Linotype Mateo is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Jürgen Ellenberger included three styles in his font, roman, bold and outline. The characters of Mateo consist exclusively of lines, giving the font an extremely angular look. However, Mateo retains a certain handwritten style somewhat reminiscent of the graffiti left on wooden grade school desks by previous classes. The bold and outline styles have emphasized stroke contrasts but keep the angular, consciously irregular look. The roman style is best for smaller texts and the bold and outlines styles for headlines.

The concept of this font are Inspired by stories of space travel, interstellar war. social life in the galaxy. So we chose the name Chronosfer, which was said to be similar to Chromosphere. The chromosphere is the second most outer layer of the Sun. Several thousand kilometres thick, it resides above the photosphere and beneath the corona. Due to its low density, it is relatively transparent, resulting in the photosphere being regarded as the visual surface of the Sun. What Featured on this font? Glyphs count is 281 glyphs each style. Have some alternate characters International Language Support Best to use on Hi-Tech Style design Space or cosmos theme design

Extra bold, extremely black! Siah font comes with 2 weights and provides a modern and clean sans serif Arabic/Persian type experience for headlines and headings! Siah means "Black" in Persian. This font also supports basic Latin. The complete font family is a great choice for all graphic designers, typographers and visual artists. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh text and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

Hi...Thank for your visit :) Wasabi Taste handwritten font. It features tall characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of authentic! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look authentic and attractive, and also Multilingual support!!! Happy design ...

Eckhardt Bold JNL continues a series of sign painter-inspired type designs and is named in honor of the late Al Eckhardt, a talented sign man who was a good friend of Jeff Levine for about 18 years until his passing. The font is available in both regular and oblique versions and was inspired by an example found in the 1928 edition of E.C. Mattthews' "How to Paint Signs and Sho' Cards". Both squat and wide for maximum use in wall and window applications, the original name for the design is "Heavy Plug". Plug was the sign painter's term at the time for describing this type of letter form.

Hi...Thank for your visit :) Rocky modern sans font. It features tall characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of sans! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look sans and attractive, and also Multilingual support!!! Happy design ...

I digitized and revitalize Hostetler Fette Ultfraktur Ornamental from the classical type specimen book from Rudolf Hostetler. He was a Swiss type designer, author of “The Printer’s Terms” designed by Jan Tschichold, of “Technical Terms of the Printing Industry” (5th edition was printed in 1995), and of "Type: eine Auswahl guter Drucktypen; 80 Alphabete klassischer und moderner Schriften" (Teufen, Ausser-Rhoden: Niggli, 1958). He also wrote "Type: A Selection of Types" (1949, fgm books, R. Hostettler, E. Kopley, H. Strehler Publ., St. Gallen and London) in which he highlights type made by European houses such as Haas, Enschedé, Deberny and Nebiolo. Jost Hochuli wrote his biography.

If you're about to make the jump into hyperspace, buckle up and engage your R2 unit with our new font release, HYPERDRIVE! Ten years in the making, we've spent almost as much time developing these characters as George Lucas spent developing his! Co-created by Starkings & Roshell (HYPERDRIVE, not George), this font is guaranteed to keep TIE fighters off your tail and will always come in useful if you get menaced by phantoms or attacked by clones. So sit back, relax and enjoy the flight -- but don't forget; let the Wookiee win! Remastered Hyperdrive includes new letter shapes, 200+ connecting letter combos, improved spacing & kerning and support for Western & Central Europe.

Is your character vibrating slightly or feeling shuddering feverishly, as if from fear or excitement? Is he or she a warm-blooded animal experiencing the early onset hypothermia? Is your protagonist experiencing a pleasurable sensation of anticipation or maybe he/she has a fragment or splinter of glass or stone in the tip of his/her finger. Any which way, Comicraft now has the font for you to effectively convey the way your characters are feeling to comic book readers everywhere... It'll be just like they're listening to a track by Coldplay while trying to shake off the flu in a haunted house. See the families related to Shiver: Shake.

Giacinta is developed as a fresh alternate take on the traditional black-letter style. Rather than simply reproducing the standard uncial or Old English style, Luke William Turvey followed the tradition of Bastarda, making up his own scripted style with the Latin standards in mind. This style was conjured purely from imagination, so while it bares a resemblance to the standards, keeps its own original flavor. Giacinta is extended, containing the full West European diacritics & a full set of ligatures, making it suitable for multilingual environments & publications. Use Giacinta for medieval themed projects, certificates, awards, diplomas, anything that you want to look old fashioned and stately.

Hi...Thank for your visit :) Black Ruby a handwritten brush font. It features ligatures characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of brush! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look brush and attractive, and also Multilingual support!!! Happy design ...

Hi...Thank for your visit :) Master of Magic a magical script font. It features ligatures characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of magic! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look beautyful and attractive, and also Multilingual support!!! Happy design ...

Syracuse is a font inspired by the typefaces of the "Arts & Crafts" designers of the early 20th Century. As such, it has a distinct "hand" look. In "Syracuse" you will find hints of Dard Hunter's work at the Roycrofters in East Aurora, New York, a little of the Art Nouveau style of 1900 Vienna, even a touch of Charles Rennie Mackintosh's design ideas in Glasgow, Scotland. The font was named for the city in New York where Gustav Stickley produced his Craftsman furniture. Syracuse owes a debt to all of these sources yet is original and different from any other "Arts & Crafts" font available.

Antapani is a grotesk sans style with some stylistic style to some letter. Designed for readability but can also function as a display text. Come with 9 style from Thin to Black so you can choose which style you want. Designed with opentype features in mind. Each weight includes extended language support (+ Cyrillic), fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for web, signage, corporate as well as for editorial design. Designed by Abdurrahman Hanif, a young Jakartans Graphic Designer who fell in love into type design after his graduation. Published by Monoco Type

Hi...Thank for your visit :) Brush effect a handwritten brush font. It features ligatures characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of brush! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look brush and attractive, and also Multilingual support!!! Happy design ...

Nostalgic, typographic, stencil and old-style! Chelleh is the Persian Northern Hemisphere's winter solstice festival celebrated on the "longest and darkest night of the year, and I also an Arabic/Persian typeface too! Well, of course supporting basic Latin as well. Due to its special design, Chelleh doesn't support Arabic diacritics. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Chelleh heavy and headline font which is one of his latest designs, already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Arabic/Persian communities.

The font has a truly futuristic nature. It perfectly conveys the atmosphere of technology and futurism and it's the best choice for sci-fi and hi-tech topics and pictures. The font letters are unrounded, it's build is very simple and straight. The font includes 7 styles: thin, extra light, light, regular, medium, bold, and black. With the variety of font widths, there is the ability to make different combinations in graphic or web design projects as well. Carefully kerned letters look well in paragraphs and titles. Special attention to uppercase headings. The font counts 477 glyphs for each style. The thin style is free to use.

Hi...Thank for your visit :) Back to school (Outline & Inline) a simple handwritten font. It features fun characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of simple! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look simple and attractive, and also Multilingual support!!! Happy design ...

The Glober font family includes 18 weights - nine uprights with nine italics. It is characterized by excellent legibility in both - web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque typefaces - Glober has his own unique style in expressed perfect softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Glober font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos.

Hi...Thank for your visit :) the flash a signature font with beginning and ending swash. It features ligatures characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of swash! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look swash and attractive, and also Multilingual support!!! Happy design ...

After designing two script fonts (lp Pinselschrift, lp Bambus), Peter Langpeter has now drawn an elegant Antiqua font, namely lp Saturnia, derived and conceived from his work in developing headlines and logos. The aim was to create a modern interpretation of the classical Roman letters (Capitalis Monumentalis or Trajan by Carol Twombly), avoiding the archaic look of these letter forms. Also, the difficulty of spacing characters with excessive forms, such as the long tails of 'K' and 'R', are avoided. Additionally, lp Saturnia also comes with lower case characters. The result is a contemporary and elegant typeface that is more suitable for practical use, without renouncing the classical Roman character.

As a spinoff to his Tagesstempel™ design, Georg John created Johnstemp™ in 2008. The Johnstemp family has four weights, as well as a special Mix" variant. Each of the basic fonts (Light, Medium, Bold, and Heavy) contain many alternate glyphs, allowing users to set text that realistically simulates stamped impressions. For even faster design, Johnstemp Mix is the perfect choice; it contains letters with far more stylistic and weight variation out-of-the-box, and was developed to create even livelier impressions. Here as well, many alternates are included in the character set to prevent too much repetition of the same glyphs. "

Alejandro Paul’s Brownstone Slab is based on his own popular, award-winning, Brownstone Sans typeface.  Like the original Sans, Brownstone Slab is a 21st-century design, influenced by the Victorian decorative motifs of the ironwork and carved decorations of New York City row houses. Brownstone Slab’s sturdy serifs make it slightly more masculine and solid than its predecessor. As with Brownstone Sans, Brownstone Slab includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. It includes over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are provided in all weights.

The Daytona™ typeface family grew out of a desire to provide improved fonts for use in televised sporting events. Jim Wasco drew the design as sturdy squared letters based on humanist shapes and proportions. Letters were kept narrow for economy of space, and inter-character spacing was established for easy reading. While televised sporting events may have initially been his target, the design considerations he incorporated into the Daytona family also enabled it to perform well in a variety of other video and on screen environments. Daytona Variables are font files which are featuring two width axes and have a preset instance from Thin to Fat.

HGB Galaxo is a tribute to Othmar Motter (1927–2010), the Vorarlberg graphic artist and typeface designer, who designed very individual and perfectly crafted typefaces in the 1970's and later. (Motter Ombra, Motter Tectura ...)From a Motter sketch of 5 letters for a logogram, I derived a simplified letterform and developed all the necessary characters. Working on these glyphs and delving deeper into Motter's letterforms, the respect for the accuracy with which he drew his letters (in ink) grew more and more. The spiral resembles the shape of a galaxy, hence the name Galaxo. The font is suitable for retro, poster and logo design.

Hi...Thank for your visit :) Jacky Brushes all caps textured brush typeface. It features ligatures characters that will take your projects to the next level! This font is PUA code which means you can easily access all the glyphs that are full of brush! It also features many special features including glyphs. font designs that are made for various vector designs, printing such as digital wedding blogs, online shops, social media, while printing can be used in the field of product clothing, accessories, bags, pins, logos, business cards, watermarks and many others ... so it can make your product look brush and attractive, and also Multilingual support!!! Happy design ...

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Introducing Kinesthesia, the hypermodern typeface that channels the sleek, futuristic aesthetic of liquid crystal displays. With its sharp diamond points and hi-tech letterforms, Kinesthesia is the perfect choice for anyone looking to communicate their message with a cool, technical tone. Whether you’re designing a cutting-edge website, a high-tech advertisement, or a bold logo, Kinesthesia will give your work an unmistakable edge. But what sets Kinesthesia apart from other typefaces on the market? For starters, it offers a wide range of monetary symbols, as well as numeric ordinals, primes, and OpenType fractions. So whether you’re writing a report for work or creating a digital design for a client, you can be confident that Kinesthesia has all the symbols and characters you need to convey your message with precision. And of course, let’s not forget Kinesthesia’s angular design. With its sharp, diamond-shaped points, this typeface is the perfect choice for anyone looking to add a contemporary edge to their work. Available in Ultra-Light, Extra-Light, Light, Regular, Semi-Bold, Bold, and Heavy with obliques, Kinesthesia offers a wide range of weights and styles to suit any design need. So if you’re ready to take your design game to the next level, look no further than Kinesthesia. With its technical aesthetic and wide range of features, this typeface is the perfect choice for anyone looking to make a bold, unforgettable statement. 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.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

Classic Grotesque by Rod McDonald: a traditional font with a modern face. The growing popularity of grotesque typefaces meant that many new sans serif analogues were published in the early 20th century. Setting machines were not compatible with each other but all foundries wanted to offer up-to-date fonts, and as a result numerous different typeface families appeared that seem almost identical at first glance and yet go their separate ways with regard to details. One of the first fonts created with automatic typesetting in mind was Monotype Grotesque®. Although this typeface that was designed and published by Frank Hinman Pierpont in 1926 has since been digitalised, it has never achieved the status of other grotesque fonts of this period. But Monotype Grotesque was always one of designer Rod McDonald’s favourites, and he was overjoyed when he finally got the go-ahead from Monotype in 2008 to update this “hidden treasure”. The design process lasted four years, with regular interruptions due to the need to complete projects for other clients. In retrospect, McDonald admits that he had no idea at the beginning of just how challenging and complex a task it would be to create Classic Grotesque™. It took him considerable time before he found the right approach. In his initial drafts, he tried to develop Monotype Grotesque only to find that the result was almost identical with Arial®, a typeface that is also derived in many respects from Monotype Grotesque. It was only when he went back a stage, and incorporated elements of Bauer Font’s Venus™ and Ideal Grotesk by the Julius Klinkhardt foundry into the design process, that he found the way forward. Both these typefaces had served as the original inspiration for Monotype Grotesque. The name says it all: Classic Grotesque has all the attributes of the early grotesque fonts of the 20th century: The slightly artificial nature gives the characters a formal appearance. There are very few and only minor variations in line width. The tittles of the ‘i’ and ‘j’, the umlaut diacritic and other diacritic marks are rectangular. Interestingly, it is among the uppercase letters that certain variations from the standard pattern can be found, and it is these that enliven the typeface. Hence the horizontal bars of the “E”, “F” and “L” have bevelled terminals. The chamfered terminal of the bow of the “J” has a particular flamboyance, while the slightly curved descender of the “Q” provides for additional dynamism. The character alternatives available through the OpenType option provide the designer with a wealth of opportunities. These include a closed “a”, a double-counter “g” and an “e” in which the transverse bar deviates slightly from the horizontal. The seven different weights also extend the scope of uses of Classic Grotesque. These range from the delicate Light to the super thick Extrabold. There are genuine italic versions of each weight; these are not only slightly narrower than their counterparts, but also have variant shapes. The “a” is closed, the “f” has a semi-descender while the “e” is rounded. Its neutral appearance and excellent features mean that Classic Grotesque is suitable for use in nearly all imaginable applications. Even during the design phase, McDonald used his new font to set books and in promotional projects. However, he would be pleased to learn of possible applications that he himself has not yet considered. Classic Grotesque, which has its own individual character despite its neutral and restrained appearance, is the ideal partner for your print and web project.

Helvetica’s 50-year anniversary celebrations in 2007 were overwhelming and contagious. We saw the movie. Twice. We bought the shirts and the buttons. We dug out the homage books and re-read the hate articles. We mourned the fading non-color of an old black shirt proudly exclaiming that “HELVETICA IS NOT AN ADOBE FONT”. We took part in long conversations discussing the merits of the Swiss classic, that most sacred of typographic dreamboats, outlasting its builder and tenants to go on alone and saturate the world with the fundamental truth of its perfect logarithm. We swooned again over its subtleties (“Ah, that mermaid of an R!”). We rehashed decades-old debates about “Hakzidenz,” “improvement in mind” and “less is more.” We dutifully cursed every single one of Helvetica’s knockoffs. We breathed deeply and closed our eyes on perfect Shakti Gawain-style visualizations of David Carson hack'n'slashing Arial — using a Swiss Army knife, no less — with all the infernal post-brutality of his creative disturbance and disturbed creativity. We then sailed without hesitation into the absurdities of analyzing Helvetica’s role in globalization and upcoming world blandness (China beware! Helvetica will invade you as silently and transparently as a sheet of rice paper!). And at the end of a perfect celebratory day, we positively affirmed à la Shakti, and solemnly whispered the energy of our affirmation unto the universal mind: “We appreciate Helvetica for getting us this far. We are now ready for release and await the arrival of the next head snatcher.” The great hype of Swisspalooza '07 prompted a look at Max Miedinger, the designer of Neue Haas Grotesk (later renamed to Helvetica). Surprisingly, what little biographical information available about Miedinger indicates that he was a typography consultant and type sales rep for the Haas foundry until 1956, after which time he was a freelance graphic designer — rather than the full-time type designer most Helvetica enthusiasts presume him to have been. It was under that freelance capacity that he was commissioned to design the regular and bold weights of Neue Haas Grotesk typeface. His role in designing Helvetica was never really trumpeted until long after the typeface attained global popularity. And, again surprisingly, Miedinger designed two more typefaces that seem to have been lost to the dust of film type history. One is called Pro Arte (1954), a very condensed Playbill-like slab serif that is similar to many of its genre. The other, made in 1964, is much more interesting. Its original name was Horizontal. Here it is, lest it becomes a Haas-been, presented to you in digital form by Canada Type under the name of its original designer, Miedinger, the Helvetica King. The original film face was a simple set of bold, panoramically wide caps and figures that give off a first impression of being an ultra wide Gothic incarnation of Microgramma. Upon a second look, they are clearly more than that. This face is a quirky, very non-Akzidental take on the vernacular, mostly an exercise in geometric modularity, but also includes some unconventional solutions to typical problems (like thinning the midline strokes across the board to minimize clogging in three-storey forms). This digital version introduces four new weights, ranging from Thin to Medium, alongside the bold original. The Miedinger package comes in all popular font formats, and supports Western, Central and Eastern European languages, as well as Esperanto, Maltese, Turkish and Celtic/Welsh. A few counter-less alternates are included in the fonts.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

While in the same vein and spirit as Burgues and Compendium, Bellissima began from an entirely different thread from those fonts. It started with Alex Trochut generously showing me a gorgeous lettering book from his grandfather’s library: Bellezas de la Caligrafía, by Ramón Stirling, 1844. Stirling was one of the Latin calligraphy pioneers who introduced a refined version of English calligraphy in Spain and made it popular in the nineteenth century. Some scans from that book served as initial basis for the caps in my Poem Script. But it was always in the back of my mind that I should do a copperplate, and the Stirling model was the perfect source. My intention was to veer away from Stirling’s exuberant ornamentation, and work within simplified forms of his ideas. As it usually is with most of my projects, Bellissima became its own bird and shaped its own flying patterns. Suddenly there were many ligatures, multiple endings and swashed connections, hundreds of alternates for both uppercase and lowercase. Bellissima has an effusive energy that appeals much beyond its sourcing. It’s intended for these modern times of appreciation for old crafty things like stationery and letterpress, where its origins help it shine brightly. Bellissima Script Pro is a complete font with almost 2000 characters full of alternates, swashes, ligatures & ornaments covering a wide palette of latin languages and Bellissima Script Redux is a random sample of glyphs totally usable with a reduced price.