Jugendstil Initials were designed by Heinrich Vogeler around 1905, based on the German blackletter tradition. A similar set of initials by Vogeler, but based on roman letters was released by Rudhardsche Geisserei of Offenbach at about this time. I believe the originals were woodcuts. The backgrounds to the letterforms may be seen as examples of Heimatkunst, an art movement within Germany that drew deliberate inspiration from the rural countryside. Like the Arts and Crafts Movement in England a little earlier, Heimatkunst may be seen, in part, as a romantic rejection of urban industrialization, while at the same time representing a back-to-roots nationalism. Like any river, it was fed by many streams. Jugendstil Initials is an experiment with which I am most pleased. It is far and away the most complex font HiH has produced and I was uncertain whether or not it could be done successfully. To oversimplify, a font is produced by creating outlines of each character, using points along the outline to define the contour. A simple sans-serif letter A with crossbar can be created using as few as 10 points. We decided to make a comparison of the number of points we used to define the uppercase A in various fonts. Cori, Gaiety Girl and Page No 508 all use 12 points. Patent Reclame uses 39 and Publicity Headline uses 43. All the rest of the A’s, except the decorative initials, fall somewhere in between. The initial letters run from 48 points for Schnorr Initials to 255 for Morris Initials Two, with 150 being about average. Then there is a jump to 418 points for Morris Initials One and, finally, to 1626 points for Jugendstil Initials. And this was only after we selectively simplified the designs so our font creation software (Fontographer) could render them. The average was 1678, not including X and Y. There was no X and Y in the original design and we have provided simple stand-ins to fill out the alphabet, without trying to imitate the style of the orginal design. We did a lot of looking to find a compatible lower case. We decided that Morris Gothic from the same period was the best match in color, design and historical context. We felt so strongly about the choice that we decided to produce our Morris Gothic font for the purpose of providing a lower case for Jugendstil Initials. The long s, as well as the ligatures ch and ck are provided. at 181, 123 (leftbrace) and 125 (rightbrace) respectively. This font was a lot of work, but I think it was worth it. I hope you agree.

Introducing Laserjerks—the breathtaking polygonal display typeface that is guaranteed to take your design game to new heights! Inspired by the raw and unapologetic aesthetics of brutalist architecture, this unique font unleashes a sense of sharp geometric shadows and compressed alien alphabets that will leave your audience awe-inspired. Laserjerks is not your ordinary typeface. It is designed to stand out from the crowd and grab the attention of anyone who comes across it. With its unusual design, it imbues your message with an otherworldly personality that is impossible to ignore. Whether you’re designing a poster, logo, or any other visual media, Laserjerks is the perfect choice to give your work a touch of edginess and boldness. The sharp edges and unusual geometry of Laserjerks make it ideal for designs that require a contemporary and futuristic touch. Its polygonal shape creates an almost holographic effect that adds depth and dimension to any design. The result is a stunning visual experience that is sure to captivate your audience and leave a lasting impression. In a world of boring, run-of-the-mill fonts, Laserjerks is a breath of fresh air. Its unique design and inspired concept set it apart from the rest, making it the perfect choice for designers who are not afraid to be different. So why settle for ordinary when you can have extraordinary? Choose Laserjerks and see the difference for yourself! 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.

Introducing Remissis—the sans-serif typeface that’s the perfect balance of casual and refined. With its off-grid letterforms, Remissis has a natural and organic feel that’s hard to come by in other typefaces. It’s not too laid-back to be dismissed as whimsical, but it’s not too rigid either. It strikes the perfect balance of being approachable yet professional. If you’re looking for a typeface that can convey the idea of softness and naturalness without coming off as too playful or zany, then Remissis is the perfect choice. Its delicate horizontal angles add a touch of elegance, making it ideal for projects that require a refined and sophisticated aesthetic. Designed for high-resolution displays and print, Remissis’s unique “lining old-style” numerals are available in OpenType-capable apps, giving you even more design flexibility. And with numerous mathematical symbols, monetary symbols, and diacritical marks, Remissis is versatile and functional. Available in seven weights and italics, Remissis is a typeface that’s sure to elevate any project. So if you’re looking for a typeface that’s both approachable and refined, choose Remissis. 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.

Attention all design enthusiasts! Are you tired of the same dull typefaces dominating the design world? Look no further than Ohitashi, the daring and unconventional creation by Typodermic principal Raymond Larabie. In a world where twentieth-century sans-serif typefaces reign supreme, Ohitashi breaks the mold and blazes its own trail. Larabie has masterfully infused this typeface with a unique blend of humanistic stroke contrast, spontaneous licks and curls, and incised detail, resulting in a one-of-a-kind design that defies convention. But don’t let the unconventional nature of Ohitashi fool you. This typeface offers a practical range of three weights—standard, semi-bold, and bold—making it an incredibly versatile option for any design project. Whether you’re looking to add a touch of personality to a marketing campaign, or looking to revamp your brand identity with something fresh and new, Ohitashi has got you covered. So why settle for the same boring old typefaces when you can break free from the rut favored by reductive competitors? Embrace the unconventional with Ohitashi and see your designs come to life like never before. Trust us, your audience will thank you. 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.

The Bree font family is a spry sans serif by Veronika Burian and José Scaglione that delivers a spirited look and feel for branding and headline usage. As an upright italic, Bree shows a pleasant mix of rather unobtrusive capitals with more vivid lowercase letters, giving text a lively appearance. Bree is clearly influenced by handwriting. As such, some of its most characteristic features are the single-story ‘a’, the cursive ‘e’, the outstroke curves of ‘v’ and ‘w’, the flourished ‘Q’, and the fluid shapes of ‘g’, ‘y’, and ‘z’. Alternates of these letters are available when a more neutral look is desired. Bree has a touch of cheekiness, a wide stance for each character, and an extra-large x-height. All this adds up to a big personality, so even when set in small text there is no skimming past the words Bree voices. In 2019, the Bree font family got a huge update. A few shapes were updated or added (the ‘k’ and German capital ‘ß’), two entirely new weights were added (Book and Book Italic), and spacing was perfected. More than that, Vietnamese support was added to Bree Latin, and the Bree Greek and Bree Cyrillic scripts were designed from scratch to parallel the Latin’s tone. Additionally, Bree was designed in variable font format for those who want complete control over the font’s appearance while simultaneously saving digital weight in the form of kilobytes and megabytes. Bree is in the perfect position for the next digital revolution. The complete Bree font family, along with our entire catalogue, has been optimised for today’s varied screen uses. Bree has been chosen for such wide-ranging uses as Breast Cancer Awareness Month in the US, the branding for the country of Peru, and numerous layouts including mobile apps, magazines, newspapers, and books. Awards – Tipos Latinos exhibition 2008 – Several best-of-the-year typeface lists of 2008 MyFonts Top 10 Fonts of 2008 Smashing Magazine: 60 Brilliant Typefaces For Corporate Design https://www.smashingmagazine.com/2008/03/60-brilliant-typefaces-for-corporate-design/ Die besten Schriften 2008 http://www.fontwerk.com/619/die-besten-schriften-2008/ – Selected for Typographica’s Best Typefaces of 2008 – Won Bronze for Original Typeface in the 2009 European Design Awards

Say hello to Hello Radio font, the perfect font to add a touch of vintage charm to your designs! With its monoline stroke script style, this font brings back the good old days with a fun and quirky twist. The best part? It supports multilingual characters, so you can spread the retro vibes in any language you desire. Every character in Hello Radio font has a delightful imperfect shape, giving your designs a natural and handcrafted feel. It's like having your vintage radio station right at your fingertips! This font is a true team player, cooperating effortlessly with other elements in your design. Whether you're creating traditional-style logos, labels, package designs, or awesome lettering for t-shirts, Hello Radio Font has got you covered.

Are you Troubled by Ghostly Voices in the night? Do you hear the Terrifying Tones of Demons and Ghouls in your Attic or Cellar? Have you or any of your family spoken with "Forked Tongue? Well, talk of the devil, Forked Tongue happens to be the latest offering brought to you buy our courteous and efficient staff this month (now on call twenty-four hours a day to serve all your supernatural lettering needs). If it Sounds Spooky, it most probably speaks with Forked Tongue. Oh, but if you really have got ghosts or poltergeists, well, um, we don't know who you gonna call. Features: Four weights (Regular, Italic, Bold & Bold Italic) with upper and lower case alphabets. Includes Western and Central European international characters.

Hi, Everyone! Want a font to make your branding bold? Looking for a fabulous, stylish, artistic, and adventure font? We've got what you want. Introducing Bosskids- A Grafiti Font This gorgeous, stylish and artistic font can be used for a host of different content needs and projects. Make your graffiti text dance with this wonderful, rhythmic font that captures motion and is bound to call attention wherever you use it. Use it for your headings, logos, ads, printed quotes, packaging, and even your website or social media branding. Our font always includes Multilingual Support to make your branding reach a global audience. Includes: Bosskids (OTF) Features: Ligatures Stylistic Sets Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Are you ready to make your branding stand out? Do you dream of creating headings that stand out and inspire creativity, imagination, modernity, and endless fun? Looking for an elegant and stylish font? We've got what you want. Billstone Signatture- A Siganture Font Billstone Signatture is a soft and sweet signature typeface, with characters dancing along the baseline. Designed primarily as a captivating font that has a casual and elegant touch. Can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterheads, signage, labels, news, posters, badges etc. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Hi, Everyone! Want a font to make your branding bold? Are you trying to make a stylish statement with your projects? We've got what you want. Introducing Beauty Swing- A Serif Font A fabulous, elegant, and modern serif font that’ll engage your audience and make your branding stand out. This stylish font can be used for a host of different content needs and projects. Perfect for social media branding projects, fashion designs, printed quotes, or even as a stylish text overlay to any background image and many more! Beauty Swing includes Multilingual option to make your branding reach a global audience. Features: Standard Ligatures Stylistic Sets Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Are you ready to make your branding stand out? Do you dream of creating headings that stand out and inspire creativity, imagination, modernity, and endless fun? Looking for an elegant and stylish font? We've got what you want. Westville- A Blackletter Font Westville is an incredibly unique and distinct blackletter font. The style was influenced by many fonts and extra touch of urban street attitude. This is a timeless font that suits and fit perfectly in any timeframe or style you want. Well suited for you who needs for headline, logotype, apparel, branding, packaging, advertising, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Grafek is a unique reverse-contrast font with tapered vertical strokes and heavier horizontals on the top and bottom. This typeface is loaded with individual character, bolstering its excellent legibility with a moderately extended width. It’s a strong choice for large headlines, web banner graphics, and branding/logo usages. It’s got a high-end and elegant flair on shorter words, especially when choosing an all lowercase lettering design, for example on a logo treatment. It has a whiff of a nautical, antique map vibe, and even conjures up a hint of Oceania and Tiki-style graphics. Grafek will prove to be a great choice on book and magazine titles, and its width lends itself easily to wide mega-scaled outdoor marquee graphics and billboards.

Simpliciter Sans is a typeface based on the lettering used in the 20th century on technical drawings, either written by free hand or using templates. The lettering was made with a round pen, therefore all lines got rounded ends. All lines had the same thickness in uppercase, lowercase and small caps. The upright style was used on construction drawings and the italic style on machine drawings. The backslant style was used on maps for names of water bodies — seas, lakes, rivers etc. — and for water depth. Simpliciter Sans is primarily intended for texts on drawings, diagrams, charts and maps, but it can also be used for signs and labels. It also works surprisingly well as a body type in smaller sizes.

Dreaming to make your branding sparkle? Or maybe you’re looking for the perfect font to use on your invitations? Whatever you need - we’ve got the thing for you. Introducing Basking- A Serif Font A fabulous and elegant modern serif font that’ll engage your audience and make your branding stand out from the competition. This font can be used for a host of different content needs and projects. Perfect for social media branding projects, fashion designs, printed quotes, packaging, or even as a stylish text overlay to any background image. Our font always includes Multilingual option to make your branding globally recognized. Features: Alternates Standard Ligatures Swashes Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studi

Award winning 2017 font from Demark (Thailand) and G-Mark (Japan) in Graphic Design, MartiniThai Neue Slab is now available with better taste. Deltatype created a better version of MartiniThai Neue Slab V2: refined for better outline, we fine-tuned all outlines for better letterforms. Proportion were adjusted for better consistent. Metrics got new values for increased readability. Kerning, fine-tuned kerning pair for better spacing between the letters. MartiniThai Neue Slab V2 comes in six weights: Thin, Light, Regular, Bold, Extra Bold, Black. Thai Language is included in this package. MartiniThai Neue Slab is a unique slab serif in Thai Script that creates a sense of timeless and contemporary feel and is used by a media provider and nationwide in Thailand.

Have you been looking for a graffiti font? Do you dream of creating headings that stand out and inspire creativity, imagination, modernity, and endless fun? Then we’ve got just the font for you! Introducing Urban Blocker-A Graffiti Font This bubble graffiti font can be used for a host of different content needs and projects. An excellent choice to add the right amount of street vibe and playfulness. Create gorgeous printed quotes, standout packaging, or beautiful t-shirts! You can even use it to create amazing headings, logos, menus, and social media graphics. Chalkboard includes multilingual options to make your branding reach a global audience. Features: Standart Ligatures Multilingual Support PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Din Studio

Looking for a font that will make your branding stand out? Do you sometimes have an appetite for a bit more wholesome typography? Looking for a fabulous, stylish, and adventure font? We've got what you want. Glowing Midnight-A Script Font Glowing Midnight is a unique script font with retro touch. This font features thick and angular letters that easy on the eyes and nice to look while it’s also easy to read. Glowing Midnight becomes more special with extruding version option. Well suited to titles, poster designs, branding, logos, and many more. Our font always includes Multilingual Support to make your branding reach a global audience. Features: Ligatures Stylistic Set Swashes PUA Encoded Numerals and Punctuation Thank you for downloading premium fonts from Natha Studio

Dom Loves Mary has a baby brother! Check out Fratello Nick here: http://www.myfonts.com/fonts/correspondence-ink/fratello-nick/ The DomLovesMary font family has all you need to create unique, custom stationery products. THE INSPIRATION BEHIND THE DOMLOVESMARY FONT FAMILY: DomLovesMary is named in memory of Dominic and Mary Sementelli, Debi’s in-laws. Dom and Mary were opposites who were truly “made for each other”. A snazzy dresser, Mary was feisty, loved to dance, sing, and be the life of the party. Dom was cool, calm and collected and was happy to shine the spotlight on the love of his life. They balanced each other out in a really great way. Going through some of her in-laws old photos, Debi found their wedding album. She was struck by the beautiful look on their faces as they got ready to start their life together. She saw the excitement, joy and anticipation of them envisioning “Una Bella Vita!” (A beautiful life!) She decided to create a hand-lettered font with them in mind represented by two totally different lettering styles that were, like Dom and Mary, “made for each other”. It’s her way of honoring them and sharing their beautiful life with all of the couples just starting theirs together. They truly had “Una Bella Vita” and we hope you do too. WHAT'S UNIQUE ABOUT THE DOMLOVESMARY FONT FAMILY: The SCRIPT & TEXT FONTS are lettering styles that were made to compliment each other. With a vintage, classic feel, they will add elegance to your design, while the TEXT serves to offer support with easy to read simplicity. In addition to the standard character set, each of the uniquely styled script fonts includes a collection of flourished ornaments. Use them to create corners, headers or other embellishments to complete the look. And if you really want to fancy things up, we offer two sets of 72 additional flourishes that were specifically made to add to upper and lower case letters for easy customization. Dress them up with one, two or more. It’s like choosing simple pearls or piling on the glitz! Or combine several to create unique flourished ornaments of your own. To add even more panache, we're pleased to present our ready made set of most frequently used ADD-ON WORDS. Created with the wedding client in mind, this set of 66 includes envelope friendly titles: Mr and Mrs, Mr, Mrs, Miss, Ms, Doctor, the Doctors, as well as words to fill out your invitation suite: RSVP, Respond, Save the Date, Accommodations, Directions and more! Easily create Bride and Groom signs or Thank You cards or tags with the click of a key. Or use angled words like “and, at, to, on, for, from and of” to add a special touch to your large groups of copy. PACKAGES: We are pleased to have a variety of customers. From professional invitation designers to DIY brides, publishing companies and website / blog designers among others. So we've created packages to help fit their diverse needs. Purchase just one of our beautiful DomLovesMary SCRIPT fonts, each with its collection of included flourishes or the PRO VERSION complete with ALL THREE script fonts and a combined total of over 100 flourished ornaments. Add our TEXT font, a set of FLOURISHES or ADD-ON WORDS. Love the idea of customizing your letters with all the possible combinations? We offer a special price when you purchase both sets of flourishes. Or choose our Accoutrements Package containing both sets of FLOURISHES for letter customization as well as our ADD-ON WORDS. Want to have it all? The “DomLovesMary Total Design” package is for you. Each of these packages are offered at a 25% savings. WHAT PROGRAM WILL YOU USE?: All of the font options come in both Pro and Standard format fonts. For those with programs that can take advantage of OpenType features (click on the link to see if the program your using is one of them) the Pro fonts are for you. http://www.typotheque.com/fonts/opentype_feature_support/ For others without the ability to use Open Type features, we provide all of the script fonts that comprise the Pro Version as separate versions (Regular, Contextual and Stylistic). If you are using a program like Microsoft Word, and want all three script fonts, you can still purchase the Pro Version (a $50.00 savings), and install the individual fonts bundled in the Standard Fonts folder. We have set it up so they will appear separately as DomLovesMary, DomLovesMary Contextual and DomLovesMary Stylistic in your fonts list. Exciting news! In an effort to help our customers access all the goodies that are normally only available in Open Type Capable programs (like the flourished ornaments that come with our script fonts), we have found a simple application that allows you to do just that. For this reason, we've made sure to unicode all of our characters and glyphs so that they will work in this type of program. There may be others, but we checked this one out and found that it works. Check out PopChar

Artist and calligrapher Daniel Reeve, well known for the lettering and maps in The Lord of the Rings films, is creating hand-crafted fonts of some of his writing styles - Kereru is the inaugural release, allowing users to emulate some of his much-admired calligraphy. Nominally a half-uncial style, clever arrangements of the stylistic sets allow Kereru to be set as full uncial or standard roman, as well as offering numerous alternates, ligatures, swashes and flourishes, ornaments, unlimited fractions, scientific inferiors and numeric superscript, all accessible via OpenType features. Cyrillic and Greek alphabets are included, in addition to the letters required for all the languages of Western, Central and Eastern Europe, Scandinavia and the Baltic. Kereru is very legible and easy on the eye, without sacrificing calligraphic flair. A pdf description of the Stylistic Sets and their usage is included with the font package, which comprises regular, bold and italic variations. Kereru Italic supercedes and improves upon its previous incarnation, Shire Regular. The name Kereru comes from New Zealand's Maori language - it is our native wood pigeon, a bird of generous and rounded form, like the font itself.

The name of this typeface comes from the surname of James (Jim) Bowie, American pioneer and inventor of the famous Bowie knife. This is exactly what inspired English rockstar David Jones to change his stage name to David Bowie. Bowie is thenew font by Bercz and Latinotype Team. The typeface is a type system that reflects a strong personality, an urban feel and an unprejudiced style. Bowieis well-suited for publishing projects, branding and packaging. This font family is composed of three sections: a group of sharp-shaped uppercase fonts (smallcaps and all caps) in 5 weights, each with matching regular/back slant italics,providing users with 15 different styles for multiple combinations; a set of script catchwords and eclectic sets of dingbats and flags that communicate the blue-sky thinking and feel of the project. Bowie —a collaborative project between Bercz and Latinotype Team—was developed by Leonidas Loyola, Valentina Vega, Rodrigo Fuenzalida, César Araya and Bruno Jara, under the supervision of Dany Berczeller, Daniel Hernández y Luciano Vergara.. Bowie consists of 5 weights, ranging from Thin toBlack, and comes with a 439-character set that supports 206 languages.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

La tipografía Qátana es una tipografía inspirada en el estilo románico serif y sans serif. Su estilo elegante y de fácil lectura ha logrado ser una tipografía esencial para redacciones de documentos, textos o libros. Cuenta con tres pesos bien marcados que dan un juego visual de resaltados y tenues. Además de las formas itálicas. The Qátana typeface is a typeface inspired by the Romanesque serif and sans serif style. Its elegant and easy-to-read style has become an essential typeface for writing documents, texts, or books. It features three well-marked weights that give a visual play of highlights and lows. In addition to the italic forms.

The Ancient North Arabian scripts Ancient North Arabian is the name given to a group of scripts belonging to the South Semitic script family, which also includes the Ancient South Arabian alphabets (musnad and zabūr) and the vocalized alphabets used in Ethiopia for Geʿez, Amharic, etc. The Ancient North Arabian scripts were used both in the oases (Dadanitic, Dumaitic, Taymanitic,) and by the nomads (Hismaic, Safaitic, Thamudic B, C, D, and possibly Southern Thamudic). There are tens of thousands of inscriptions and graffiti in these scripts which were used in the period roughly between the sixth century BC and the fourth century AD. See the descriptions of the individual scripts below

TT Ricordi Marmo useful links: Specimen | Graphic presentation | Customization options TT Ricordi Marmo extends the series of experimental projects within the TT Ricordi fonts collection. The main goal of the TT Ricordi project is to look for gems in old signs and on stone and bringing those inscriptions back to life in the form of contemporary fonts with the umbrella name TT Ricordi. TT Ricordi Marmo is an original experimental project by Eugene Tantsurin inspired by inscriptions at Basilica di Santa Croce in Florence. Working on it, we wanted to create a contemporary typeface that would unite the elements of a Florentine sans-serif mixed with more traditional visual solutions typical for the period's serifs. As a result, we got a bright and somewhat provocative typeface with irregular serif distribution, some unusual contours and a free spirit. In small body size TT Ricordi Marmo makes a neutral impression, but as the size gets bigger, the user is taken on a playful quest to search for interesting moves, graphic peculiarities and unusual solutions. TT Ricordi Marmo is great for poster design, packaging, and setting large and medium-sized inscriptions. Thanks to its idiosyncrasy, the typeface may look nice both at a poster in a grand academic theater and at an acid rave party. You can find a set of icon patterns that can be used in several ways. First, you can substitute letters with these patterns, thus getting an inscription with a visible graphic element. Then you can also construct borders and interval marks, or just use them as icons. All patterns are perfectly adapted to the design of letters in the font. TT Ricordi Marmo consists of 2 styles and one variable font. Each of the styles contains over 630 glyphs and 18 OpenType features. As we have conceived TT Ricordi Marmo as a poster typeface from the very beginning, it features small capitals instead of lowercase characters. In addition, the typeface has a set of interesting ligatures, stylistic alternates, pointers, hands, and pattern icons. TT Ricordi Marmo OpenType features list: AALT, CCMP, LOCL, NUMR, ORDN, TNUM, PNUM, CASE, SS01 (Alternative latin E), SS02 (Alternative Eszett), SS03 (Alternative Cyrillic I), SS04 ( Alternative Amper- sand), SS05 (Romanian Comma Accent), SS06 (Dutch IJ), SS07 (Catalan Ldot), DLIG, CALT, SALT.