible and easy on the eyes. While primarily designed for text copy in print and on screen, Mundo Serif becomes a powerful display type tool in the lightest and boldest weights. Headlines, navigational links and banners are naturals for this versatile collection of typefaces. Mundo Serif is a large family. Nine weights, each with an italic companion, enable precise typographic tuning. Captions, subheads, pull quotes and long-form copy can be melded to create a welcoming page of modulated text. For best results in digital environments, skipping a weight – or even two – ensures hierarchical clarity. Crossgrove did extensive testing of Mundo Serif to ensure the best possible on-screen readability. To further guarantee optimal digital imaging of the family, he gave the design generous inter-character spacing and slightly expanded intricate characters like the lowercase a and g. If the goal is diversified or multi-platform branding, look no further than Mundo Sans. The two designs harmonize with each other perfectly in weight, typographic color and proportion. Both designs benefit from large international character set that includes support for most Central European and many Eastern European languages. For a stronger contrast, pair Mundo Serif with virtually any sans serif grotesque design. Crossgrove has designed a variety of typefaces ranging from the futuristic and organic Biome™ to the warm, clean lines of the Mundo Sans. His work for Monotype also often takes Crossgrove into the realm of custom fronts for branding and non-Latin scripts.

Feel Script is based on lettering that calligrapher and logo designer Rand Holub created for Intertype for his face Monterey. Fortunately, I didn’t have the technological limitations today that Intertype had back then. Holub’s lettering is presented in its entirety within Feel Script. Some letterforms were redrawn from vintage American magazine ads (some by Holub himself), along with many new alternates, ligatures, ending forms, and strangely beautiful character combinations. The experience I’ve accumulated from my previous calligraphy typefaces (Ministry Script, Affair, Buffet Script, Burgues Script, et al.) made it easier for me to apply Holub’s lettering in a new context using OpenType technology. The usual extended treatment was given to Feel Script, all the way into the implementation of three-letter ligatures and the dreamiest swashes I could imagine. I changed some of the connections between the lowercase letters in order to fit Holub’s calligraphy as opposed to the limited Intertype metal attempt. I hope you like Feel Script. I also hope what I contributed to this particular Holub design is somewhat of a happy ending to a calligraphy story that crosses many technologies. From the pen to computer Bézier. My part of this story stops here ... and yours begins. Feel Script has more than 1200 glyphs including: stylistic alternates, contextual alternates, titling alternates, swashes, and ligatures. Check out the PDF!

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

Based on the lettering used on Alan Turing’s famous code-breaking machine at Bletchley Park, the “Bombe”, and the subsequent British answer to the German Enigma machine, the Typex. Research done at Bletchley Park on their restored and antique machines provided the inspiration. The unusual shapes for the capitals have all been retained - the square O, the monospaced characters and other eccentricities that make it unique. This reference material was then extended to the numerals (which did not exist in the original) and a full international character complement. The initial design of the bombe was produced in 1939 at the UK Government Code and Cypher School (GC&CS) at Bletchley Park by Alan Turing, with an important refinement devised in 1940 by Gordon Welchman. It was based on a device that had been designed in 1938 in Poland at the Biuro Szyfrów (Cipher Bureau) by cryptologist Marian Rejewski, and known as the "cryptologic bomb" (Polish: bomba kryptologiczna). The Bombe was used to break the German Enigma code on a daily basis, and was a vital part of the Allied war effort. The British “Typex" (alternatively, Type X or TypeX) machines were an adaptation of the commercial German Enigma with a number of enhancements that greatly increased its security. It was used from 1937 until the mid-1950s, when other more modern military encryption systems came into use.

The German designer Emil Rudolf Weiss originally created Weiss Rundgotisch for the Bauer typefoundry in 1937. In their catalog for the typeface, Bauer began with this quote from Leonhard Wagner: The round gothic (rundgotisch) script is the most beautiful kind of script; she is called the mother and the queen of all the rest." While designing Weiss Rundgotisch, Weiss was inspired by Renaissance types cut by the Augsberg printer Erhard Ratdolt. Ratdolt had spent some time in Venice, which is most likely where he became familiar with round gothic letters. This sort of letterform was never as popular in Germany as Fraktur or Gotisch may have been, but round gothic types were used there for centuries to represent arts and craft feelings, as well as old-fashioned handwork. For a blackletter typeface, Weiss Rundgotisch is very similar to normal serif and sans serif designs, especially its uppercase letters, which seem to have some uncial influence in them as well. Therefore, Weiss Rundgotisch is more legible for contemporary readers, making this an excellent choice for anyone looking to set text, logos, or headlines with in blackletter. Weiss Rundgotisch was apparently quite a difficult typeface to design, even for a master designer like Weiss. He began work on the face in 1915; Weiss Rundgotisch's development took over 20 years to complete."

There are a few professions in which being left-handed confers an advantage-think of the great southpaw pitchers in major league baseball, like Sandy Koufax. Now, think of all the great left-handed calligraphers. Not so easy, right? Here's a hint: Luis Siquot. Far from being an advantage, Siquot's lefty orientation proved a hurdle to overcome. When I was young, I had serious problems writing," he recalls. "If there was a lot of text, I almost always soiled the paper with wet ink as my hand followed the pen." Then, a friend told Siquot about a special store in London that catered to left-handed people. It was there that he found an Osmiroid pen specially designed for left-handed calligraphers. ITC Cali is based on Siquot's use of this pen. "Electronic scans of my calligraphy were the foundation of the design," he says. "I was careful to leave in some imperfections to avoid an excessively mechanical look, and added the little notches in the strokes to imitate the texture of writing on a rough cotton paper." ITC Cali works equally well in text and display sizes, but it is a calligraphic script, Siquot warns, "and shouldn't be set in all capitals." That said, ITC Cali is a remarkably versatile design, well-suited to a variety of communication projects."

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

While I was in Boston in 2014, I visited the Museum of Fine Arts and to my good fortune there was an exhibit of etchings by Rembrandt, one of my favorite artists. As to be expected, many were simply gorgeous, but one especially caught my eye. It was an etching of a priest (Jan Cornelis Sylvius, Preacher) with an extensive amount of writing in Latin. While I'm not certain that it was Rembrandt's own hand, the script was beautiful and I was fascinated by it because it had to be written on the etching plate in reverse. I snapped a few photos using my phone and later found other editions on line. I was so taken by the script that it begged me to create a modern typeface from it. The result is Saskya, named after Rembrandt's wife Saskia. There were many ligatures and glyph variants in the print, of which I captured many of them and made them accessible via OpenType features. The complete alphabet was not present in the sample, however, I discovered some other source material to sensitively fill in those gaps, with a remaining last few that I created myself. A truly romantic hand, Saskya will work well for invitations of many sorts, and when you're looking for that 'old thyme' scripty feeling in your graphics.

Künstler Grotesk ML is one of a number of typeface designs that attempts to reconcile Germany’s blackletter tradition with the international familiarity of roman letterforms in a simple, robust design suitable for meeting the demands of a modern industrial economy, while rejecting the extraneous ornamentation of the departing Victorian era. It is an all-cap design with a number of playful ligatures. It has an appealing boldness that reverses well. Künstler means ‘artist’ in German. I had always assumed it was a person’s name until I came across the translation. Lesson: conjecture is not fact. Grotesk refers to a sans serif letterform tradition. Kunstler Grotesk was originally released by Bauer'sche Giesserei of Frankfurt am Main circa 1900. Künstler Grotesk 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. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 350 glyphs, 260 kerning pairs. 2. Added OpenType GSUB layout features: pnum, salt, dlig (19) and hist. 3. Revised vertical metrics for improved cross-platform line spacing. 4. Redesigned mathematical operators. 5. Included tabular (std) & proportional (opt) numbers. 6. Refined various glyph outlines. 7. Made CcNnOoSsZz-kreska available (salt). 8. Incorporated alternate glyphs in lower case.

Introducing “FATHUK Font” – Where Playfulness Meets Creativity! Unleash your inner creativity with FATHUK Font, a playful display font designed to ignite your imagination. FATHUK Font adds a whimsical touch to your projects, making it perfect for playful and imaginative designs. Whether you’re working on children’s books, fun posters, or quirky branding, this font brings an element of joy and creativity to your work. Crafted with precision, FATHUK Font’s unique style is sure to capture attention. Its playful and charming appearance invites readers to engage with your content and sparks curiosity. With FATHUK Font, the possibilities are endless. Use it to infuse a sense of fun into your designs, and watch as your projects come to life with personality and flair. No matter the creative endeavor, FATHUK Font is your go-to choice for adding a playful twist to your work. Embrace the spirit of creativity, and let FATHUK Font elevate your designs to new heights. – PUA Encoded Characters – Fully accessible without additional design software.

Introducing Squide Font, the experimental liquid urban display font that brings a bold and modern touch to any design project. With its fluid lines and urban edge, Squide Font is perfect for creating eye-catching headlines, logos, posters, and more. Whether you're designing for print or digital media, this font will add a unique and distinctive style to your work. The font's liquid quality gives it a sense of movement and energy, making it ideal for projects that require a dynamic and futuristic feel. With its versatile design and exceptional readability, Squide Font is a must-have for any graphic designer, art director, or marketer looking to take their work to the next level. Get your hands on Squide Font today and elevate your designs to the next level!

Glypster - Bold Aesthetic Serif Fonts is a font that has boldness in every line. This font's robust and bold style conveys a luxurious, elegant, retro, and aggressive feel. The serenity afforded by this font's blend of boldness and subtlety makes Glypster suitable for a wide variety of design choices. Apart from that, the strengths of Glypster are its ability to support multiple languages and additional features that can add interest to every design you make. In terms of marketing, Glypster is very suitable for purposes such as logos, posters, business cards, and many more, so you can explore the potential of this font for various designs. Glypster's simplicity, but still elegant and luxurious, makes it the right choice for all procedures.

Style and elegance in 14 styles PS Fournier, created by Stéphane Elbaz, is designed in tribute to Pierre Simon Fournier. Fournier was the prolific Parisian type designer whose work is best known for its iconic representation of French transitional style. PS Fournier elegantly represents the transition to the modern era of typography. Featuring three optical sizes, PS Fournier is designed to perform in any context. The Pierre Simon Fournier heritage Pierre Simon Fournier (1712—1768) was a leading innovative type designer of the mid-18th century. Early in his career, the young Pierre Simon developed a strong aesthetic that he cultivated throughout his life. His art is representative of the pre-revolutionary “Age of Enlightenment” (Siècle des Lumières). Precursor of the Modern style, Fournier’s body of work deeply influenced his times, and created the fertile ground from which the Didot family and Giambattista Bodoni developed their own styles. During the historical period of the 18th century, Fournier exemplified the intellectual pursuits of the times with his own research on type, documenting in detail the typefounding process. He also offered a unique vision: he is the first to clearly comprehend the concept of “type family,” sorting a set of similarly styled alphabets by sizes, width, and by x-heights. In addition, Fournier is one of the earliest advocates of the point system to organize the practice of typography, the point system that contemporary typographers continue to use to this day. The refined and discreet elegance of PS Fournier With a close look at the family, one finds you’ll find that the difference between the optical sizes (Petit, standard and Grand) is more than a contrast variation between the thin and the thick; the eye can also denote a palette of distinct tones: More streamlined and robust in the smaller sizes (Petit), more refined and detailed in the larger sizes (Grand). The PS Fournier standard family is designed to adapt to any situation with its intermediate optical size, from body copy to headlines. With a bit of tracking, PS Fournier Petit will make the smallest captions perfectly readable. However, Petit family is not limited to body and captions — its “slabby robustness” will make a relevant headline choice as well. PS Fournier Grand presents a higher contrast adapted to large text sizes, displays or banners. Its refined elegance makes it a perfect choice for Design, Fashion or Luxury publications. As a “modern” type PS Fournier Grand features a larger x-height than the preexistent old style typefaces such as Garamond or Jenson. These proportions provide any basic text set in PS Fournier Grand a strong typographic texture. As a result, the PS Fournier global family is a versatile alternative to the Modern typefaces commonly used in the publishing industry. The optical sizes, the large range of weights, and the design variations make this family adaptable to captions, paragraphs, and pages, as well as to large texts and displays. A leading-edge typography in the 18th century In the spirit of modernity, Pierre Simon Fournier did not find any use for the conventional swashes still produced by peers such as Caslon or Baskerville. Nevertheless the French designer created many inventive elements to decorate the page and set delightful variations in the text itself. To this regard PS Fournier includes a large set of glyphs variations, ligatures and more than one hundred glyphs for borders, rules and ornaments or — as called in French — “vignettes.” PS Fournier: A tribute to the French modern typography era by Stéphane Elbaz

Turnkey is a modern grotesque typeface, it could be described as a neo-grotesque with hints of geometric shapes. A workhorse typeface designed to be versatile for both small and large sizes, ink traps have been used as a design feature above 26pt and a technical feature when printing small body text. The combination of 36 weights and styles allows you the freedom to create. Each weight includes extended support for over 90 languages (Including Cyrillic), fractions, tabular figures, arrows, ligatures, alternate glyphs, and more. Demo licenses are available from colttypeco.com In addition to a standard style set, the Turnkey family also has an italic set plus soft versions of both. Turnkey Soft is a slightly rounded version of the standard and italic, which looks more friendly, warm, and soft. It's corporate but with a personality. Current instances are: Turnkey Standard - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic. Turnkey Soft - Thin, Thin Italic, Extra Light, Extra Light Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Heavy, Heavy Italic When used as body type, Turnkey pairs well with: Take Note, Stroom and Markout. Turnkey is perfect for; headings, titles, body copy, logos, magazines, editorial design, corporate branding, brand identity, websites, blogs, apps, games, ebooks, publications, and signage. Turnkey can be found in the Typodarium 2024 OpenType features: Access All Alternates, Glyph Composition / Decomposition, Discretionary Ligatures, Denominators, Fractions, Kerning, Standard Ligatures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Proportional Figures, Scientific Inferiors, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Subscript, Superscript, Tabular Figures. Support for 95 languages: Belarusian, Russian, Ukrainian, Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu

Inspired by 'Neon Sign' lettering, Holo is a modern, modular, mechanical & industrial display font constructed entirely with polygonal shapes. Holo is suitable for large display settings like sports jerseys, shop fronts, billboards and neon signs.

Carefully designed, black love pink is a stunning and beautiful handwritten font with a light feel. Fall in love with its delicate and sophisticated characters, and use it for any design project that requires a romantic twist. This font is easy to use. it remains only to add symbols (--,++,--) in front, middle, and back to reveal the features. This font is PUA encoded which means you can access all of the glyphs and swashes with ease! It features a varying baseline, gorgeous glyphs, and stunning alternates.