Boom. You asked for more, um, well just ‘more’—more swashes, more options, more weights, more of everything. I cannot give you more weights. The design just won’t allow it and anything else would be a compromise or a bastardization of the exemplars just to make money that I am unwilling to do. But, I did give you an overly indulgent, 90% cacao bar and espresso, Lust Script Fine. The ending strokes on these glyphs will literally draw blood. Enjoy it as much as I have. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. The systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

Released on the occasion of the 2012 London Olympics, Olympukes 2012 was a new set of pictograms telling the ‘real’ story of the Olympics and extending the unofficial project that began in 2004. The occasion of the London games provided an opportunity to revisit the complex contradictions of the modern Olympics and to acknowledge the geopolitical shifts of the intervening eight years. The 2012 games arrived at a time of great economic and political uncertainty for the nation and Europe. Greece – the host of the 2004 games – was now located at Ground Zero of a disintegrating Eurozone and the United Kingdom was two years into a programme of austerity enacted by the coalition government of Conservatives and Liberal Democrats. Given that the previous London Olympics had been held in 1948, in a climate of recovery and austerity after a devastating World War (1948’s Olympiad was dubbed the ‘Austerity Games’) there was a sick irony to the 2012 games' arrival. The suppression of human rights in order to deliver the perfect games for PRoC’s Beijing games shocked no-one and yet, in London, the security measures seemed grossly excessive. Then again, in a country with an estimated 1.8 million cctv cameras, perhaps we shouldn’t have been so surprised. Another aspect of the Olympics that returned for 2012 was the unfettered commercialism – if you think the Games are about pure sport, about noble human endeavour, think again. Please note that Barnbrook Fonts is in no way affiliated with, or has received any endorsement from, the International Olympic Committee, the organising committees of the Olympic Games, or any national Olympic committee.

I wanted to create a "handwriting" font which could be used professionally. I have often needed such a font with a variety of weights and styles for a particular project and have had to resort to mixing fonts, creating a rather messy, amateur job. Camy is named for a little village in South West France where I did much of the initial work on this font. Camy is ideal for contemporary display work, comes in ten styles, and has a contemporary appeal with its casual, easy to read letters. Camy was designed as a total professional package for designers looking for a handwritten font suitable for all kinds of contemporary display work: the idea being that once you have the Camy Professional Pack you don't have to waste time searching for other handwritten fonts. The Family: LIGHT -- NARROW - light weight, condensed width, delicate line -- MEDIUM - light weight, delicate line -- WIDE - light weight, expanded width, delicate line NORMAL WEIGHT -- NARROW - of medium weight and condensed width - perfect for limited space -- MEDIUM - of medium weight -- WIDE - of medium weight and expanded width BLACK - for best readability -- NARROW - condensed width for bolder statements in small areas without losing legibility -- MEDIUM - for bolder statements -- WIDE - expanded width for bolder statements FAT -- WIDE - for maximum impact Use a combination of styles for product branding, book covers, invitations, greeting cards. The Camy combination works well for both headings and body text. Camy contains over 250 characters - (upper and lower case characters, punctuation, numerals, symbols and accented characters are present). It has all the accented characters used in the major European languages.

Linotype Univers is a completely reworked version of the original Univers Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming.

During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics. Shentox PDF

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Gemma was born in Madrid 37 years ago. After spending many years in the capital, she decided to start over again and moved to Barcelona. A series of misfortunes and wrong decisions left her on the street. Gemma is a calm, emotional person who likes to take her time to do things and, if there’s one thing the street can offer, it’s time. The street lets you listen carefully, watch without being seen. Being in the street isn’t pleasant at all. Seeing people who’ve just showered go past makes you miss even more things that many take for granted. Breakfast, a clean smell, paying for a metro ticket. Being homeless is much more than having nowhere to sleep. Life in the street is hard, says Gemma, but she also sees the positive side. “It’s the best way to get to know human beings.” She likes to see the street as if it were a school. A school she has been in and out of for too long.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

Minotaur is an original monoline design based on an Oscan (http://en.wikipedia.org/wiki/Oscan_language ) votive inscription from the second century B.C.E. The letterforms immediately caught my eye in the wonderful book, Lettering by Hermann Degering, and I decided to create a typeface based on them with only enough compromises to make it usable as a modern alphabet. Not quite as straightforward as I had hoped. For example, the Oscan language (the predominant language in the Italian peninsula before the ascendance of Latin), has no letter "O", so the distinctive curve of the "D" was used as the model for the rounded letters "C" and "G" and more subtly for "O" and "Q"; this shape is also echoed in the original design of "B", "P" and "R". Also, the Oscan letterforms for A, K, L, M, N, S, and U are rather quaint, so I've included modern forms as alternates. Minotaur offers the best of both worlds: Just as the mythical Minotaur is half man and half bull, the font Minotaur is half modern and half ancient. Thanks to OpenType features (stylistic sets), you can easily switch from ancient letterforms to modern (if you have an OpenType-savvy application such as Adobe InDesign) for Latin, Greek, and Cyrillic alphabets. Minotaur supports all modern European languages, including Modern (monotonic) Greek and those that use the Cyrillic alphabet. And, yes, it supports Oscan, both right-facing and left-facing. Minotaur includes 3 OpenType Stylistic Sets: 1 - converts ancient (default) letterforms (A, K, L, M, N, S, and U) to modern alternates; 2 - converts Latin letterforms to equivalent left-facing (standard) Oscan letterforms; 3 - converts Latin letterforms to equivalent right-facing Oscan letterforms.

EngelNewSans is sans serif family of 12 weights and an upgrade of the typeface Engel also published by Die Gestalten Verlag. The project began with an extension to the original Engel character set and freshening up the typeface to suit the OpenType format. EngelNewSerif came about as a sibling to EngelNewSans as a corresponding serif family also of 12 weights, matching those of EngelNewSans. Both families are designed for a wide usage in running text and headlines. EngelNewSans is an evolved version of the original Engel typeface, which undergone improvements to the individual letterforms and the overall look which resulted in this sans serif type family with a more mature confident character and with softer, rounder and more harmonious shapes. The characteristics between the two could perhaps, very fittingly, be compared to a person showing different sides to their personality at different stages in life. With EngelNewSans portraying the more mature role while the original Engel shows traits of a cool teenager with rough edges, not yet fully developed. To make the light weights function with serifs attached for EngelNewSerif, the same low stroke contrast as seen in EngelNewSans was applied. Further discovery found that the serifs and the stem width had to be optically similar for the light weights not to appear too fragile. In the heavy weights however, the stroke contrast was higher than in the Sans versions, this was done to open up the counters and make room for the serifs to breathe. The intention of the families is to motivate an element of play and give the designer a larger selection to work with.

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's imagination, she should appear slim and beautiful. In 1948, Gudrun Zapf von Hesse finished the typeface's Roman. The Diotima family was released as a metal typeface for hand setting by D. Stempel AG in 1951-53. This original Diotima is a festive design particularly suited to invitations, programs, and poems. The delicate Italic drew attention to text passages that should be emphasized. Linotype's previous digital Diotima only had one weight, which looked great in display sizes, but was too thin for text setting. Diotima Classic has four weights. The new Regular has more robust serifs and thicker hairlines, making it more appropriate for text sizes. The Diotima variation with finer serif remains under the name Light. Gudrun Zapf von Hesse also took the opportunity in 2008 to add an extremely heavy weight to the family. In comparison to the old Diotima, letterforms of the Diotima Classic are more harmonious and balanced. The rhythm of the Italic letters in Diotima Classic is more consistent. The lining figures of the Diotima Classic align with caps, and the letter spacing of the tabular lining figures in Diotima Classic is significantly better. The forms of the figures have been improved as well."

Now here's a font with an unusual backstory. You may recall that a while ago we discovered that Tim Burton was using an outdated version of one of our fonts for the interior titles in his The Corpse Bride. Well, our quest to get hold of him didn't bear any immediate fruit, but in a totally unrelated event we were contacted by the graphic arts company working with the overseas distributors for The Corpse Bride and it turned out that they needed a font based on the main title of the movie so they could keep the same style when they retitled it into other languages. The original title was either hand lettered or a heavily modified font, bearing some resemblance to our Ligeia and Tuscarora fonts, so we had to create a whole font more or less from scratch and extrapolate most of the letters from the very limited sample in the original title by identifying certain consistent characteristics and building new characters around them. It was a lot of work, but the good news is that they didn't want exclusivity, so we've got the font to add to our collection. We ended up calling it Beynkales which means 'Bone Bride' in Yiddish, which makes sense given the context of the movie. So here it is, in all its tattered glory, and bound to end up in our Halloween font selection later this year as well. Beynkales Alternate is a companion font that includes a full set of alternative upper and lower case characters which can be used on their own or in combination with the characters from Beynkales to create a more varied and handwritten look.

The design of the typeface Moskau Grotesk and Moskau Pattern is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complimentary pattern fonts emerged.

Unlike the modest fonts in your menu content with discreetly imparting information, Carnival is conspicuous by design. Deliberately engineered to attract eyeballs, the typeface’s unmistakable silhouette produces a dramatic visual texture that stands out in print, on screen, or in any environment where your message demands to be noticed. The steady yet vibrant rhythm created by its letterforms also makes Carnival ideal for fashioning alphabet patterns and graphic devices. Flaunting a lean slender body anchored by stout stroke endings, Carnival turns conventional typographic thinking on its head by inverting the relative thickness of its stems and serifs. This reverse-contrast approach stretches all the way back to the roots of modern advertising, when similar types became the favorite for posters, packaging, and loads of consumer products during the 1800s. The striking style prevailed well into the next century, as Harold Horman, co-founder of New York City-based Photo-Lettering. Inc., modernized a version for the company’s popular film-typesetting service in the early 1940s. Digitized and expanded by Dan Reynolds in 2013, Carnival had previously been used exclusively for House Industries projects. Now you can get in on the action, and use this stunning slice of type history anytime you want your work to turn heads. SUGGESTED USES Carnival’s unique character commands attention, making it the perfect voice for promotional pieces, editorial design, labels, packaging, posters, and any other application that needs to strike the right tone. 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.

Hermann is one of our most readable typefaces so far. Since last year, the W Design team had been examining closely the possibility of developing a text font. Thus, we dug into concepts within some of our favorite novels, such as The Steppenwolf and Brave New World, written by Hermann Hesse and Aldous Huxley respectively. Ideas like duality, surrealism, and wildness mainly appeared. With these concepts in mind, we analyzed carefully the typefaces used in both Hesse’s and Huxley’s creations; Sabon and Garamond showed up catching our attention and, of course, awakening our admiration. Consequently, the challenge was to combine the key features of these fonts with the concepts already identified. At first, we made a text font which was suitable to compose long texts. However, we realized that we needed to refine some characteristics to convey all the ideas. A full set of capital discretionary ligatures was designed, which convert Hermann in a display font when is required. We also designed swashes (from A-Z) and final forms (in letters h, k, m, n, r and x in romans, and in letters a, d, e, h, i, l, m, n, r, t, u, x and z in italics), conveying more dynamism and versatility when it comes to composing visually. Hermann was designed not only to be accurate in terms of legibility but also to be wild and bold. That is why we took a big leap and designed from the beginning a font that is inspired by the world of 20th-century novels, using the name of one of its greatest exponents, Hermann Hesse.

The design of the typeface Moskau Grotesk is based on the signage created for the Café Moskau in Berlin by the graphic artist Klaus Wittkugel in the beginning of the 1960s. The Café Moskau, across from the Kino International on Karl-Marx-Allee in Berlin Mitte was one of the prestige edifices of the former DDR (German Democratic Republic). Built in the early 1960s, it advanced over the years and changing social developments to a trademark building of the capital. The lettering display on the roof was created by the graphic artist Klaus Wittkugel (October 17, 1910 – September 19, 1985). He had been Professor at the School for Applied Arts in Berlin, and, in addition to the creation of many posters, book covers and postage stamps, he was responsible for the signage of the Kino International as well as for the complete graphic treatment for the Palace of the Republik. The signage for the Café Moskau with the words »RESTAURANT«, »CAFÉ«, »KONZERT« and »MOCKBA« set in capital letters, becomes the basis for the Moskau Grotesk which was developed by Björn Gogalla in 2013. This face should not be seen as an imitation. A few shortcomings were »fixed«. In favor of maintaining the core characteristics some unique features were, however, not relinquished. Lower case letters and the missing capital letters were designed from scratch. It is not surprising that the plain, unassuming geometrical direction of the basic character style forms a bridge to the architecture of the 1960s. Inspired by the then favored, diverse possibilities inherent in the architectural example and wall reliefs, two complementary pattern fonts emerged.

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

Step back in time with Marion, the transitional serif typeface that exudes a nineteenth-century flair. With its classic structure reminiscent of Century Roman, Marion stands out with a stroke treatment that’s closer to the timeless elegance of Baskerville. The inspiration for Marion comes from a diverse array of old metal typefaces, resulting in a design that’s uniquely historic and fascinating. One of the most distinctive features of Marion is the hammer claw shape of the serifs, adding a touch of industrial charm and a smokestack vibe. The font is available in Regular, Italic, Bold, and Bold Italic, allowing for a range of possibilities when it comes to design. With old-style numerals and standard f-ligatures, Marion offers the perfect balance between historical design and modern-day functionality. Additionally, it includes some eccentric discretionary ligatures and chirpy swash letters, adding a whimsical touch to your graphic design projects. Take your design to the next level with Marion. Its historically inspired design and unique features are sure to add a touch of elegance and sophistication to any project, making it the perfect choice for designers looking to create something truly remarkable. 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.

Looking for a typeface that brings retro flair to your designs? Look no further than Pricedown! This typeface is a modern interpretation of Pinto Flare, a display typeface from the early 1970s. Pricedown has a boxy, retro design that’s perfect for adding a touch of nostalgia to your work. It’s been used in a variety of applications over the years, including as the logotype for the US game show, The Price is Right, and Technos Japan’s Tag Team Wrestling video game in 1986. In addition to its eye-catching design, Pricedown also features some fun interlocking character combinations when used in OpenType savvy applications. For example, when the letter “H” is followed by the letter “I”, a swash tail will tuck under the “I”, adding an extra flourish to your text. And if you prefer a more streamlined look, you can easily turn off this feature in your application. With nine different weights to choose from, Pricedown is a versatile typeface that allows you to skillfully attenuate its impact, making it perfect for a wide range of graphic design projects. So whether you’re designing a logo, a poster, or anything in between, Pricedown is sure to add a touch of retro style to your work. 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.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

Round Rope - Playful Display Font Round Rope - Playful Display Font is a fun and colorful typeface that is perfect for adding a playful touch to any design. This font was inspired by the idea of creating a font that is both playful and whimsical, perfect for children's books, branding, packaging, posters, and any design that requires a fun and lighthearted touch. The font is designed with a playful, rounded appearance and features a hand-drawn feel that adds to its charm. Round Rope is a versatile typeface that can be used for a variety of design projects. Its playful and whimsical appearance makes it perfect for use in children's books, cartoons, and other designs that require a fun and lighthearted touch. It's also great for branding, packaging, and posters, where its unique style can help your designs stand out. This font comes with a range of features that make it a versatile and functional typeface. It includes uppercase and lowercase letters, as well as Opentype features such as alternates and ligatures, which allow you to create unique designs and add even more character to your text. It also includes support for multilingual characters, making it easy to use in designs that require different languages. In the font package, you will receive three file formats: Round Rope otf, Round Rope ttf, and Round Rope woff. These formats make it easy to use the font across different platforms and devices, ensuring that your designs look great no matter where they are viewed. Round Rope is a fun and playful font that is sure to bring a smile to your face. Its unique style and playful appearance make it a great choice for a wide range of design projects. Whether you're designing for children or adults, this font is sure to add a touch of whimsy and playfulness to your work. In summary, Round Rope - Playful Display Font is a fun and colorful typeface that is perfect for adding a playful touch to any design. Its unique style and playful appearance make it a great choice for a wide range of design projects, including branding, packaging, posters, and children's books. With its range of features and file formats, it's also a versatile and functional typeface that can be used across different platforms and devices.

From today's point of view Katarine has a rather unusual origin. Initially an all-caps display face, what was to become the Medium weight of the family was augmented with a lower case, then the character set was completed by adding all the missing glyphs. The next step was the creation of the Light and the Bold weights with matching Italics. This working method compromised the relationships between the characters across the different weights After some consideration the decision was made to start over and draw the complete family from scratch. This time the "conventional" process was followed — first the Light and Bold weights were designed. Those extremes were used to interpolate the Regular, Medium and Semibold weights. When compared to the original, the glyphs of the new fonts are slightly wider. The construction of the letters is sturdy, with an x-height that varies from the heaviest to the lightest weights. The relationship of the stem weight between the horizontal and vertical strokes is carefully balanced. Characters are open and firm; the italics have room to breathe. The original fonts included two sets of small caps — Small Caps and Petite Caps. However neither set were suited for emphasis, with the Small Caps being too tall and the Petite Caps too short. We decided to replace them both with one set of traditional small caps, slightly taller than the x-height, perfectly suited for emphasis in text usage. The original version of Katarine was partly incorporated into the new OpenType versions. Thus most of the original arrows, frames and boxes can be found in the new Katarine. Each individual weight now contains 830 glyphs, nine sets of numerals, small caps, numerous ligatures and fractions. An additional font named Numbers contains numerals in circles and squares, and is now augmented with accented caps and a number of terminal alternatives, which can easily be accessed through stylistic sets. We also added two extra variants, Experts Regular and Experts Black (in inverted form). Katarine Std preserves the solid construction and excellent legibility of the original family, but has now become a fully featured OpenType typeface. Katarine is suited for a broad range of applications, from simple layouts to intricate corporate systems. It is the typeface of choice where the cold, austere character of modern sans serifs are inappropriate, yet simple shapes and good legibility are required.

New for 2020 Bodoni Ornamental now has two italics to choose from, one basic italic and a second which is more of a true italic with a few uppercase letters that have been stylized. Only one italic can be style linked to the regular upright version so in the second italic we've added Avanti to the name which means forward in Italian. When purchasing the regular upright and Avanti italic together they will install as two separate families. Bodoni Ornamental is a revival of a very old typeface based on the Poster Bodoni letter shape. Giambattista Bodoni passed away in 1813, this decorative version was created in the 1820’s or 1830’s which was the time period when many of these ultra bold decorated type faces began to appear, the original artist is currently unknown. The original version of this ornate classic was only available as a set of uppercase letters, today over one hundred eighty years later this font is now complete with a new lowercase, numbers and accented characters for Eastern, Central and Western European countries. Due to the ornate detail in Bodoni Ornamental when printing itís recommended to use a laser printer 600dpi or greater, a 1200dpi printer will give you the best results rendering the most detail at the smallest possible point size for this font. Small home user Ink Jet printers are not recommended for Bodoni Ornamental unless you set the font to a very large point size. With Ink Jet printers much of the detail in the letters will bleed together as the ink hits the page, commercial Ink Jet printers such as GiclÈe printers may give good results. When using Bodoni Ornamental for digital images including web site graphics it may help to add a one pixel stroke fill around the letters setting color to white or grey, this may help the web site images display better on some computer's. You will need a photo editing application such as Adobe Photoshop to create your image adding the stroke fill and save as a jpg , png or gif file. I hope you enjoy this old font as much as I did making it. Note: When previewing the Bodoni Ornamental font in the Windows font preview you may notice some letters appearing lighter and some darker, this is a problem with the preview window and some ornate fonts, Bodoni Ornamental will print normal and not with mixed light and dark letters.

IMPORTANT: This is the VARIABLE VERSION of PG GROTESQUE This is my interpretation of Edel Grotesk – a “lost typeface” from circa 1914 produced by Johannes Wagner GmbH of Ingolstadt, Germany. PG Grotesque is definitely not a revival, or even a faithful reproduction of that typeface as I was unable to source enough accurate references. What I have done is take the essence and unique characteristics of that typeface and brought this forgotten gem right into the 21st century. This variable version includes 99 instances spread across 9 weights and 6 widths with the ability fine tune the width, weight, and italic angle to your exact preference. Distinctive features include high-waisted capitals, a straight-legged capital ‘R’, and flattened arches in the ‘a’ and ‘g’ glyphs. Using PG Grotesque will give your typography a distinctly retro feel with its vintage heritage inherent in every character. You will find this is an incredibly versatile typeface with added value from its extensive language coverage along with small caps availability at the click of a button. PG Grotesque will prove to be a valuable asset in your type arsenal. See full details and hi-res images at https://paulogoode.com/pg-grotesque

Introducing Xbka, the new must-have font for anyone looking for a vintage-modern, futuristic, cool, and sporty font. This display font is perfect for those looking to make a statement with their headlines or branding. With its unique blend of modern and vintage styles, Xbka is the perfect choice for anyone looking to give their designs a fresh and youthful feel. Its italic style adds an extra touch of elegance and creativity to any project. Whether you're designing a logo for a new sports brand, creating eye-catching headlines for a magazine or website, or adding a touch of urban style to your marketing materials, Xbka is the perfect choice. This font is great for use in a wide range of applications, including advertising, branding, web design, and print design. It's a versatile font that can be used in a variety of contexts, from sports and fitness to streetwear and fashion. Overall, Xbka is a unique and eye-catching font that is sure to make your designs stand out. So why not add it to your collection today and start creating something truly special?

Bay Tavern is the first weathered version of our Tavern font that's based on Algerian. With three weights, open faced and outline versions to choose from you're sure to find the right style for your new project, restaurant menu, logo, t-shirt design or Pirate costume party. Bay Tavern includes all the same alternates as our regular Tavern font family. While our original Tavern font has been increased to include five weights additional weights for Bay Tavern will have to wait for now, adding the notched cut in's were all done by hand which causes a lot of cramping so a long break is needed before creating the extra weights. The Fill fonts in the Bay Tavern family are meant to be used with Bay Tavern Open fonts, if you're using Bay Tavern Open then select Bay Tavern Fill, if you're using Bay Tavern Open L then select Bay Tavern Fill L, if you're using Bay Tavern Open S then select Bay Tavern Fill S, if you're using Bay Tavern Open SL then select Bay Tavern Fill SL, the same rule goes for the Open X version.

This design is characterized by its futuristic and modern aesthetic. The clean lines and minimalist approach create a sleek and sophisticated look, while the unique touches and use of the MGN Debris font give it a bold and edgy vibe. It is a perfect example of how a modern design can also be unique and innovative, with elements that set it apart from traditional designs. This style is perfect for businesses and organizations that want to convey a sense of innovation and cutting-edge technology. The MGN Debris font used in this design adds to its modern and futuristic feel. The font is bold and sharp, with a unique style that makes it stand out. It complements the overall design perfectly and adds to the edgy and unique vibe. This font is perfect for businesses and organizations that want to convey a sense of innovation and forward-thinking, and it pairs well with modern designs. Overall, this design is a great example of how a modern and futuristic style can be unique and captivating, with the use of the MGN Debris font adding an extra element of boldness and edge.

“Blackduck” font is a typical Gothic, usually named “Blackletter” . This typeface was born with the name of “Textur” and developed from Carolingian cursive. It was used in the middle age as sacred script, became increasingly narrower, his vertical lines were emphasized and his strokes very compacted to save space. Along the time the early German print typefaces derived in others styles that were more readable such as Schwabacher and Fraktur, very popular in Germany and sometimes associated to the identity of the country. The font "Blackduck" was inspired mixing carefully the last two “Blackletters”. We try to joine some characteristics of both to reach good legibility without loosing the strong impact and powerfulness of the shapes. Some minuscules like the “o” “c” “e” “d” are rounded on both sides, while both strokes join in an angle at the top and at the bottom. Some other lower cases are formed by an angular and rounded stroke. This font contains a full set of OpenType features; swashes, stylistics alternates, old style figures (Arabic numeral were carefully shape integrated), ligatures and some extras ornaments were added to help in your design. "Blackduck" includes diacritic signs for Central European languages.

Directors Cut Pro is a compelling new font series designed by Alex Kaczun. It recently won the second place—a commendation in the Canberra Typeface Competition. This handsome Geometric Antique serif design is based on the early 19-century Moderns and Scotch styles, infused with the warm charm of traditional antique, added for interest. Capturing the best of both ages: it's warm, comforting and persuasive. Directors Cut Pro's graceful aspects naturally invite uses at large sizes, for which we have created a stunning and elegant lighter weight. But, this workhorse typeface series incorporates a solid regular weight, along with its italic—ideal for a multitude of text purposes, at varying point sizes. A robust Bold weight is available for headlines and emphasis. Director Cut Pro comes with proportional as well as tabular lining figures for quickly setting up charts and tables. It also contains an extended character set—including most Central European languages. Alex Kaczun is in the process of expanding this typeface series to include additional weights, styles and proportions. Stay tuned! The large Pro font character set supports most Central European and many Eastern European languages.

The typeface family TV Nord is based on the corporate typeface NDR Sans which was developed by Elsner+Flake for the Norddeutsche Rundfunk (www.ndr.de) between 1999 and 2001. This new design came into being as part of a complete overhaul of the visual image of the NDR. This became necessary because the NDR, founded in 1954, incorporated the stations of the East German states Mecklenburg-Vorpommern (1992) and Brandenburg (1997) after the re-unification of Germany. The Hamburg advertising agency DMCGroup developed a new and unified image for the NDR which is in existence to this day. The typeface TV Nord relates to the design of the Trade Gothic and similar American sans serif typefaces of the early part of the last century. Its development concerns itself as much with good legibility for print, as it does for the reproduction on TV screens, which among others, is achieved through its high x-height. The logotype for the NDR as well was developed from the capitals of the NDR Sans. In 2014, the TV Nord was revised stylistically and expanded to incorporate all European-Latin languages. As part of this effort, further complementary cuts were added.

New-Yorker-Type was one of the first typefaces I tried my hand at in 1985. I meant it as a revival of the typeface used by the New Yorker magazine. I did not scan it. I just looked at the type and redrew it completely by hand. Only much later did I come to know, that there is a bundle of similar typefaces of that period. Rea Irvin's design for New-Yorker magazine was just one of them, maybe the best. In the next step I repaired some of the mistakes that I made more than thirty years ago. Now on the eve of 2020 I gave the font a complete overhaul and added a set of Swash Initials, Cyrillic and Greek glyphs and many ligatures. The font now has 1075 glyphs and is all set for most latin writing systems. On top of that I made two versions, a Classic one with rounded corners and a pointed Pro version for a more up-to-date look. Take your pick. Yours sincerely, honoring Rea Irvin a great type- and magazine-designer, Gert Wiescher