MMM is a sturdy Typeface, the design is based on a old Soap-Powder advertisement. MMM is very useful for headings and/or logotypes. André Toet his 17th Font Caps, Lowercase. With Numbers, Glyphs and the normal Punctuation. Use this Font well, it’s made with the greatest care. Concept/Art Direction: André Toet © 2017 - Design: André Toet / Jasper Terra

Proudly present Mafisha Typeface , created by Storytype, A serif modern and classic typeface that his own unique style & modern look. This typeface is perfect for an elegant & luxury logo, book or movie title design, fashion brand, magazine, clothes, lettering, quotes, and so much more. This font is PUA encoded which means you can access all of the amazing glyphs and ligatures with ease!

Kaldi is a tall condensed typeface that has gone through a natural process of handcraft and refinement to produce a speciality blend. On consumption expect light and dense notes with an earthy undertone. This font family was inspired by the legend of Kaldi – the goat herder who discovered the coffee plant after his goats started dancing after eating the coffee cherries.

Frederick Cody, as known as Buffalo Bill, and his renowned travelling Western Circus are now celebrated through the creation of the Buffalo Circus and the Buffalo Western type fonts, both developed quite in the spirit of the stirring wood type fonts from the 19th century. All characters are fully hand traced and vectorized and provided with appealing glyphs and cool catchwords.

Cirth was invented by J.R.R. Tolkien for use in his novels. It is modelled on the Anglo-Saxon Runic alphabet, and is used to write the language of the Dwarves (Khuzdul) in The Hobbit and The Lord of the Rings in inscriptions in wood and stone. It is also used as a alternative alphabet for English. This font is english version.

Shortly after the creation of Chauncy Deluxxe, Chank realized that he needed a condensed font to go with the regular version of his handwriting. The solution was Coffeedance, a fun, light, dancing, dandy handmade font. Makes me think of frozen treats as the lines wiggle a bit like they’re shivering. Brrrr. Coffeedance was Chank’s Font of the Month for November 1998.

The 1907 novelty song "Since Arrah Wanna Married Barney Carney" (about an Irishman taking an Indian maiden as his bride) had its title hand-lettered in a sans serif style that reflected both the Art Nouveau flavor of the time and a hint of what was to come during the Art Deco movement. This is now Song Stylist JNL and it's oblique counterpart.

his is a beautiful, modern, and super readable font. You can use it in any kind of text, from folders to prayer books. This font is especially good for school and kid's books. This font also has modern punctuation: shevana, kamats katan, dagesh hazak, and holam chaser. This is a Variable font! One font with 5 styles (Regular, Medium, SemiBold, Bold, Heavy)

Nightspot JNL was modeled from one of many display alphabets created by the late sign painter and lettering expert Alf Becker. His work has graced the pages of Signs of the Times® magazine for decades. Special thanks to Tod Swormstedt of the American Sign Museum and ST Publications, Inc. in Cincinnati, Ohio for providing the source material for this typeface.

Eckhardt Showcard JNL and Eckhardt Showcard Two JNL are drawn from more lettering found in an old sign painting book. Jeff Levine has continued naming a series of fonts for the late Albert Eckhardt, Jr. (1929-2005) who had owned Allied Signs in Miami, Florida from 1959 until his passing. Al was a talented lettering artist and a good friend to Jeff.

This font clearly illustrates Jan Tschichold’s dictum that the New Typography would employ “the simplest form” and “the minimum means.” Based on his typeface Transito, the letterforms are as fresh and vibrant today as they were when introduced in 1931. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Rogan: A Robust Modular Sans Rogans clean lines started out as an exercise in modularity and geometric forms. This initial construction approach was then adapted to improve the functionality of the family; Breaking away from the strictly modular system in exchange for more refinement and clarity. The resulting forms display a refined contemporary feeling alongside a hi- tech industrial element.

Hi, introduce my new font Creaty. This is a simple and sweet script font. Suitable for various designs such as t-shirt designs, quotes, weddings, business cards and more. This font supports multiple languages and also alternates. For alternates y, g, j, z you can use them easily, by typing: y2, g2, j2, z2 Hope you enjoy it Thank you

Named after the Florentine river which runs through the heart of the Italian Renaissance, Arno draws on the warmth and readability of early humanist typefaces of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Adobe Principal Designer Robert Slimbach, Arno is a meticulously-crafted face in the tradition of early Venetian and Aldine book typefaces. Embodying themes Slimbach has explored in typefaces such as Minion and Brioso, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and polytonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets, and small capitals for all covered languages.

Superfont type family, created by Tom Nikosey, California Typographic Designer/Illustrator is based on his design and illustration for the title art for the 1984 movie Supergirl. 'I've always felt someday I would design a complete font with variations, including Euro Glyphs and dingbats and numbers based on that logo and letters'. Cozyfonts Foundry is the manifestation of a career-long desire to create fonts in 2011 with his release of Aladdin Bold font family. Superfont is the 22nd font family release. Superfont has a 1960s superhero feel and movement. The entire font family is italic by style. There's a hint of Retro-Moderne in it's overall look. The 1960s ushered in the supersonic era in travel and technology with the jetset look in fashion, product design, fabric design, and type design. Superfont is Cozyfont's take on that era with the innocent future-forward attitude in it's glyph's personality.

Private Sans is a three styles family of humanistic sans serif based on broad pen calligraphy. Its noticeable distinctions -- a vivid irregular nature which is not typical for usual Cyrillic text faces. Characters of the font have visible “inthasis”, soft terminals and slanted axis in internal ovals. The name of the font reflects an intention to design a typeface for personal messages. It can be used in blogs, e-mails, personal Web pages -- the places where author wants to show his personal attitude and invite visitors to enter his intimate space. It also usable for memoirs, autobiographies, interviews, and for those kind of literature that deals with feelings and emotional experience. The font family was designed by Olga Karpushina on the base of her graduate work of Type and Typography course in British Higher School of Art and Design. Released by ParaType in 2010.

The font "Gaidar" named in the honour of Arkady Gaidar. He was a Soviet writer, whose stories were very popular among Soviet children, and a Red Army commander. He died in combat fighting with German nazis in 1941. Few generations of Soviet kids are raised on his books and a number of films were made based on his stories. This font inspired by posters, movie titles and book covers of this writer. The letterforms are bold and gnarly and comes in 2 styles: uppercase and small caps. It has LATIN and Extended Eastern Europe CYRILLIC letters. "ST-Gaidar" created for titles, poster design, web design, branding and packaging works, illustrations, badges and other typography works. Pls, don't use it for for typing large arrays of text. ST Gaidar supports 15+ languages: Belarusian, Bosnian, Bulgarian, Croatian, Dutch, English, German, Macedonian, Norwegian, Russian, Serbian, Swedish, Spanish, Slovenian, Ukrainian and probably others

During the last ten years of his life, Hans Eduard Meier (dec. July 17, 2014), together with Max Schläpfer, developed an innovative concept of a new Swiss Schulschrift (handwriting script for schools) called ABC Basisschrift®. His life’s work is crowned by the fact that now, since the fall of 2014, and beginning in Lucerne, this new didactic will replace the old Schnürlischrift in Switzerland. In contrast with the Schnürlischrift, the idea is to guide a child in three steps to learning a personal handwriting. ABC Schule 1 is for the first grade, ABC 2 starts to introduce the first connections and ABC 4 Ligaturen is designed with many ligatures to serve as a good example for handwriting. ABC Schule is also available with ruling and for visually impaired students.This version of the Basisschrift®, available from here, is the original version by Hans Meier.

It took the Italian designer Antonio Pace more than five years to create Linotype Gianotten™, a successful new interpretation of the classic Bodoni types. To re-draw the 200-year-old characters for the world of modern digital technology, Pace studied Giambattista Bodoni's original punches at the Bodoni Museum in Parma. He felt that previous Bodoni interpretations were not well suited for body texts, so he focused his study of Bodoni's "Manuale Typografico" on the types made specifically for text sizes. Consequently, his Bodoni has strong hairlines, rounded transitions and shorter, fluted serifs - elements that help to achieve readability by providing an overall tranquil effect. This contemporary, highly readable family is an excellent choice for text settings in books, newspapers, and magazines. Incidentally, the name Gianotten has nothing to do with Bodoni, but was chosen by Pace and Linotype to honor Dutch typographer, Henk W. J. Gianotten."

The Kennedy family is a completely original design, inspired by lettering discovered by George during his exploration of 16th century cartography, some years ago. The charm exhibited by these beautiful artifacts is as much reflected in the letterforms they employ as in the drawing style or content they present. After familiarizing himself with the offerings of the various printing centers of that period, George began work on a design which he called Marconova. This design continued to evolve until it began to take on the look of Dutch Oldstyle typefaces of a later period. At this point George re-christened his work-in-progress Kennedy, and added the Book, Book Italic and Small Cap companion typefaces. Only a small trace of its design ancestry is evident in the resulting typeface family. There is enough, however, to make them a unique entry in the collection of distinguished contemporary designs.

Eckhardt Poster Text JNL continues Jeff Levine's series of sign painter-oriented fonts, named in honor of his good friend Albert Eckhardt, Jr. (who ran Allied signs in Miami, Florida from 1959 until his passing). Sign painters are the true heroes of lettering, for they make the alphabet and style fit the job. Printers and layout artists were constricted by metal and wood type; that is until photo lettering, then digital type opened up unexplored territories in design possibilities. There is a unique charm (and nowadays pretty much a lost art) to hand-lettering word copy in a way that draws the eye like an arrow to a target. Even a simple sanserif such as Eckhardt Poster Text JNL can have the effect of that hand lettering when applied to posters and pages with plenty of white space and matching type designs of the period.

Near the end of his life, legendary type designer Eric Gill lived in Jerusalem, and became interested in the typesetting of the Hebrew alphabet and the challenges it entailed. He designed his own Hebrew font which has not (to my knowledge) been digitized before. It is sometimes held up as an example of how not to do a Hebrew font: Gill introduced strange serifs and shapes that were jarring to readers used to more traditional fonts. But it is quite readable, and does start to grow on you after a while; extended text in Gill Hebrew is possible. I've added a set of alternate digits that are based on the shapes of the letters (Gill's digits are pretty standard text figures). I've also made some of the Unicode Hebrew symbols that Gill didn't (e.g. New Sheqel Sign, Alef-Lamed ligature, etc.) and also included vowel-points.

Excritura is the third typeface created by the Spanish designer Alex Camacho. The robust personality of this original calligraphy-derived italic font will undoubtedly also win you over.Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre. Organic shapes determine the character of Excritura, a calligraphic typeface by Alex Camacho. The font has been modelled on the work of the Spanish Architect Antoni Gaudí and was inspired by his love of natural forms and craftsmanship. This is perhaps unsurprising in view of the fact that Camacho grew up in Barcelona, home to much of Gaudí’s creative oeuvre.

🏆 Selected for Tipos Latinos 9. 🏆 Selected for the 13th Biennial of Brazilian Graphic Design. 🏆 Hiii Typography 2018 Merit Award. Kiperman is a text typeface designed in honor of Henrique Leão Kiperman, founder of the publishing house Artmed, now Grupo A. Its forms are simple and straightforward, with no unnecessary embellishments that could disturb the reading. The fonts are slightly narrower than normal, which yields higher efficiency without compromising reading comfort. Besides that, its italics are not just a slanted version of the romans, but rather a separate drawing. With a slope of 8°, its calligraphic structure provides the right amount of emphasis when necessary. The Kiperman typeface works best when setting books, magazines, ebooks and websites. It will also work very well in branding and packaging projects where a sober typeface is needed. The inspiration for the design came from the personality of the honoree. Just as Henrique always wanted to stay away from spotlights, the Kiperman typeface was designed so that it would not call attention to itself or impose any obstacles in the understanding of the text. In this way, the fonts revere Henrique’s legacy by respecting and honoring the published content. Henrique Leão Kiperman began his career in 1958, selling medical books in travels through the interior of the Brazilian states of Paraná and Santa Catarina. In 1973, he opened a bookstore in downtown Porto Alegre, the Artes Médicas Sul, and a few years later edited his first book. Since then, his company has grown to become one of the most important publishers in Brazil in the area of scientific, technical and professional books, with more than 2400 active titles distributed among the McGraw Hill, Bookman, Artmed, Penso and Artes Médicas imprints. Henrique passed away in 2017 at the age of 79. The Kiperman type family has been commissioned by Grupo A and is available for licensing. This was the way found for the fonts to be read by more people, spreading some of his spirit around the world.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

During planning for the new Roissy Charles de Gaulle airport in Paris at the beginning of the 1970s, it was determined that the airport's signage system had to include the clearest and most legible lettering possible. The development of all signage was put into the hands of Adrian Frutiger and his studio. The team carried out their task so effectively that a huge demand for their typeface soon arose from customers who wanted to employ it in other signage systems, and in printed materials as well. The Frutiger® typeface not only established new standards for signage, but also for a range of other areas in which a clear and legible design would be required, especially for small point sizes and bread-and-butter type. The typeface family that which emerged as a result of this demand was added into the Linotype library as "Frutiger" in 1977. Frutiger Next, created in 1999, is a further development of Frutiger, not necessarily a rethinking of the design itself. It was based on a new concept, the most obvious visual characteristics of which is the larger x-height, as well as a more pronounced ascender height and descender depth for lower case letters in relation to capitals. This new design created a balanced image and included considerably narrower letterspacing. Frutiger Next meets the demand for a space-saving, modern humanist sans. 2009's Neue Frutiger is a rethink of the 1977 Frutiger family, now revised and improved by Akira Kobayashi in close collaboration with Adrian Frutiger. Despite the various changes, this "New Frutiger" still fits perfectly with the original Frutiger family, and serves to harmoniously enhance the weights and styles already in existence. The perfect mix, guaranteed Neue Frutiger has the same character height as Frutiger. As a result of this, already existing Frutiger styles can be mixed with Neue Frutiger where necessary. Likewise, Neue Frutiger is perfect for use alongside Frutiger Serif. Newly added are the "Neue Frutiger 1450" weights. Especially for the requirements of the newly released German DIN 1450 norm we have built together with Adrian Frutiger specific weights of the Neue Frutiger. The lowercase l" is curved at the baseline to better differentiate between the cap "I", additionally the number "0" has a dot inside to better differentiate between the cap "O", and the number "1" is now a serifed 1. The font contains additionally the origin letterforms from the regular Neue Frutiger font which can be accessed through an Opentype feature."

Richard J. Neutra became an icon of Modern architecture as an artistic visionary, social commentator and outspoken defender of the environment. He refined his unique approach to design, for which he coined the term biorealism, over half a century ago. Regarding humankind and its surroundings as two inseparable halves to a greater whole, Neutra created habitats with the welfare of man and nature as his utmost concern. His ideas of evolutionary growth and adaptability compelled House Industries to develop Neutraface Condensed, built upon the original typeface and driven by the enduring spirit of the revolutionary who inspired it. “I have tried to be a feeling observer of life in all its manifestations, not a cold rationalist.” House Industries adopted this precept of Neutra as the guiding principle when the foundry commissioned Christian Schwartz to draw Neutraface Condensed. Instead of being exactingly compressed, the new companion fonts were composed around a complementary structural framework in order to better reflect the sensibilities of their predecessor. The result is an individualistic design with a restrained exuberance that shuns stylistically ersatz imitation. This compact yet lively presence allows Neutraface Condensed to lend flexibility and economy to headlines without sacrificing the simplicity and charm of the original. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Low stroke contrast, generous spacing, and fine-grained weights from Light to Extra Bold make FF Hertz a workhorse text typeface which holds up well under today’s widely varying output conditions from print to screen. The quite dark Book style works well on e-ink displays which usually tend to thin out letters, as well as in print when you want to evoke the solid letter image of the hot-metal type era. Two sizes of Small Caps are included: A larger size for abbreviations and acronyms, and a smaller size matching the height of the lowercase letters. FF Hertz is a uniwidth design, that means each letter occupies the same space in all weights. This feature allows the user to switch between weights (but not between Roman and Italic styles) without text reflow. Jens Kutilek began work on FF Hertz in 2012. From a drawing exercise on a low-resolution grid (a technique proposed by Tim Ahrens to avoid fiddling with details too early), it soon evolved into a bigger project combining a multitude of influences which up until that point had only been floating around in his head, including his mother’s 1970s typewriter with its wonderful numbers, Hermann Zapf’s Melior as well as his forgotten Mergenthaler Antiqua (an interpretation of the Modern genre), and old German cartographic lettering styles. Jens likes to imagine FF Hertz used in scientific books or for an edition of Lovecraftian horror stories.

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. Caslon's roman became so popular that it was known as the script of kings, although on the other side of the political spectrum (and the ocean), the Americans used it for their Declaration of Independence in 1776. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. Caslon's types have achieved legendary status among printers and typographers, and are considered safe, solid, and dependable. Carol Twombly designed this Caslon revival for Adobe in 1990, after studying Caslon's own specimen sheets from the mid-eighteenth century. This elegant version is quite true to the source, and has been optimized for the demands of digital design and printing. Adobe Caslon? makes an excellent text font and includes just about everything needed by the discriminating typographer: small caps, Old style Figures, swash letters, alternates, ligatures, expert characters, central European characters, and a plethora of period ornaments.

Espíritu is the first font illustrated and designed by talented Graphic Designer, lettering artist, illustrator and musician Agustín Pizarro Maire. For this entirely made-by-hand project, Agustín pushed his limits forward, significantly improving his notions in the type field, by applying his expertise and experience as an illustrator and letterer. With Type Direction and design assist by Guille Vizzari, both joined forces to face this voyage together. The result is a peculiar font family that seeks for a free spirit, one that is imperfect and unpretentious. With its soul deeply rooted in wanderlust, just enjoying the journey, like an endless road trip. Espíritu is a type family guided by the impulse of the hand, getting lost in the details of infinite drawn letters and icons, that perfectly fit meticulous designs, achieving also great impact when needed. Espíritu consists of five styles that complement each other to get different voice tones for each kind of design piece. Espíritu Regular, the heaviest one and most versatile; Espíritu Condensed, for tall and compact compositions; Espíritu Expanded, a wide serif style that’s great for billboards and short messages; Espíritu Script, a mono-weight cursive to add softness to the family; and finally a huge set of illustrations, symbols, badges and more in Espíritu Dingbats. Each of the alphabetical fonts offer an overflowing amount of alternates, swashes, and ligatures to maximize their capabilities. To all the wild spirits out there, meet Espíritu, join the ride.

Jim Rimmer’s first typeface was originally published in 1970 as a basic film type alphabet through a small, independent type house in central California. Its sources of influence (now calligraphic type standards by Dair, Goudy and Zapf) are ones that remained with Jim for the rest of his career. If you squint at Totemic in just the right way, you can see some recognizable themes Jim would later flesh out and make his own in later works throughout his career as a type designer and printer. Totemic is now available for the first time as a digital font, of the refined and expanded kind now expected from Canada Type. It comes with quite a few standard advanced typography features: Small caps, caps-to-small-caps, automatic fractions and standard ligatures, stylistic alternate sets, six kinds of figures, case-sensitive forms, and extended Latin language support. It also comes with a very unique and unprecedented feature: Variably stackable totem poles. Simply enable the discretionary ligatures feature, type any unique three-digit combination using numbers between 1 and 4, and watch the magic happens. With a name like Totemic, we just couldn't help ourselves. Many thanks to Andrew Steeves of Gaspereau Press for finding Jim’s lost gem in a most unexpected place, and for helping us bring it back to life 45 years after its analog birth. 20% of Totemic’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

The Jantze font is a project undertaken by Dan Bailey of Fontosaurus and Michael Jantze, creator of the nationally-syndicated comic strip, The Norm. All their royalties from the font will go to The Lance Armstrong Foundation. For those that have been living under a rock for the last five years, Lance is a professional bike racer that overcame advanced testicular cancer to not only come back to his sport, but to dominate its premiere event, the Tour de France. In climbing to the top of his sport, he has become a legend among cyclists and a beacon of hope for those battling cancer and their families. His foundation provides financial grants to researchers working to improve our odds against the disease, individuals stricken with cancer, and survivors of the disease that are advocates for survivorship issues in their communities. Michael Jantze and Dan Bailey would like you to consider the quote from Ralph Waldo Emerson that brought us to this project: "The purpose of life is not to be happy. It is to be useful, to be honorable, to have it make some difference that you have lived and lived well. We hope that you will help us help Lance Armstrong's legacy be more than that of just sports legend. We hope that you will help those that may someday help you as much as we hope that you will never have to suffer the ravages of cancer. We hope.