Blom is a humanist sans with subtle squarish character in reverse contrast. The combination of heavy horizontals and modern geometry give the typeface a unique visual aesthetic whilst making small text perfectly readable. Blom bucks the trend of conventional letterforms in favour of a versatile typeface with bags of originality, that is both inventive in style yet completely functional in a wide range of intended uses. Details include 463 characters, six weights with matching italics and five variations of numerals. Opentype features include inferiors, superiors, fractions, slashed zeros, case-sensitive forms, ligatures and language support covering Western, South and Central Europe.

Amasis is a slab serif design which has been drawn with a humanist approach, rather than the traditional geometric construction associated with this style of letter. The result is a typeface that has an affinity with the Ionics, although in character it belongs to the latter decades of the twentieth century. The Amasis italic fonts, rather than being sloped roman or cursive in nature, are related more to the Old Style italics. Amasis works particularly well in small sizes where readability is important. Amasis has proved excellent for use on low resolution printers and for facsimile transmissions.

Good Show is a Bold Script Font This font describes about stylist, humanist, dynamic, funny, easy going, cool, and easy to use and will bring a good harmony when the letters are connected and paired each other. Good Show inspired from pop culture era. FEATURES - Uppercase and Lowercase letters - Support Opentype Features - Contextual Alternates - Stylistic Alternates - Numbering and Punctuations - PUA Encoded Characters - Multilingual Support - Works on PC or Mac - Simple Installation USE Good Show works great in any Branding, Logotype, Apparel, Poster, Product Packaging, Advertisement, Label, Product Design, Magazine and any projects that need Bold Handwritten Font. Enjoy using! Thanks. HIRO.std

Timernis is humanist multilingual contrast sans serif available in eight weights from thin to black. All caps have this super elegant, classic proportions old school look and is based on 1940 stone engraving commemorative plaque. The engraving itself boasted sophisticated clean look and was a joy to look at. All caps: Would suit display usage such as: signage, titles, headers, engravings, high end packaging. Do try putting space between the letters in your selected word for suave and chic feel. Expanded round shapes are prevalent in lowercase, which is legible in small sizes and pleasant to the eye.

Krooner is a serif display typeface that seeks sophistication through elegance. With a compressed style and wide circular figures, it stands out as a typeface for short titles, its italic version has a high level of readability for long texts without losing its style in small sizes. The characters are created with a great level of detail that can be appreciated in its greatest splendor in large sizes. It has more than 600 characters and ligatures that together with its rational, humanist and contemporary serif features make it very versatile for a large number of applications.

Couturier font is all about haute couture: classy ready-to-use characters for each project, perfectly drawn curved shapes and well-balanced counterforms. Elegantly embroidered ligatures, alternative glyphs and beautiful swashes give the font an extremely elegant look. Couturier comes in 4 weights, ranging from Regular to Black, with matching italics, resulting in a total of 8 fonts that help you achieve a strong composition in your publishing projects. Its true italics with a humanist feel give each design a chic personality. The font contains a set of more than 1,200 characters that support over 200 languages.

Latina is our first humanist typeface designed for use in continuous text. This font is based on calligraphy, but calligraphic features have been changed in order to make Latina a more neutral font. This prevents readers from losing their focus when reading continuous text. On the other hand, these same features get highlighted when using the font for headlines or display text. This 11-weight family includes italics and small caps, and supports 219 different languages as well as several sets of figures. Latina is the perfect choice for publishing design (books and magazines), branding and advertising.

Gaspo Slab is a fresh slab serif typeface that features esthetically pleasing curves, strong serifs, ample counters, humanist proportions and ink traps. The result is a very functional font with a contemporary design and highly readable at small sizes. Gaspo Slab consists of 7 weights, from Ultra Light to Black, with matching italics. This family comes with a 434-character set that includes European diacritics, tabular figures, alternative characters, numerators and fractions, making it possible to use the font in 128 different languages. The font is well-suited for headlines, medium-length text, magazines, newspapers, advertising, corporate use and product design.

Acrom is a geometric sans serif typeface with a minimal stroke contrast. It was designed with a modern, contemporary context in mind. Acrom is not merely mechanical, it can also be recognised as a natural typeface with subtle geometric aesthetics. The humanist quality of the font aids legibility across both text and display work. Acrom’s main characteristics lie in the injection of stylistic forms that enhance its individuality without overpowering the font’s functional purpose and integrity. The font can be tamed utilising the set of alternative characters available within the typeface. Details include 500 characters, manually edited kerning and Opentype features.

Foro was designed in 2012 to be a slab serif with an appealing flow, warm, and less harsh than many slab serifs. It evinces an attachment to humanistic shapes, models and proportions. Foro’s demonstrated strength renders it excellent for texts, and its clear and distinct details are an advantage in display sizes. Foro comes in 16 styles and in OpenType format. All weights contain standard ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals and arrows. Foro supports Western European, Central and Eastern European languages.

SK Greenland is a humanist sans serif font family with geometric and organic forms. Synthesizing Greenland's thousands of years of organic history and modern period, this font combines the organic nature of Greenland with the geometric structure of its urban areas. This font family, which contains 14 fonts and 9856 glyphs in total, contains all the typographic elements you will need in your designs. You can use this font family, which includes many unique ligatures, without any problems, from headlines to long text. Greenland offers full support for the Latin alphabet while also supporting many other alphabets.

Proza is a humanist sans serif typefamily, consisting of 12 styles (6 weights + italics), with roots in serif designs from the Renaissance, such as Garamond and Jenson. Proza was made to function well at a large range of sizes, from the smallest of text sizes, to gigantic posters, making it a highly versatile type family. Its large character set (support for 100+ languages) and opentype features do all the heavy lifting for you, while its elegance and refined details ensure to deliver a punch of class to your designs. A detailed article about the development and design of Proza on ilovetypography.com.

A sturdy and solid presence, CamingoSlab is defined by its heavy serifs, low stroke contrast and elliptic curves. Yet it retains a light touch, and feels vivid and friendly, thanks to the humanistic tone that derives more from handwriting than from strict construction. Special attention has been paid to compatibility with the other members of the Camingo series — With their consistent line heights, an equal grey value and the same formal language it can be seamlessly combined with CamingoDos and CamingoMono. CamingoSlab comes with a Pro version that contains small caps, ligatures, 10 different figure sets, stylistic alternates and two sets of arrows.

Linotype Syntax™ Serif is the serif typeface that complements Linotype Syntax™, both created by Swiss type designer Hans Eduard Meier in 2000. With this new design, Meier has at last given shape and structure to the invisible muse that inspired him in the 1950s when he conceived his monoline sans serif based on humanist or Oldstyle letterforms. The calm legibility of this workhorse text family is accented by Meier’s signature of subtle dynamic movement, making it ideal for longer texts in books and magazines. It combines harmoniously with the other Syntax typefaces, Linotype Syntax™ and Linotype Syntax™ Letter.

Lupio comes as 102nd family in our catalogue. It is geometric sans serif family with humanistic elements. Lupio family contains variable and classic versions, so you can pick which one suits better for you and your project. Classic version is additionally fine tunned to get overall character look more equalised and uniform. When it comes to distinction – in sea of dozen other sans serif famlies, we made Lupio decently recognizable. You won't mistaken him with others. Lupio is designed as working horse family, to be used in all possible situations – from websites to packages, editorial design and applications.

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial-style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

RooneySans is a humanist sans-serif typeface, and the latest addition to the Rooney family. It shares the same attributes as its seriffed companion – softly rounded terminals and a moderate contrast, thoughtfully applied to classical sans-serif proportions. Although RooneySans was developed as a stand-alone typeface family, it combines well with Rooney since both typefaces share the same stem weights and an equal gray value. RooneySans is suitable for any task in branding and packaging design and gives long texts a warm and inviting feel. All six weights from Light to Black come with matching real italics.

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home. In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, Cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and old-style numerals. • Suggested uses: conceived as a great tool for editorial use, great for display usage too, where readability and personality must match design space needs; • 18 styles: 8 weights + 8 italics + 2 variable fonts; • 1075 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Subscript, Superscript, Tabular Figures, Slashed Zero; • 219 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük

Trasandina is a very unique font-family: a modern, versatile, workhorse typeface with a special personality, given by the mix of humanist and geometric models, remaining far from both extremes. This typeface has 9 styles plus their matching italics, it has an incredible wide range of weights, from very thin to an ultra thick stem. This was made following the Luc(as) de Groot’s Interpolation Theory. Trasandina’s versatility also resides in the +800 characters that each weight includes, having several open type features and language support for more than 200 languages. This font has been specially designed for web (using hinting instructions), making it work in small and large sizes on different types of screen resolutions. Trasandina’s most interesting feature is its flexibility: On one hand, is easy to read thanks to its humanistic letterforms which allow this typeface to be legible in small sizes while remaining neutral (specially around its middle weights). And, at the same time, it’s perfect for logos and posters that need a lot more personality, this is mainly due to its more geometric nature in light and bold weights. Thank you for your support! It’s people like you that allow our team to keep enjoying creating new fonts. That’s why we’d like to hear from you! Send us your work using our fonts: info@tipotype.com, and you'll have a special 50% OFF on Tipotype at Myfonts

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming." Syntax® Next font field guide including best practices, font pairings and alternatives.

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

Qualion™ is a modern geometric grotesk typeface with humanist and calligraphic inspirations. The base of design is a minimal geometric sans serif with subtle humanist touches. Letter shapes are crafted with the highest care for beautiful proportions and excellent legibility. Qualion™ is a sibling of Qualion Round™ & Qualion Text™ - type family adjusted to fit paragraph text and small sizes best (narrower width, greater contrast, larger ink traps and tapering, adjusted spacing and kerning & even more calligraphic, elegant true italics). This versatile sans serif is not only well suited to clean, minimal projects and text paragraphs, but it has lots of features making it perfect for branding, logo design and all kinds of display use. All fonts are packed with alternates, swashes, terminal forms and ligatures, which make Qualion™ a very original ornamental type great for posters and packaging design. Qualion™ family consists of 10 weights with corresponding oblique and true italic styles, that give total of 30 styles. Both Oblique and Italic styles were hand drawn to get sharp and fine letter shapes. It has extended language support, as well as broad number of OpenType features, such as small caps, case sensitive forms, standard and discretionary ligatures, swashes, terminal forms, stylistic sets, contextual alternates, lining, oldstyle, tabular and small cap figures, slashed zero, fractions, superscript and subscript, ordinals, currencies and symbols.

AW Conqueror Sans was born out of this desire to fuse geometric and humanistic sans. It remains a typeface fundamentally influenced by both Bauhaus spirit — with its simplified geometric forms — and Jan Tschichold’s attempts to link this modular spirit to Eric Gill’s humanist sans serif. AW Conqueror Sans is a claimed French synthesis of Germanic Modernism and English classical tradition. Spheres of influence The core set of capitals are based on the proportions of the Roman capitals like Futura, Erbar, Nobel, Johnston, Gill Sans. During the 1930s, the Futura was a true success. Since then, Monotype offered a geometric version of the Gill Sans, and Linotype added Futura-like variants to WA Dwiggins’ Metro. AW Conqueror Sans is kind of a “fusion” of this approach. The lower case “b, d, p, q” are also directly influenced by Eric Gill’s, while the “y” is influenced by some of Jan Tschichold’s alphabets. In italics, drawn narrower, AW Conqueror Sans reinterprets Gill’s idea: a rigorous italic like a roman but which sometimes reveals some aspects of a Renaissance italic. AW Conqueror Sans and its extensions AW Conqueror Sans is the initial reference point for an extended family, including AW Conqueror Inline, Slab, Carved, Didot. The potential of these mixed families is powerful. Because AW Conqueror typefaces are based on an identical structure, and compatible proportions.

TT Nooks useful links: Specimen | Graphic presentation | Customization options TT Nooks is an experimental font family that includes a high contrast serif, TT Nooks, and an upright italic, TT Nooks Script. Despite the difference in style, both subfamilies get along well, which is partially thanks to their similar proportions. Each of the subfamilies includes 4 weights: Light, Regular, Bold and Black. The main subfamily is TT Nooks—a stylish high-contrast serif with a light touch of self-centeredness. If TT Nooks were a person, it would be an elegant lady with an independent and firm personality. In the original sketches of TT Nooks there were traces of a broad pen, but in the course of further evolution the typeface moved away from this style, retaining only the high contrast of strokes. In addition, in the process of design searches TT Nooks has obtained a touch of geometricity. The serifs in TT Nooks stand out especially visibly thanks to their geometric shape that resembles slippers. In addition to their peculiarity, such serifs add stability to the font and allow better compensation of the black and white ratio within the letters. TT Nooks has small capitals for Latin and Cyrillic alphabets, as well as a set of stylistic alternates (including some figures) that makes the typeface a bit more geometric. In addition, we have drawn more than 25 ligatures, including ligatures for capital letters, slashed zero and many other useful OpenType features. TT Nooks Script is a complementary family designed to harmoniously extend the main family and expand its scope. The forms of the characters in bold and light fonts of TT Nooks Script are quite different. For example, Black & Bold have high contrast strokes and an open aperture, and in Regular & Light the aperture of the characters is closed. TT Nooks also has small capitals for Latin and Cyrillic alphabets, ligatures, oldstyle figures and other OpenType features. In light faces, TT Nooks Script is more humanist and has artifacts inherent to the continuous movement of a flat pen. In bold faces, TT Nooks Script has a very dense and dynamic typing rhythm, and the shape of the letters begins to geometrize. We had had the difficult task of preserving the continuity of forms between bold and light faces, and we have managed to solve it thanks to the found rhythm, which united different fonts, and proximate stylistic solutions.

Garrigue is a sans-serif typeface, it's inspired by the typography of German rationalism of mid XXth century, the base version is combining this rationalism with more organic elements, while Garrigue Sharp is simpler, ideal for technical applications. The OpenType functions allows near 700 different combinations of ligatures in Capital letters, which gives to text interesting patterns and a lot of dynamism in 100 different languages, including cyrillic. The family contains different stylistic alternates which gives more flexibility to the typeface. The Garrigue family includes 14 weights, seven styles from Thin to Black in Normal and “Sharp” version. Each font includes OpenType Features such as Discretional Ligatures, Proportional Figures, Tabular Figures, Numerators, Superscripts, Denominators, Scientific Inferiors, Subscript, Ordinals, Standard Ligatures, Stylistic Alternates and Fractions. Larsseit family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

Lydia Sans™ is an elegant geometric sans serif with a charming profile and organic flow. Inspired by the clean typography of the 1920s, it's character and legibility make it suitable for any kind of text applications, from brand design to extensive text layouts. Lydia Sans™ has 22 styles, variable font technology and its weight range spreads from hairline to ultra bold forms. Flexible and adaptable, it covers 230+ languages, including extended Latin, Cyrillic and Greek writing systems. With over 1300 glyphs per style, its Opentype features include alternative shapes, small caps, standard and discretionary ligatures, localised forms in Latin and Cyrillic, case sensitive forms, numerators and denominators, proportional and tabular figures, slashed zero, fractions and more. As a workhorse type system, Lydia Sans™ is a sans serif for everyday use and a great choice for a wide range of applications. • Suggested uses: perfect for brand design, editorial design, web design and packaging design; • 22 styles: 11 weights + 11 italics. • 2 variable fonts; • 1315 glyphs in each weight; • OpenType features: Access All Alternates, Small Capitals From Capitals, Contextual Alternates, Case-Sensitive forms, Glyph Composition, Discretionary Ligatures, Denominators, Fractions, Standard Ligatures, Lining Figures, Localised forms, Numerators, Oldstyle Figures, Scientific Inferiors, Small Capitals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets).

PT Petroglyph™ was designed by Ekaterina Kulagina and licensed by ParaType in 2002. The type was created on the basis of petroglyphs (rock-carvings) that are known in 77 countries. They remained in a form of geometrical drawings in the caves of North Spain and France. Scientists claim that the radial spread-out of circles or center-pointed circles that are usually depicted show the development of solar symbolism at that period of time. We know for sure that such mysterious signs as drawings carved on rocks already existed 40 centuries ago.

Once, Blackletter was a calligraphy style. Full of ligatures, with letters bumping into each other to create an unapologetic picket-fence pattern. Some even claimed that the regularity improved legibility! But then Blackletter was cast into metal, and only a handful of established ligatures survived, while most interletter connections were disentangled. Everyone since followed suit, and hundreds of years later, digital Blackletter fonts were modelled mostly on the metal fonts that prevailed rather than the original handwriting. Up until now! AJ Quadrata is an authentic revival of the textura quadrata hand, and its major inspiration is a 15th-century Latin manuscript of the Bible from Zwolle, the Netherlands. The typeface is delivered in two flavors. The default cut is a modern take on textura quadrata that can be useful for today and tomorrow. The standard ligatures feature employs nearly all letters. The tittle of i retains its original, hasty squiggle form (except for the Turkish localization). Discretionary ligatures include medieval ligatures da, de, do, pa, pe, po (and their mixed-case counterparts!). Stylistic sets allow to use historic letter variants such as long s and rotunda r, closed-counter a, and alternate capitals. AJ Quadrata Medieval is perfect for setting Latin. Default forms of capital F, H and O are swapped with the alternates. The squiggles above i only appear for disamibiguation nearby m, n or u, as in original manuscripts. Discretionary ligatures and historic variants are promoted to the standard ligatures feature to make room in the discretionary ligatures feature for a variety of scribal abbreviations. Dedicated stylistic sets include medieval punctuation and justification alternates — glyphs with elongated terminals used for lengthening lines that end up too short. The Rubrum styles can be layered and colored to create the illuminated effect on the capital letters. Besides a faithful rendition of extended Latin including Vietnamese, numerous synthetic additions are included: polytonic Greek, Armenian, and Cyrillic (with Bulgarian and Serbian/Macedonian localizations). Both flavors of the typeface can be considered a starting point that can be further customized using OpenType features, including Stylistic Sets (some features differ between AJ Quadrata and AJ Quadrata Medieval): ss01 Alt E ss02 Descending F / Roman F ss03 Uncial H / Roman H ss04 Angular O / Round O ss05 Contextual closed-counter a ss06 Diamond-dot i j / Always dotted i, j ss07 Contextual rotunda r / No r rotunda ss08 Contextual long s / No long s ss09 Dotless y ss10 Serbian Cyrillic ss11 Alt Cyrillic de ss12 Alt Cyrillic zhe ss13 Alt Cyrillic sha ss14-ss17 [reserved for future use] ss18 Scribal punctuation ss19 Alt linking hyphen ss20 Justification alternates

Jaguar jugglers Font This pair was inspired by the esport gaming logo design that i saw on some coffee shop, It was crafted by hand specially to add natural handmade feeling in its brand identity than i make it clean with pentool. Opentype features Jaguar jugglers font has 177 character set included Jaguar jugglers Font is very good looking in logo, labels, t-shirt prints, product packaging, invitations, advertising and others. What includes Multilingual support (Western European characters). This fonts works with following languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Chiga, Cornish, Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, Gusii, Indonesian, Irish, Italian, Kabuverdianu, Kalenjin, Kinyarwanda, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Vunjo, Zulu. Thank you for using this font. LS

Please welcome Frock! It is a sans serif typeface for broad range of usage. It is designed with a slightly slanted oval shaped counters, medium contrast and based on American gothic typefaces with "not so formal" feel. The italic styles are flowy and almost true italic. Swash alternates for some uppercases and lowercases are useful for logo, display and poster. This family comes with 16 styles, uprights and matching italics, consisting of 8 weights from thin to ultra. It is also equipped with useful OpenType features such as Ordinals, Superiors, Stylistic Sets, Proportional Lining Figures, Standard Ligatures, Discretionary Ligatures, Fractions, Numerators & Denominators. Each font has 770+ glyphs including swash alternates which covers Western & Eastern Europe, and other Latin based languages – over 200 languages supported! Frock will be suitable for many creative projects. This typeface will be perfect for logos, packaging, greeting cards, presentations, headlines, lettering, posters, branding, quotes, titles, magazines, headings, web layouts, mobile applications, art quotes, advertising, invitations, packaging design, books, book title, and more!

Zoran Kostik began designing the Just Square font family in 1999, based on a logo that his son, an art student, had designed. The design project grew until Kostic had designed eight weights, for both the Latin and the Cyrillic writing systems. Just Square is a very geometric and constricted face best used in experimental designs (i.e., logos, web sites, flyers, and expressive headlines).

Railroad Gothic Pro is a condensed, sans serif typeface, exclusively licensed from the Ludlow Collection. The original Railroad Gothic was produced by Ludlow in the early 1900’s, and Steve Jackaman (ITF) produced the digital version in 2017. The font provides support for Latin 1, Central, and Eastern European languages, and Cyrillic. Railroad Gothic Pro is reminiscent of typefaces used in 1900’s railyards, hence the name.

Hello Walter is a nice and clean typography I made for my little boy Walter. The story behind is I want to create a bold font with less holes and funny shapes. More naive but still serious with a lot of glyphs easy to use in many language cyrilic included. Perfect for web and print, for making logos or children book and app. Have lot of fun.

Nektar is a soft & smooth sans serif typeface with spirit, personality and distinction. This bold, semi-condensed and human sans serif is inspired by the "perfect imperfection" of old prints. The typeface is lively and eye-catching, ideal for where and when you want to make a positive and human impression. The font has over 650 glyphs. It has Multilingual support (including Cyrillic script).

A loose, casual felt-pen script, Chantal comes in three weights plus italics, and a Cyrillic version too. Alternate versions are available in the upper and lower case keys, so settings can be customised according to taste. Chantal communicates a hand-drawn light touch with character. Originally designed to letter the RoboHunter series that Peter Hogan and Rian Hughes produced for the comic 2000AD.

Ambition & Ink is a driven hand-drawn font with lots of customization options. It includes contextual alternates, stylistic alternates for a-z and A-Z, and ligatures. It can also easily be used as a unicase font by subbing the lower case letters that have ascenders and descenders (bdfghjklpqty) for uppercase ones. The font has 546 characters, including lots of accented letters, as well as Greek & Cyrillic.

The Radonezh font is a Latin alphabet layout based on Russian Lettering I have seen. The font is designed to give a classic Medieval Eastern European feel with a hand-lettered style. Radonezh comes with full punctuation, a complete character set for most Western European Latin alphabet languages, Cyrillic languages, and polytonic orthography for Greek. Being a decorative font, it works best at larger point sizes.