TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

Iza and Paulo W (Intellecta Design) are proud to announce Van den Velde Script. A free interpretation of the work of the famous master penman Jan van den Velde, to be found in the “Spieghel der schrijfkonste, in den welcken ghesien worden veelderhande gheschrifften met hare fondementen ende onderrichtinghe. ” (Haarlen, 1605). Van den Velde Script has evocative ancient ligature forms from the XVII Century Dutch master penman Jan van den Velde. Your indescritible writing-book was important not only with regard to the specific period it represents, but also in relationship to the entire history of calligraphy as an art: Van den Velde is rightly credited with having introduced and perfected a new trend in Dutch calligraphy. Our font, Van den Velde Script merges modern necessities o better legibility without loose the taste of his archaic origins. This enhanced OpenType version is a complete solution for producing documents and artworks whith a evocative and voluptuous style of calligraphic script: - dozens of stylistic alternates for each letter (upper- and lowercase), accessed with the glyph palette; - historical ornaments and fleurons in the typical style (and motifs) from the XVII century at the Lower Countryes accessed with the glyph palette using the Ornaments feature); - an extensive set of ligatures (100s of contextual alternates plus discretionary ligatures) providing letterform variations that make your designs really special, resembling real handwriting on the page; - a tour-de-force kerning work: over 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. Because of its high number of alternate letters and combinations (over 700 glyphs), we suggest the use of the glyph palette to find ideal solutions to specific designs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. However, we still recommend exploring what this font has to offer using the glyphs palette: principally to get all the power of the Contextual Alternates feature. You can has an idea of the power of this font looking at the “Van den Velde User Guide”, a pdf brochure in the Galçlery section. Two last things: take a special look at the Van den Velde Words (ready words) font and another super script font, Penabico. Van den Velde Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

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

Migae is a versatile and elegant display font designed to captivate and engage audiences across a wide range of design applications. With 14 distinct weight variants spanning from delicate Light to commanding Black, and complemented by a refined set of italics, Migae offers a harmonious balance of strength and elegance to fulfill your typographic needs. Key Features: 1. 14 Weight Variants: Migae's extensive weight range, including Light, Regular, Medium, Semi-Bold, Bold, Extra Bold, and Black variants, allows you to choose the perfect weight for your design, whether it's a subtle headline or a bold statement. 2. Italics: In addition to its standard upright styles, Migae boasts a comprehensive set of italics that adds versatility to your typography, conveying an air of sophistication and style. 3. Strong to Elegant Styles: Migae's design philosophy seamlessly combines strength and elegance. Its strong weights provide a bold and impactful presence, while the lighter weights exude an effortless elegance, making it suitable for a wide array of creative projects. 4. Modern Aesthetic: Migae's clean, contemporary lines and carefully crafted details make it an ideal choice for modern graphic and web design, editorial layouts, branding, and advertising. 5. Legibility: Migae prioritizes legibility across all weights and styles, ensuring that your messages are communicated effectively, regardless of the chosen variant. 6. Versatile Applications: From branding and packaging to posters, editorial design, and web headings, Migae adapts to various design contexts, making it a versatile choice for graphic designers, typographers, and creative professionals. Design Inspiration: Migae draws inspiration from the harmony of nature, where strength and elegance coexist. Its name, derived from the Korean word "미래" (miraee), meaning "future," reflects its forward-thinking design approach that is equally rooted in tradition and innovation. Ideal Usage: Migae is an ideal choice for those seeking a display font that can effortlessly transition between bold and delicate, exuding confidence and refinement in every style. It's perfect for branding, packaging, advertising, editorial layouts, and any design project where typography plays a pivotal role. Migae is more than just a font; it's a design companion that empowers creatives to achieve a perfect balance between strength and elegance in their visual communications. Explore the world of Migae and let your design projects shine with its captivating charm and versatility.

«Envelove» is the brand new typographic challenge handwritten by Yani Arabena and designed along with Guille Vizzari and Ale Paul, for Sudtipos. It all started as a game for Yani. A carefree and spontaneous calligraphy, making use of the pointed nib with black ink, exploring its expressive possibilities pressing against paper. With time that nib turned into her dearest tool to flow through her writing, breeding this particular style of hers that let her trespass the barrier that kept personal and professional passions apart. All that inspiration is present in «Envelove», a play on words that reflects the love of letters. An expressive free-and-easy typeface that follows no formal calligraphic model and lets itself go with the meaning of words, rhythm and sensations. «Envelove» successfully joins three different fonts, «Envelove Script»—free, spontaneous and unique of its kind—going together with «Envelove Caps»—an uppercase style that builds controlled but dynamic words thanks to its alternates and ligatures, and to its own true Small Caps set as well—and «Envelove Icons», ideal to decorate and bring to life any written message. «Envelove» encourages you to write as if you have a nib, ink and an envelope. It invites you to take part in other worlds like a magic cocktail, a summer night, a long-awaited reunion, a first dance, a dish cooked with your own hands. The fashion world, gourmet, stationery, scrapbooking and everyone where a Handmade or Handcrafted feel is craved for, save a special place for «Envelove». (The illustration series that are shown with «Envelove» were made by the incredible Argentine illustrator Eugenia Mello.)

Evanston Alehouse is the first font in a larger collection of typefaces inspired by years leading up to the American prohibition. For the past two years I was living in Evanston, IL, a suburb of Chicago. After learning it was one of the birthplaces of the prohibition movement, I set out to learn more about it, and decided to develop a type collection that captures the dynamic era in our nation’s history. In the century that prefaced the ratification of the 18th amendment, saloons, taverns and alehouses boomed as the American working class enjoyed beer and discovered whiskey and gin. At the same time, the Temperance League was forming and gaining strength. By the turn of the century, these temperance societies were common in the culture of the country, with individual towns and states already on the move to abolish alcohol consumption. However, it was undeniable that by this time in history, America loved to drink. This font is inspired by the signage seen outside such drinking establishments. Back to the modern era, Evanston Alehouse is a 25 font family that includes 3 weights, 4 widths and 3 heights. It has special features that add depth to the font, with discretionary ligatures and stylistic alternatives. It also includes a complementary set of ornaments, including line breaks, frames, borders, and laurels. Here’s a snapshot of what you get with Evanston Alehouse: 2 Styles/Postions: Sharp (regular) and Round 3 Weights: Light, Medium and Black 4 Widths: 1826 (condensed), 1858 (narrow), 1893 (wide) and 1919 (expanded) 3 Heights: Capitals, lowercase and small caps 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives 1 Ornament font with over 100 graphic extras

Welcome to Candyhouse! It's bold, playful, loopy & the party never stops! This hand drawn font set is perfect for injecting some bubbly energy into your project. The great thing about Candyhouse is that it's not just a script font; it's crammed full of extra goodies such as a complete set of alternate lowercase characters, an additional all-caps font, and a bonus set of 30 hand-drawn elements including doodles, swashes & arrows. All of these combined provides you with a huge range of layout options and fun ideas to experiment with. Candyhouse consists of 4 fonts; 1. Candyhouse • A hand drawn script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Candyhouse Alt • This is a second version of Candyhouse, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Candyhouse Caps • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Candyhouse script font. Also includes numerals and a large range of punctuation. 4. Candyhouse Doodles • Need a bit more visual appeal to your text? This bonus font includes 30 hand-drawn doodles, swashes and arrows which are the perfect companion to Candyhouse when you need that extra personalised touch. Simply install the font and type any a-z (swashes) or A-Z (doodles) letter to generate a doodle. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Finnish, Polish, Indonesian, Filipino, Malay

In a world of cookie-cutter fonts and uninspired typefaces, Chrysotile stands out as a bold and unconventional choice. Comprised of rusty metal tiles and spartan block lettering, this typeface is not for the faint of heart. But for those who dare to be different, Chrysotile offers a chance to make a statement that will not be ignored. One of the key features of Chrysotile is its custom letter pairings, which are automatically swapped to achieve a more genuine look. The grainy tablets of Chrysotile give your message a rugged, industrial feel that is sure to make an impression. If you’re looking for a font that will help you stand out from the crowd, Chrysotile is the perfect choice. With its unique blend of rusty metal tiles and spartan block lettering, this typeface is unlike anything you’ve ever seen before. So why settle for the same boring old fonts when you can make a statement with Chrysotile? Try it out today and see the difference it can make in your designs. 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.

OpenBookING is a gimmick or novelty font that has letters on pages of a book. It is caps only and monospaced. The letters on the upper-case keys are on the left-handed pages of an open book and the letters on the lower-case keys are the same letters but on the right-handed pages of an open book. One could alternate upper and lower case keys to get letters on complete books, but the Opentype feature of contextual alternatives (calt) does this automatically. Several previous typefaces from IngrimayneType used the calt feature to alternate shapes that fit together in an interlocking pattern, such as alternating concave and convex shapes. OpenBookING uses the calt feature in a different way, to alternate two halves of a symmetrical shape. To provide two copies of numbers and common symbols, some non-alphabetical characters are unavailable because their slots were taken by the second form of the number or common symbol. If stylistic set one (ss01) is turned on, spaces are replaced with empty pages. This may leave you with unwanted spaces at the end of lines, and to eliminate them, turn off the feature (or change the font) for these spaces. The empty pages can be used in a layer to add color to the text. There is also a second set of empty pages with a filled page that can also be used in layers. (See poster for examples.) These pages are on the (logicalnot multiply) and (register divide) characters for the first set and on the (ordmasculine ellipsis) and (macron trademark) keys for the second set. Finally, OpenBookING has a large set of accented characters if anyone should need them. The letters used on the books were derived from the font Myhota-Bold. For a related typeface of letters on book covers, see NewLibrary. OpenBookING has limited uses and is priced accordingly.

Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities. The Arapix is an almost traditional Naskh. It is elegant and easy to read even in very small sizes. It includes almost every feature you would expect from a high range Naskh font. Its humanistic look and feel fit perfectly to its Latin counterpart. Arapix was originally designed for a web project that didn't see the light a few years back. It started with the idea of fitting both Latin and Arabic into a 12 pixel vertical grid. The latin glyphs fit properly within the vertical limits, but when it came to the arabic glyphs, it proved to be more challenging. Arabic letters with lower diacritic dots like the (Yeh-fina) or letters with accents above like the (Alef-Hamza-above) need much more space than any Latin letter. Add to this the fact that accents needs to be positioned above and below the glyphs. It is technically impossible to fit a (Yeh-fina-kasratan) or a (Alef-Hamza-above-shadda-damma) into 12 pixels. Initially the accents were dropped and not included in the design. Although it seemed impossible at the start, Sylvain found a solution in the end, including as many contextual alternates and contextual kerning as needed to avoid every collision between letters and diacritics, letters and accents, and diacritics and accents. The contextual kerning was added to achieve an even letter and word spacing in longer text. Arapix is amazingly legible in small size on screen and in print. On the other hand, it also works perfectly as display titling font due to its unique and contemporary pixel approach. It can be used for screens with very low resolution as well as for high resolution screens and prints. The new Arapix comes with various new features and new glyphs including Persian and Urdu letters, stylistic set, old style figures, contextual kerning, contextual alternates and a few icons too. Enjoy the new Arapix and have fun with it.

Bardamu is a variable slab serif font family designed by Eugene Tantsurin and Anna Remm, and released by Groteskly Yours Studio. Bardamu is a type family that is open to interpretation and experimentation, yet this ambiguity does little to hide its inherent friendliness and good vides. Bardamu can easily be used in a variety of projects and feel at home both in graphic design, branding, web design or editorial design. Thanks to its unique letterforms and eye-catching design choices, it can be that final touch that makes your brand pop! One of the standout qualities of Bardamu is its remarkable versatility. Bardamu comes in 25 styles, allowing users to choose a style that best fits their needs. In addition to that, it offers a wide range of styles, from sleek backward-slanted italics at -20° to elegant upright styles, as well as regular 20° italics. For static fonts, there are two extra subfamilies available (10° Half Italic and 10° Half Reverse) that can be used for creating more complex hierarchy in any text. With a total of 25 static fonts and 1 Variable font, Bardamu is the perfect workhorse display slab serif with unlimited typesetting capabilities. Each font in the Bardamu family boasts an extensive 700+ character set, encompassing all major Latin-based languages, punctuation marks, symbols, and even supplementary characters. Bardamu takes flexibility to a whole new level with its incredible OpenType features that further enhance its versatility. With features such as Case-Sensitive Punctuation, Stylistic Alternates, Sub- and Superscript, Tabular Figures, and Localised Forms, you can fine-tune every detail of your design to perfection. Moreover, the multiple stylistic sets available in Bardamu allow you to switch between various versions of the same glyph effortlessly. Bardamu type family includes 25 static styles as well as a variable font. All styles can be purchased separately or as a full family package. Two styles can be downloaded free of charge. If you'd like to explore Bardamu further, we also offer free trials upon request.

Are you ready to elevate your design game with the unique counterless 21st Century Art Deco typeface, Pound? Pound is not your average typeface. Its bold, beefy design is perfect for pounding out meaty phrases with confidence and vigor. With its counterless design, Pound stands out from other typefaces on the market, making it the perfect choice for designers looking to make a bold statement. One of the key features of Pound is its letter pair ligatures, which interlock and break up the monotony of plainly repeating characters. You can turn off your application’s “standard ligatures” function to disable this effect. In addition to its unique design, Pound is also available in a simpler Web style for situations where less detail is required. So what are you waiting for? Take your designs to the next level with Pound, the counterless Art Deco typeface that packs a punch. Get ready to make a statement and stand out from the crowd. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The futuristic innovation of Superego—the ultimate geometric-techno typeface that will revolutionize your message like never before. With its creative aesthetic, Superego is a powerful force inspired by the cabinet artwork of the 1981 arcade game, Stargate. With an unyielding sense of innovation and technological perfection, Superego features primitive geometric shapes and unconventional letterforms that are nothing short of extraordinary. Every single letter is crafted to perfection, making each message you create a work of art. Superego is more than just a typeface. It’s a testament to the future of design, a bold and daring statement that refuses to be silenced. Superego will elevate your message to new heights, bringing a unique and unexpected edge to your designs. This is not your average typeface. This is a transformative tool that will leave a lasting impression on anyone who encounters it. So join the revolution and experience the unparalleled power of Superego today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The world of aviation is filled with clean and iconic logotypes, yet some of the earlier logotypes were friendly and simple. The Tailwind family finds its origin of inspiration in an early Air Jamaica company logo, and from there is expanded into a small but comprehensive font family. Tailwind celebrates the typographic stylings of the 70’s, with the soft rounded terminals and open geometric feel, transcending its brand inspired origin to give birth to a family that feels both retro and modern. It inherited the friendly stylings of the mostly lowercase logo that inspired it, and goes on to include a full standard character set with expansive international support of latin based languages, small caps styles, and three weights jumping from light to regular to a heavyweight black. This family is ready to chart a course for your designs towards that of a modern, comfortable appeal. Here's what's included with the Tailwind Collection bundle: 382 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) 6 fonts in 3 weights: Light, Regular, Black . Small Caps versions available in all weights. Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Tailwind Collection is for you: You're in need of a soft rounded font with a variety of weights with small caps for your designs You're a retro airline junkie and have to have anything inspired by Air Jamaica You love VAG Rounded, but you really want something just a little different You really dig the Akademics & Bloomingdales logos, but would like a softer type in that genre You just like to collect quality fonts to add to your design arsenal

This font came to be when I was creating a cake topper mockup (see the promo images) and didn't have a thick script font that I liked for it. So I got to work writing out some fun chunky cursive letters that could top a cake! The concept of breaking bread is an old one, often meaning two parties working together. In the Breaking Bread font, I've combined that heavy connecting script with a hand-lettered sans-serif uppercase set. It works in all lowercase, all uppercase, and title case with equal ease! I've also included a number of alternates and ligatures, so you can have a truly hand-written look when double-letter words show up, plus a few extra characters and swashes to add some pizzazz to your work. It's great for crafting a mug or t-shirt, creating a logo, or making product packaging! And all of those alternates are PUA-encoded, so they're easy to access in any character map. Breaking Bread also comes with over 300 extended Latin characters for language support, including but not limited to: Catalan, Czech, Danish, Esperanto, Estonian, Finnish, French, Gaelic, German, Icelandic, Irish, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Romanian, Serbian (Latin), Slovak, Slovenian, Spanish, Swedish, Turkish, Welsh, and more!

Traseraha – A Retro Cartoon Font Traseraha, a captivating retro cartoon font, effortlessly channels the whimsical charm of classic animated aesthetics. Designed by the creative minds at Traseraha Studios, this font pays homage to the golden era of cartoons with its playful curves and vibrant personality. Each letter exudes a nostalgic vibe, reminiscent of vintage comic strips and animated shows, making it an ideal choice for projects seeking a touch of retro flair. The Traseraha font seamlessly blends fun and readability, allowing it to shine in a variety of applications, from logo designs to creative headlines. With its unique character and timeless appeal, Traseraha captures the essence of a bygone era while injecting a dose of lighthearted energy into contemporary design projects. Traseraha is perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, game, fashion and any projects. cartoon font, cute font, traseraha font, retro, vintage, 90s, 80s, 70s, cartoon, cartoon font, comic, comic font, delicious, display, display font, distressed, hand drawn, handwritten font, headline, holiday font, lettering, mexican, mexico, mexico font, packaging, playful, poster, retro, sticker, vintage font Fonts include multilingual support for; Afrikaans, Albanian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Italian, Latvian, Lithuanian, Norwegian, Polish, Portuguese, Slovak, Slovenian, Spanish, Swedish.

Being loyal to your same old font will make your designs plain and dull. You need a prominent font to live up your messages without losing the essence of the content itself. Time to welcome Hello Eiffel, a font to help you deliver your desired messages without omitting the whole design. Hello Eiffel is a display font in simple, yet interesting letter shapes with which you can strengthen your desired messages to deliver without distracting attention on the text content itself. Despite its simplicity, Hello Eiffel remains interesting in modern styles to enhance the design’s aesthetic value. Its letters are legible enough to be flexibly applicable for various text sizes, and it gives you a clipart as a bonus. You can enjoy the available features here as well. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Hello Eiffel fits best for various design projects, such as brandings, posters, banners, headings, magazine covers, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Thanks for checking out November Starlight! A lovingly hand-painted script font, fantastically elegant & eccentric with a sprinkle of carefree fun. November Starlight doesn't play by the rules - with extra bouncy characters, long vertical brush strokes and authentic hand-painted edges, it's bound to make a bold statement on anything from greeting cards and invitations, to personalised logos and handwritten quotes. November Starlight consists of 4 fonts; November Starlight • A cursive font containing upper & lowercase characters, numerals and a large range of punctuation. November Starlight Alt • This is a second version of November Starlight, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. November Starlight Clean & Clean Alt • Totally clean versions of each of the November Starlight fonts, with all rough brush textures removed. Perfect for specialised printing techniques such as laser & vinyl cutting, or simply for a silky smooth finish to your text. Special Characters are also available for several lowercase letters, with added beginning & end swashes - please see the character map image for a full list. These characters are accessible via software with a glyphs panel, e.g. Photoshop CC, Adobe Illustrator.

Introducing Echo Soul; a free-flowing and carefree brush font duo, hand painted with love. Echo Soul speaks from the heart and doesn't hold back. With elongated brush strokes and a natural flow, it's the perfect choice for handwritten quotes, product packaging, and logo designs with a personal and affectionate touch. The Echo Soul family consists of; 1. Echo Soul • A handwritten script font containing upper & lowercase characters, numerals and a large range of punctuation. 2. Echo Soul Alt • This is a second version of Echo Soul, with a completely new set of lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. 3. Echo Soul Sans • An all-caps font containing uppercase-only characters, perfect for supporting text to compliment the Echo Soul Script font. Also includes numerals and a large range of punctuation. Stylistic Alternates • Are also available for several lowercase characters - these have elongated tails and look great when placed at the end of a word. These can be used by turning on 'Stylistic Alternates' in OpenType capable software, or accessing via a Glyphs panel.

Developed for screen For not the first time, Fontsmith was commissioned to develop a font for one of the UK’s terrestrial TV channels. The product was a clearly-defined three-weight family. When italics were added, it became FS Matthew, a clean, stylish, structured sans serif with swooping, open curves and a bright, lively personality. Southbank Inspiration for many of the forms of FS Matthew came from details found within the modernist buildings and architecture of London’s Southbank, such as the Royal Festival Hall. During the font’s gestation, Jason had found himself at London Studios, a TV studio on Southbank, and a wander around the neighbouring arts buildings proved thought-provoking. The result was a font with a very British character: solid forms that provide the platform for innovation and distinctiveness. Feelgood efficiency FS Matthew’s trademark is efficiency with a feelgood factor: disciplined enough for corporate identities, websites and signing systems, and colourful enough for logotypes and advertising. Its versatility and excellent legibility are achieved via some unexpected details: the reaching curves of the “g” and “y”; the simple shape of the “u”; an off-kilter “k”; generous counters; and a slightly condensed aspect that makes FS Matthew a space-saver in text or title sizes.

Berryfield started as an experiment: making a font entirely out of geometric shapes. It started with a couple of circles and a couple of rectangles, and was constructed entirely from those parts, and parts made from those parts! For the uppercase, I took style inspiration from the heavy serif classics. But when it came time to create the lowercase set, I took a sharp turn and looked to fun unicase fonts, creating uppercase-height lowercase letters, in addition to uppercase alternates. When I finished Berryfield Regular, I liked it so much I made a lighter version (almost like a typewriter font), and a heavier version, to give you even more variety! Each font in the family contains over 520 characters, including over 300 extended Latin characters for language support. There are also a number of alternate letters to choose from, as well as superscript ordinals (ST, ND, RD, and TH), all of which are PUA-encoded for easy access no matter what design program you're using. Berryfield was a ton of fun to make, and I hope you have a ton of fun using it! It's smooth and easy for both print and crafting; the uppercase alone is straightforward enough for a magazine headline, but combining in the lowercase makes it quirky and fun.

Galia is a new font with a vintage character designed by Carine de Wandeleer, inspired by the beautiful look of Victorian calligraphy, capturing all the elegance of its flourishes. Galia has a variety of ornamental swash letters; hundreds of ornamental and descending ascenders allow a beautiful interaction of strokes and combinations, avoiding overlaps or conflicts. Galia has a total of 947 characters, in OpenType format, such as Stylistics and Contextual Alternatives, Swashes, Ligatures, up to twenty stylistic games by lowercase and three in the uppercase, which allow you to mix and match pairs of letters, in addition to a wide set of ornaments perfect for interacting with the text. To this, we add a support of central European language to adjust your design. This will help your creativity and make it easier to do the impressive and elegant typographic work. All OpenType features can be accessed through OpenType compatible applications or the character map to view and copy any of the additional characters you want to paste into your favorite text editor / application. With virtually endless ways to personalize its use, Galia helps you to design invitations, greeting cards, logos, business cards, fashion magazines, food, packaging and menus, book covers and whatever your imagination!

»XPress-Rounded« is my new addition to »XPress«, my Sans-Serif that impresses – especially in small sizes – with its outstanding readability. »XPress-Rounded« looks very different, almost like a completely new font. But the rounded version has the same seven precisely calibrated weights from »Thin« to »Heavy« and its corresponding italics make this font-family universally usable. The »XPress« fonts got their bearings from the fabulous American »Gothic« fonts of the twenties of last century. Modern, present day elements, high lowercase letters and infinitesimal elegant slight curves in start- and end strokes make the font family not only great for body copy, but also very useful in advertising. Enjoy! »XPress-Rounded« ist meine neue Erweiterung zur »XPress« Familie, die durch aussergewöhnliche Lesbarkeit auffällt. »XPress-Rounded« sieht jedoch vollkommen anders aus als sein älterer Bruder. »XPress-Rounded« hat jedoch die selben sieben präzise aufeinander abgestimmten Schnitte von »Thin« bis »Heavy« und die dazu passenden Kursiven. Das macht die Schriftfamilie vielseitig einsatzfähig. Die »XPress« Schriften basieren auf der Formensprache der grossen amerikanischen Groteskschriften der zwanziger Jahre des letzten Jahrhunderts. Durch moderne Formelemente, große Mittellängen und unendlich leichte, elegante An- und Abstriche ist die Schrift jedoch nicht nur als Textschrift, sondern auch im gesamten Bereich der Werbung vielseitig einsetzbar. Viel Erfolg!

Say hello to new serif font, Holy Cream! Holy Cream is a font that takes you back to the trendy retro era. With a classic display serif style but with a modern feel, Holy Cream emphasizes the uniqueness and elegance of each letter. The bold, contoured serif design provides a strong vintage touch, while stylish and quirky alternatives add a charming creative dimension. When using Holy Cream, you will feel a touch of fun nostalgia, but also explore ongoing design trends at the same time. Whether you want to feature your headline in a print ad, poster, or other graphic design, Holy Cream delivers a trendy, retro vibe that grabs attention with its ability to adapt to a variety of visual styles. So, with Holy Cream, make your design speak in a stylish and unique retro style, captivate the audience and make an unforgettable impression. Here's what you get: Holy Cream Regular and Italic All Multilingual symbol Opentype features ( ligature, alternate ) Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Multilingual character supports : (Afrikaans, Albanian, Catalan, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Lithuanian, Maltese, Norwegian, Polish, Portuguese, Slovenian, Spanish, Swedish, Turkish, Zulu)

Peleguer typeface is the reinterpretation of the characters that the valencias goldsmiths Peleguer Manuel, father and son had opened and merged between 1779 and 1783 on behalf of the Royal Economic Society of Friends of the Land of Valencia “in order to create a Factory letters. Then during that time, reached 6 degrees of open letters (small pica, pica, gross pica, text, great primer and double pica). It appears that the letters never were done, and were themselves Manuel Peleguer who kept the punches and dies, leading to create a foundry-printing which only came out 5 or 6 books or documents for the single year of 1784 . One of these books, “Praise in the solemn funeral service …” made ​​with the degree of “gross pica” samples were selected to take the characters for subsequent drawings on the following parameters for the unity and a contemporary look to the source: Keep the proportions of the original source (but unifying the shapes of the serifs, as these were different according to repose at baseline or in descending order). Match the counterforms and match the fallen traces from the cursive. En short, “catch” the formal essence of the source and following update current typographic design criteria to achieve a source with good legibility and subtle personality.

TT Slabs update 1.110 What’s new: Case Sensitive Forms Tabular Figures Fractions Numerators Denominators Superiors Scientific Inferiors TT Slabs useful links: Customization options | Instagram | Facebook | Website About TT Slabs: World needs a beautiful, simple and high-quality fonts. We need simple and geometric fonts. Slab is a form of serifs, which gave its name to the font family. If you are looking for a versatile font with wide proportions for your projects—TT Slabs will suit you perfectly. Optimized for the websites, mobile applications, and printing materials. We offer you to have a look at this font’s narrow version—TT Slabs Condensed. TT Slabs language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Kilkenny is a decorative, Victorian-style font based on the metal type named Nymphic that was designed by Hermann Ihlenberg. Ihlenburg was born in Germany in 1843 where he studied art and worked for several German type foundries. He moved to the USA in 1866 and worked for the L. Johnson & Co. foundry, later MacKellar, Smiths & Jordan. American Type Founders acquired this typeface when they took over the MacKellar, Smiths & Jordan foundry and Nymphic appears in the ATF catalog of 1896. For this digital version, the character set has been expanded to include accented characters, punctuation, and currency symbols—and most everything you would expect to find in a digital font. The original metal font consisted of swash caps, upper case characters, and a “morticed” lower case, which was raised off the baseline. This mortcied form was designed to nestle inside the ornate swash caps as well as to work with the upper case. The five digital versions contained in this set are basically different configurations of these different alphabet sets, they differ as follows: Kilkenny—the original upper case version with a modified lower case that has been enlarged, shifted to align along the baseline, and given taller ascenders to give it a more “regular” appearance. Kilkenny Eureka—true to the original design with the “morticed” or superior lowercase forms. Kilkenny Swash—original swash caps with the modified lower case. Kilkenny Swash Caps—original swash caps with the original caps as the lower case. Kilkenny Swash Eureka—swash caps that have been adjusted to match the weight of the original lower case forms. The OpenType version contains all of the above, plus additional Central European and Cyrillic characters for a total of almost 1000 glyphs.

The typeface Hand Of Evouli is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz. The display font based on the original Handwriting. Digitized via handwritten template. Thanks to Evouli. 6 font-styles (Light Pen, Bold, xBold, Black Marker, Black Bounce, Mix) + 1 icon-style with 567 glyphs (Adobe Latin 3) incl. 100+ decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ❤️ or #SMILE for 🙂 as OpenType-Feature dlig) and stylistic alternates (4 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Of Evouli ■ Font Styles: 6 font styles (Light Pen, Bold, xBold, Black Marker, Black Bounce, Mix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 567 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 87 languages: Afrikaans Albanian Asu Basque Bemba Bena Breton Catalan Chiga Colognian Cornish Croatian Czech Danish Dutch English Estonian Faroese Filipino Finnish French Friulian Galician Ganda German Gusii Hungarian Inari Sami Indonesian Irish Italian Jola-Fonyi Kabuverdianu Kalenjin Kinyarwanda Latvian Lithuanian Lower Sorbian Luo Luxembourgish Luyia Machame Makhuwa-Meetto Makonde Malagasy Maltese Manx Morisyen Northern Sami North Ndebele Norwegian Bokmål Norwegian Nynorsk Nyankole Oromo Polish Portuguese Quechua Romanian Romansh Rombo Rundi Rwa Samburu Sango Sangu Scottish Gaelic Sena Serbian Shambala Shona Slovak Soga Somali Spanish Swahili Swedish Swiss German Taita Teso Turkish Upper Sorbian Uzbek (Latin) Volapük Vunjo Welsh Western Frisian Zulu ■ Design Date: 2022 ■ Type Desi­gner: Evouli & Manuel Viergutz