Ensenada is a typeface designed based on hand-cut lettering that adorns businesses throughout the city of Ensenada in Baja California in Mexico. - What was the inspiration for designing the font? Looking at the hand-cut lettering in Ensenada, Mexico. Variations on this type of lettering are often used by Mexican pop-techno acts. - What are its main characteristics and features? It is a geometric display face that works in both retro and futuristic settings. - Usage recommendations: Display type

Trapped in a world they never made, the characters in our Story So Far have been engaged in final battle with their Arch Enemies... the characters known only as ToBeContinued. One of our characters will win, one will die, at least two of them will be engaged in a Clash of Titans. Face Front, True Believer, This One's Got it All! The Story So Far & Near complete family includes eight weights with support for Western & Central Europe.

Corda – an elegant serif family with an easygoing, flowing ductus. It is semi-contrasted and even in the heavier styles appears light and breezy. Pleasant for reading and in display sizes very attractive. Corda comes in ten styles, in OpenType format and with extended language support for more than 40 languages.  All weights contain standard and discretionary ligatures, proportional lining figures, tabular lining figures, proportional old style figures, lining old style figures, matching currency symbols, fraction- and scientific numerals.

PT Telingater Display™ was designed in 1959 by a well-known Soviet book designer Solomon Telingater (1903-1969) at Polygraphmash type design bureau. The typeface was awarded the Silver Medal at the International Book Art Exhibition (IBA-59) at Leipzig (Germany) in 1959. Light flared sans serif with calligraphic flavor and low contrast between main strokes and hairlines. For use in title and display typography. The digital version was developed for ParaType in 2001 by Lyubov Kuznetsova.

KhaoSans is a Rounded typeface. The latin was inspired from Thai woodtype used as headline in old day Thai newspaper. The refined curve with some sharp end add uniquely beautiful touch to the typeface. In Thai language, ‘Khao’ (ข่าว) means ‘news’ and ‘Sans’ (สาร) means ‘message’. The font comes in 8 weights, ranging from a delicate ExtraLight to Black, with 3 widths (Normal, Wide, and Expanded). Matching italics are provided, resulting in a total of 48 styles family.

26 Flowers is a digital revival and restoration of a beautiful collection of 26 individually unique ornamental letters from historical texts. Each of the 26 letters of the alphabet are contained in a square frame with a different flower in the background and an antique letter in the top right corner; hence, the name 26 Flowers. This highly ornamented typeface is perfect for leading off paragraphs or in any text dealing with the subject of flowers.

Primaria is a display font, inspired on the very first basic handwrite style teaching at primary school, designed in cursive and print styles in three weights each one: light, Regular and Bold, considering stylistic and typographic needs, it also contain OpenType initial lowercase alternative forms in order to get better links in those case where pairs of letters could be look better. Recommended playful and friendly design, teaching and learning stuff, children toys projects, food & drink and soft stuff.

In 1995, David Berlow cut Moderno FB for Esquire Gentleman and Reforma from a TrueType pole of Giza. In 1996 he cut new styles with Richard Lipton for El Norte. In 1997, Roger Black ordered new weights for Tages Anzeiger. A redesign of the Baltimore Sun, with Ionic FB as text, required further growth. The whole series was then revised for Louise Vincent, at the Montreal Gazette, with further styles added in 2005 for La Stampa. FB 1994-2008

The Eagle series realizes the ideas behind Morris Fuller Benton’s famous titling face, Eagle Bold, which was drawn in 1933 for the National Recovery Administration and became the symbol of American recovery. Font Bureau’s Eagle was started in 1989 for Publish magazine. David Berlow designed a lowercase, finished the character set, and in 1990 added Eagle Book for setting text. In 1994, Jonathan Corum added Eagle Light and Eagle Black to form a full series; FB 1989–94

Antea is named after "Antaeus" the giant of Libya in Greek mythology, son of Poseidon and Gaia (mother earth), whose wife was Tinjis. He was extremely strong if he stayed in contact with the earth, but once lifted into the air he became weak and liquid. So is this font, strong if grounded and weak if floating in the air. I will in due course add different weights for different purposes. Your designer of very mysterious fonts, Gert Wiescher

“I Don't like No Cheap Man” is a piece of early 1900s sheet music featuring its title hand lettered in a condensed slab serif design. The influences of the Art Nouveau era are clearly found in the many eccentric character shapes within the various letters of the original artwork. Recreated in digital type, Tightwad JNL is available in both regular and oblique versions – and its font name is a variant of the “Cheap Man” portion of the song’s title.

Manifestor is designed to be an urban culture typeface, it can effortlessly fit, blend and be in very situation at any time without taking up too much attention. It has a clean san-serif structure and proportion, kind to the eyes when set in texts while also look reliable when use in big scale. Manifestor has the simple - easy - comfortable feature, therefore it is a type appropriate for a very wide range of occasion. Manifestor also comes in Variable!

A dramatic contrast between thick and thin strokes, “ball” shapes at stroke terminals, and straight hairline serifs are main Evuschka characteristics. In this font, the x-height is specifically accentuated in relation to body height. In spite of its extreme geometrical shape, Evuschka exudes fairytale romance. Belonging to decorative type fonts, it is best suited for headlines, titles, and small amounts of text in large sizes. Evuschka was selected for TDC Certificate of Typographic Excellence 2017.

Fucha is a typography inspired by the Art Nouveau movement, and by the lettering of Alphonse Mucha's posters. Fucha is a decorative display font in the Art Nouveau style that originated over a century ago. The style showcases in its elaborate, lightweight curves a bold approach to organic lines and luxurious decor. A complete repertoire of Latin Extended-A characters is contained in the font. Supporting 219 Latin languages, which are spoken in different 212 countries.

Precursors to Torrone, the fonts are found among the type experiments of Art Deco artists in 1930’s Europe. Fonts of this type with chunky, geometry-driven lower case letters combined with somewhat flamboyant, brush-influenced upper case can be found in the logotypes for Mignon Chocolate Factory in Germany and Baci bon-bons still in use today by Italy’s Perugina Candies. Torrone includes alternate lower case characters and full Central European glyph sets with over 550 characters included!

Anker is a super-wide and heavy typeface. At the same time, it has a very large contrast between vertical and horizontal stems. This gives it a certain defiant and aggressive character. The name Anker means anchor in German. That is something very heavy in weight and at the same time has sharp and thin elements in the design. This is reflected in the Anker. Suitable for super large titles, short words, logos or typographic compositions.

TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.

The sources of inspiration for the Atyp typeface are spread out widely both stylistically and chronologically. The basic proportions of the uppercase refer to the elementary geometric constructions of the Bauhaus. The subtle details in the drawing of the characters and the microscopic adjustments, which evoke the illusion of uniformity and mechanical purity, pay homage to the rationalism of the typefaces popular in the International Style. The increased contrast of the joints of the bowls and shoulders in the Display weight, which in certain diagonal curves transition into almost deconstructive permutations. For a change these take delight in doing things on purpose, teasing readability and breaking the rules of the new millennium's typography. Atyp was created by adapting a typeface originally made for a commercial television station. The potential of the neutral grotesque, proven by its excellent readability on screens, gave the impetus for its preparation into an extremely wide character set. Coherence across all eight key masters lays the groundwork ideally for using the variable font format. The key benefits of this technology are a significant reduction in data consumption in the case of web fonts, as well as an unlimited access to the full range of styles, which in turn is a significant benefit in the area of responsive design.

Designed with a hand-chiseled feel, Blau’s sculpted characters add a refined personality to a wide range of brand, corporate, product and service applications. Highlighting the sculpted theme, inkwell treatment variations are prevalent throughout Blau, with several key glyphs that are stenciled for increased legibility. This sturdy, typographic workhorse shines when a slightly unorthodox typographic approach is required — a prime choice for distinctive and dynamic logotype use. The Blau family is available in Light, Light Italic, Regular, Italic, Bold and Bold Italic. The name Blau was chosen to celebrate the color Blue (or Blau in German, Blaauw in Dutch, Bleu French, Blå in Norwegian, Swedish & Danish, Blua in Esperanto, Blár in Icelandic) Blue is nature’s color for water, sky, mountains and glaciers. Blue is embraced as the color of heaven and authority, denim jeans and corporate logos. Surveys in the US and Europe show that blue is the color most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, and cold. In US and European public opinion polls, it is the most popular color, chosen by both men and women as their favorite color. Another very popular Wilton Foundry font in the “blue” family is “Cyan” and “Cyan Neue”.

Momoiro is a feminine typeface family, designed for editorial use. "The first case in which appeared a fashion content in a magazine was in 1672 in the magazine Le Mercure Galant, which was a magazine of entertainment and varied content, including fashion. But the first illustrated and specialized magazine was Le Journal Des Dammes Et Des Modes, created in 1797. "(Fashion Trends, 2011). On the basis of this historical period, the creation of typography has characteristics of a Baroque type. "In this category we mainly include the types created in the Netherlands during the seventeenth century and whose protagonists are the punch makers Reinhard Voskens and Christoffel Van Dijck. Baroque typography stands out for its accentuated play of irregular axes and contrasts that permeate the text of great vividness. " Therefore it has contrast in the thick and thin strokes, Roman serifs, humanistic axis. With this typography, we are not looking for a re-reading of the baroque, but rather a current typeface with humanistic characteristics of the handwriting, with a brush as a differential. Momoiro comes in two weights plus italics to cover as much design needs as possible. It compliments from OpenType features such as ligatures, swashes, true fractions, old style numerals and stylistic sets.

Just like the M.C. Escher impossible figures and optical illusions, "Denedo" is a font that is impossible to construct in three dimensions because it only exists as a drawing. This font is based on the "0, 1, 2, 3, 4, 5, 6, 7, 8, 9" characters of one of the alphabets published by Nedo Mion Ferrario in the "Letromaquia" exhibition that was shown in Caracas, Venezuela in the 70's. The reason why I chose to restore and complete this font is that unique and exceptional personality that each word acquires when it is written with this alphabet. Denedo is a typographic family in three styles: Denedo 1A, 1B and 1C. When mixing them in big sizes you will emphasize the balance and incongruity of its shapes, providing originality and a unique identity to every word. All of the 3 variations include a complete character set with the lower and upper case letters, numbers, accents, diacritic signs, punctuation and monetary signs. All the fonts included in this family are available in Open Type format and are perfectly compatible with Mac and PC. I want to express my sincere gratitude to all my friends at Typophile who supported and motivated me during the final stages in the development of this font.

Broken letters or Gothic letters, also known as German letters, are the typeface used in Europe West from the 12th century to the 17th century. Meanwhile, Danish spoke it until 1875 and German, Estonian and Latvian spoke it well into the 20th century. Fracture is one of the broken typefaces that is often considered to represent the entire broken typeface. Broken letters are sometimes also called Old English, but not in the Old English or Anglo-Saxon sense that was born centuries earlier. This group of letters is so named because it contains Latin letters that have breaks in the curvature of the letters, either in part or in whole designs. The fracture arises from a sudden dip when writing certain parts of the letter. In contrast, letters with perfect, unbroken curves, such as Antikua, are created from smooth, flowing writing movements. Callimathy is a font inspired by the Blackletter typeface, made with a modern impression but still looks strong and unique. In addition, Young Best font is also supported with multilingual characters that can be used in several international languages. Callimathy font is very suitable for use in making music album cover designs, tattoo logos, wishkey labels, packaging pomades and so on which are made with dark and strong concepts.

The Astronef Super borrows from the charm of retro-futuristic universes. Without concessions, and even radical, the Astronef Super, declined in three styles, pushes the weight limits as far as possible systematically while preserving a unique design. Using the Astronef Super in large size is a real pleasure, it is a very identifiable typeface family, recognizable immediately. Undeniably, choosing the Astronef Super in your designs is not insignificant. This typeface used in large sizes will strengthen your graphic identities. Background The Astronef Super could be considered as the “Spin-off” of the Astronef currently being designed, that will offer an important variation of styles. Of course the Astronef, is wiser in his drawing, it places himself in the tradition of the Univers more than the Helvetica. Genesis and the creative process The idea for an Astronef Super comes from an excerpt from a 60s TV show which shows a logo in the background with a very bold S and this super thin in the middle. The Astronef is already modular in its design. The brief then becomes simple for the Super: accentuate the strongest weights of the Astronef by minimizing the counterform that will remain constant for the three styles. It is the mass effect that maintains the overall cohesion of the Astronef Super family.

The Younger Futhark, also called Scandinavian runes, is a runic alphabet and a reduced form of the Elder Futhark, with only 16 characters, in use from about the 9th century, after a "transitional period" during the 7th and 8th centuries. The reduction, somewhat paradoxically, happened at the same time as phonetic changes that led to a greater number of different phonemes in the spoken language, when Proto-Norse evolved into Old Norse. Also, the writing custom avoided carving the same rune consecutively for the same sound, so the spoken distinction between long and short vowels was lost in writing. Thus, the language included distinct sounds and minimal pairs that were written the same. The Younger Futhark is divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes; in the 10th century, it was further expanded by the "Hälsinge Runes" or staveless runes. The lifetime of the Younger Futhark corresponds roughly to the Viking Age. Their use declined after the Christianization of Scandinavia; most writing in Scandinavia from the 12th century was in the Latin alphabet, but the runic scripts survived in marginal use in the form of the medieval runes (in use ca. 1100–1500) and the Latinised Dalecarlian runes (ca. 1500–1910)

The Waldorfschrift family was created in digital form in the years 1993-1994 by Joachim Frank, inspired by the naturally organic letters from the anthroposophical movement of the 20th century of Rudolf Steiner . In nature there are no right angles, straight lines or complete uniformity, but instead round corners, varying thicknesses and all kinds of variability. This is what the anthroposophical movement created in their buildings, their art, in their music – and also in their lettering. And this Font is like the plants in nature: it grows upwards, branches out, letters hugs to some letters, with others they keeps more distance, some letters proudly stretch their belly, others crouch in the corner - a completely natural font. Take a look at the brand of Weleda (the natural cosmetics company), Demeter (one of the biggest organic foods companies), Filderklinik (a great anthroposophical hospital in Germany) and you will see these great companies work with different but organic letter styles. More recently, Joachim revisited the Waldorf fonts with modern type design software and added extra characters such as the euro sign, and extra weights to make the fonts useable for a wide variety of design tasks. Dez 21: A big update: All fonts have been digitized again and given a complete character set, new kerning, minor bugs removed.

Picaflor soft, is a continuation of "Picaflor" now in a rounded version, especially for titles, it contains different styles from Thin-Black, in addition to multiple languages

Fun, little illustrations in line and reverse of what one finds in an office-- or at least my office. See Food Doodles for more matching little drawings.

Antique Decorations JNL collects more images of vintage letterpress embellishments [primarily from wood type sources]; redrawn in digital format and made available in one convenient font file.

This font is designed by me for the use in my friend´s invitation for her childrens birthday party. I hope you can use it in yours.

Another delightful offering from "The Signist," compiled by R. Henderson in 1903, named after the comic strip that introduced the world to Popeye the Sailor in 1929.

Marie Jeanne is a handmade font created with a casual feel that works well at larger sizes in headers or titles. Also works great in branding applications.

Based on informal pen handwriting. A set of Western and Central European characters was added in 2011 by Gennady Fridman. For use in advertising and display typography.

Designed for ATF in 1913, Morris Fuller Benton’s version of Nicholas Jenson’s roman, the best of the Venetians and a model for regularity in color and fit.

There is an addiction to symmetry. When I draw, when I write, when I take pictures, when I design. So in this font. Best use in Headlines.

First designed in 1999 Large now becomes LargeOT and it's available in Regular, Extra and Italic. Includes plenty of OpenType features, like SmallCaps, Alternates, Ligatures and Swashes.

RefSpecialty is a unique font that was originally developed for inclusion in a Microsoft product. The RefSpecialty font is available in TrueType with a custom character set.

With lively Stylistic Alternates in capital letters, the Saxophone font family is a metaphorical equivalent of the instrument, which can be used in almost all music genres.

Frederic Goudy designed Californian as a private commission for the University of California at Berkeley in 1939. The first Commercial release was by Lanston Monotype in 1958.

Hosbela is a beautiful script font. It has a classy, elegant, and modern look that works perfectly in any design projects in need of a handwritten touch.

This font in the form of stylized techno, which I developed over my Ongunkan Modern Latin font, created a different perspective visually. Use it in good works.