When Candy Script was officially released and in the hands of a few designers, I was in the middle of a three-week trip in North America. After returning to Buenos Aires, I found a few reactions to the font in my inbox. Alongside the congratulatory notes, flattering samples of the face in use, and the inevitable three or four “How do I use it?” emails, one interesting note asked me to consider an italic counterpart. 

I had experimented with a few different angles during the initial brainstorming of the concept but never really thought of Candy Script as an upright italic character set. A few trials confirmed to me that an italic Candy Script would be a bad idea. However, some of these trials showed conceptual promise of their own, so I decided to pursue them and see where they would go. Initially, it seemed a few changes to the Candy Script forms would work well at angles ranging from 18 to 24 degrees, but as the typeface evolved, I realized all the forms had to be modified considerably for a typeface of this style to work as both a digital font and a true emulation of real hand-lettering. Those were the pre-birth contractions of the idea for this font. I called it Sugar Pie because it has a sweet taste similar to Candy Script, mostly due to its round-to-sharp terminal concept. This in turn echoes the concept of the clean brush scripts found in the different film type processes of late 1960s and early 1970s.
 
While Candy Script’s main visual appeal counts on the loops, swashes, and stroke extensions working within a concept of casual form variation, Sugar Pie is artistically a straightforward packaging typeface. Its many ligatures and alternates are just as visually effective as Candy Script’s but in a subtler and less pronounced fashion. The alternates and ligatures in Sugar Pie offer many nice variations on the main character set. Use them to achieve the right degree of softness you desire for your design. Take a look of the How to use PDF file in our gallery section for inspiration.

Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline. Alternate letters ‘A’ & ‘S’ are provided. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension. Advertisers Gothic became quite popular because it was effective. It can work equally well for a flyer advertising a non-profit event as for a magazine product ad. This font refuses to be a wimp. Use it boldly. Advertisers Gothic ML represents a major extension of the original release, with the following changes: 1. A total of 335 glyphs (compare) with added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. 2. Added OpenType GSUB layout features: pnum, ornm, liga, hist & salt ˜ with total 13 lookups. 3. Added 209 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. The most popular ad words “Free!”, “New!” and “Sale” (with both esses) are provided at an angle for dramatic tension The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Workhorse is a Sign Painter’s Gothic developed by Master Sign Painter Greg Reid. Workhorse captures the true essence of hand lettering. From the tapered waists to the elegant snaps of the brush; these elements present a warmth unseen in today’s mechanically stiff Gothics. Greg Reid and Charles Borges de Oliveira collaborated to bring this truly one of a kind typeface to fruition. With the power of Open type, Workhorse utilizes Contextual Alternates to create random variations of the capitals and lowercase letters. This allows your text to have subtle differences in the letters without losing form which helps to create an honest hand lettered look. This feature can be turned on or off to suit your individual style. You also have the ability to manually choose the glyph variations from the glyph pallet to help you create one of kind designs. Both versions of Workhorse feature complete variations of the capitals and lowercase letters (56 total), Small Caps and six alternates. The Small Caps are not just the capitals scaled down. They have been designed as a unique second set that adjusts the stroke thickness to match the existing letters, creating what we like to refer to as “Real Small Caps”. Workhorse is a timeless classic that can be used from early Americana advertising all the way up to present day modern use.
 No matter how you use Workhorse it always looks and reads well.

Many times, when a new creative process is starting, it is triggered by an everyday action or item. In this case, the looks of a lady’s watch inspired Michael Herold to create his new typeface LUX. The sight of the chronograph sparked associations of the 1950s in Mr. Herold: While this decade was predominantly dominated by brush and feather scripts, there was also a bloom of strict and modern architecture. This special mix of strength and retro style is exactly what Michael Herold is trying to capture in his LUX. The result is a typeface which is perfectly suitable for use on book covers, posters and claims – thanks to its striking impression. The name LUX, Latin for light, is inspired by the high bright-dark contrast within the individual characters. Oft sind es alltägliche Gegenstände, die das Bestreben eines neuen kreativen Prozesses auslösen. So entspringt auch die Inspiration zur Erschaffung der LUX von Michael Herold dem Anblick einer Damenuhr. Der Chronograph löste bei Herrn Herold Assoziationen zu den 1950er Jahren aus: Während diese Zeit hauptsächlich von Schreibschriften aus Federn und Pinseln beherrscht wurde, nahm auch die streng und modern anmutende Architektur starken Einfluss auf die Epoche. Diese Mischung aus Strenge und 50er Jahre Retro-Stil soll in der LUX zum Ausdruck kommen. Das Ergebnis ist eine Schrift, die sich mit ihrer plakativen Wirkung perfekt für Buchumschläge, Poster und Claims eignet. Namensgebend war der starke hell-dunkel Kontrast innerhalb der Schrift – festgehalten in dem lateinischen Wort für Licht.

TT Ricordi Greto useful links: Specimen | Graphic presentation | Customization options TT Ricordi Greto is the 5th project from the TT Ricordi collection of fonts, the main task of which is to find gems in old tablets and on stones and bring these inscriptions back to life in the form of contemporary fonts under the general name TT Ricordi. TT Ricordi Greto is Kseniya Karataeva’s original experimental project, inspired by a floor plaque dating from 1423 found in the Basilica di Santa Croce, Florence. When working on the typeface, we wanted to do something new and modern, but at the same time find details or artifacts in the source that could be exaggerated to the maximum. TT Ricordi Greto is a non-contrasting Florentine sans-serif with dynamic proportions and a hint on what would be serifs. The main features of the typeface are the closed aperture, dynamic proportions, and the combination of historical forms with modern visual solutions, flowing terminals with curling dash ends and flared ends, and subtle serifs that hint at the historical material. Another feature of the typeface is a large set of graphic icons (characters and objects), margin markers (flowers, stars and drops) and thirteen catchwords. All icons and spacing have been carefully selected and rendered in order to best match the visual plasticity of the font and interact well with it. The TT Ricordi Greto font family consists of 4 styles: Regular, Medium, Demibold + the Variable font. Each style includes 678 glyphs and 14 OpenType features. In addition to wide language support (extended Latin and basic Cyrillic), each style has two sets of figures and currencies (proportional and tabular), a set of arrows alternative versions of the letter M (flared and straight versions) and the letter Ф (round and oval) and the same a set of icons, margin markers and catchwords. TT Ricordi Greto OpenType features list: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, ss01, ss02, ss03, ss04, ss05, calt. TT Ricordi Greto language support: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton +, Catalan+, Cebuano+, 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+, Gikuyu, Guarani, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Kamba, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kikuyu, 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, Meru, 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, Walser+, 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.

The Gold Rush is over, the prospectors have made their fortune and the mine has been worked out! The inhabitants of Boomtown USA have moved on -- the saloon is dry, the sheriff has hung his hat and the only visitors to the local whorehouse are tumbleweeds. Yeah, the buildings remain -- hollowed out husks carrying memories of bar room brawls, high noon shootouts and high stake poker games between outlaws -- but if you take a walk down the street be careful not to kick up too much dust... Turn the corner and you might see Ol' Toothless Joe standing on the corner sucking on a bottle of whiskey... And don't walk too slowly past the storefront of the undertaker -- that guy made his living putting strangers like you in a wooden overcoat from sunrise to sundown. Spooks and Spectres linger everywhere... there's a sign just down the road -- didn't you see it? "Ghost Town! Abandon Hope all who Enter Here!"

We've upgraded TT Hoves Pro with 20 new fonts and Vietnamese! TT Hoves Pro useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Hoves Pro is the studio's bestseller, one of the top three universal sans serifs along with TT Norms® Pro and TT Commons™️ Pro. TT Hoves Pro has a neutral yet recognizable character suitable for use in any modern project. The font has a large character set, including extended Cyrillic and Latin, as well as a large number of styles. TT Hoves Pro was already perfect, but we made it even more functional! Updated TT Hoves Pro: supports more than 200 languages, including Vietnamese; contains 4 widths: Compact, Normal, Condensed, Expanded; consists of 83 styles, 20 of which are new Compact fonts; includes upright and italic Outline fonts, each with 672 characters; contains an improved variable font that varies in weight, width and slope; includes 1573 characters in each style, except for Outline versions; contains 41 OpenType features, including many ligatures and stylistic alternatives. The geometry of the TT Hoves Pro has remained unchanged. The font lacks pronounced contrast, all terminals are on the same level, and there are wide horizontal strokes in triangular characters. TT Hoves Pro is ideal for web design and use in applications. Perfect for branding, packaging design and printing. TT Hoves Pro OpenType features list: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, c2sc, smcp, dlig, liga, salt, calt, case, zero, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, ss13, ss14, ss15, ss16, ss17, ss18, ss19 TT Hoves Pro language support: English, Albanian, Basque, Catalan, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Irish, Italian, Latvian, Lithuanian, Luxembourgish, Maltese, Moldavian (lat), Montenegrin (lat), Norwegian, Polish, Portuguese, Romanian, Serbian (lat), Slovak, Slovenian, Spanish, Swedish, Swiss German, Valencian, Azerbaijani, Kazakh (lat), Turkish, Acehnese, Banjar, Betawi, Bislama, Boholano, Cebuano, Chamorro, Fijian, Filipino, Hiri Motu, Ilocano, Indonesian, Javanese, Khasi, Malay, Marshallese, Minangkabau, Nauruan, Nias, Palauan, Rohingya, Salar, Samoan, Sasak, Sundanese, Tagalog, Tahi- tian, Tetum, Tok Pisin, Tongan, Uyghur, Afar, Afrikaans, Asu, Aymara, Bemba, Bena, Chichewa, Chiga, Embu, Gusii, Jola-Fonyi, Kabuverdianu, Kalenjin, Kinyarwanda, Kirundi, Kongo, Luba-Kasai, Luganda, Luo, Luyia, Machame, Makhuwa-Meetto, Ma- konde, Malagasy, Mauritian Creole, Morisyen, Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Sena, Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Swahili, Swazi, Taita, Teso, Tsonga, Tswana, Vunjo, Wolof, Xhosa, Zulu, Ganda, Maori, Alsatian, Aragonese, Arumanian, Belarusian (lat), Bosnian (lat), Breton, Colognian, Cornish, Corsi- can, Esperanto, Faroese, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Interlingua, Judaeo-Spanish, Karaim (lat), Kashubian, Ladin, Leonese, Manx, Occitan, Rheto-Romance, Romansh, Scots, Silesian, Sorbian, Vastese, Volapük, Võro, Walloon, Welsh, Karakalpak (lat), Kurdish (lat), Talysh (lat), Tsakhur (Azerbaijan), Turkmen (lat), Zaza, Aleut (lat), Cree, Haitian Creole, Hawaiian, Innu-aimun, Karachay-Balkar (lat), Karelian, Livvi-Karelian, Ludic, Tatar, Vepsian, Nahuatl, Quechua,, Russian, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Macedonian, Serbian (cyr), Ukrainian, Gagauz (cyr), Moldavian (cyr), Kazakh (cyr), Kirghiz, Tadzhik, Turkmen (cyr), Uzbek (cyr), Azerbaijan, Lezgian, Abazin, Agul, Archi, Avar, Dargwa, Ingush, Kabardian, Kab- ardino-Cherkess, Karachay-Balkar (cyr), Khvarshi, Kumyk, Lak, Nogai, Rutul, Tabasaran, Tsakhur, Altai, Buryat, Dolgan, Enets, Evenki, Ket, Khakass, Khanty, Komi-Permyak, Komi-Yazva, Komi-Zyrian, Manci, Shor, Siberian Tatar, Tofalar, Touva, Aleut (cyr), Alyutor, Even, Koryak, Nanai, Negidal’skij, Nivkh, Udege, Ulch, Bashkir, Chechen (cyr), Chukchi, Chuvash, Erzya, Eskimo, Kryashen Tatar, Mari-high, Mari-low, Mordvin-moksha, Nenets, Nganasan, Saami Kildin, Selkup, Tatar Volgaic, Udmurt, Yakut, Uighur, Rusyn, Karaim (cyr), Montenegrin (cyr), Romani (cyr), Dungan, Karakalpak (cyr), Shughni, Mongolian, Adyghe, Kalmyk, Talysh (cyr), Russian Old, Vietnamese

TT Barrels useful links: Specimen PDF | Graphic presentation | Customization options TT Barrels is an elegant scotch style modern serif with strong industrial accents in its design. The TT Barrels project was born from a fictional technical assignment in which we tried to combine the technological effectiveness of industrial production used in engineering and the restrictions imposed by it with a beautiful scotch style serif. We decided to create a typeface that could be used to press letters on the metal body of a car, all while the typeface being elegant, and possessing sophisticated details that are typical of the classic text fonts of the late 19th and early 20th centuries. In the process of designing and sketching, we reconsidered certain aspects and abandoned some of the requirements imposed by the technology of metal letter pressing, for example, from the extensive application of visual compensators, the decreased strokes contrast, and the hyperdeformation of individual letter elements to preserve a more pronounced rhythm of these elements. First of all, we wanted both to maintain the ease of reading for the entire text array and follow the rules of aesthetics of each letter in the typeface, while still leaving some influence of industrialism. In the end, this influence is best manifested in serifs, which are quite massive and have a technologically exaggerated wedge shape. TT Barrels consists of 12 fonts: Light, Regular, DemiBold, Bold, Extrabold, Black and the corresponding Italics. Each outline consists of more than 750 glyphs and includes small capitals, ligatures (for Latin and Cyrillic alphabets), stylistic alternates, old-style figures, and many other useful features. FOLLOW US: Instagram | Facebook | Website TT Barrels OpenType features: ordn, c2sc, smcp, case, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga, calt, salt (ss01). TT Barrels 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, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, 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.

TT Berlinerins useful links: Specimen PDF | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Berlinerins: TT Berlinerins is a contrast pair of typefaces which is basically our tribute to Berlin. Just like in the city itself where historicity and modernity are intertwined, the elegant script in our font family symbolizes the modern Berlin, and the grotesque inspired by the wood-type poster types of the first third of the 20th century is responsible for the historic component of the city. The idea of this project emerged in the beginning of 2016 when we've met Evgenia Pestova, a calligrapher from Berlin, who shared the contemporary perspective on calligraphy and the city impressions with us. The wood-type grotesque appeared later, after our another colleague had visited Berlin and told us her fascinating story about the things she had seen. The city is full of contrasts—it is very modern and very vintage at the same time. The photographs and the impressions from the trip have also become the basis of our project. That is how we've added a little of old Berlins roughness and inhomogeneity. TT Berlinerins Script contains 998 glyphs, including more than 240 swashes for which we've written a special feature. We've also drawn a large number of ligatures for TT Berlinerins Script and integrated wide support of OpenType features: ordn, frac, case, sups, sinf, numr, dnom, tnum, pnum, calt, liga. TT Berlinerins Grotesk consists of uppercase letters, includes a set of unusual ligatures and wide support of OpenType features: ordn, frac, sups, sinf, numr, dnom, tnum, pnum, liga, salt and two stylistic sets ss01, ss02 for the ampersand. FOLLOW US: Instagram | Facebook | Website TT Berlinerins 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, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, 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.

Busted is the very strange and out-of-character outburst of Bill Troop, a guy who was classically trained in everything, from classical piano and literature to classical photography and type design. As far as we could tell, Bill Troop is the kind of guy whose appearance and voice instantly trigger thoughts of black and white photos, fedoras, and pre-industrial age Europe. A few years ago, he even moved from the United States to England, where it took him less than a week to feel at home and start sounding like a Norwich native. Then something happened and the poor dude just snapped. Busted is the controversial result of the blood rushing to his head. If you know what exactly happened to him, please let us know. Concern, consideration and human interest story aside, Busted is a fascinating thing. It is a set of four interchangeable thick outline fonts where the same letter forms turn from wild to wilder to broken to somewhat clean. Mix them up in a setting and you have words that snarl with a sneer. Life's too short. Take it all with a grain of salt. Scream whenever you feel like it. Busted Pro is a single font combining all four character sets, and rigged with an OpenType pseudo-randomizer in the contextual alternates feature, which you can disable or enable anywhere in your setting for maximum visual shock just the way you like it. Works just as well in PAL or SECAM. Don't be fooled by imitations, and don't get caught with your drawers down.

A playful caricature of a midcentury grotesque, Guzzo is a fresh addition to the Monotype Library. Somewhat eccentric and full of surprises, its unmistakable quirk can be found on closer inspection, stemming from details proudly borrowed from brush lettering and calligraphy. The wide range of weights and style can take you through any design space, from the condensed weights squeezing in larger headlines or dense blocks of text with the condensed range, to experimenting with small point sizes, labels or packaging with the extended cut. However, Guzzo’s real charm is probably best expressed through its wonderfully playful shapes, its unusual 'laid-back italics' feature cursive forms and a backslant. The different stylistic sets allow you to decide what you make of Guzzo, with several sets of alternate glyphs steering it in any direction you want. Guzzo is a happy-go-lucky character, and has a warm, humble and painterly quality that - at a glance - may be unrecognizable as a typeface. It can almost pass for hand-lettering. Guzzo pairs exceptionally well with scripts and slab typefaces, and feels most at home in situ with toys, packaging, menus, broadcasting, cartoons and merchandising! Guzzo encourages you to turn up the silliness and is for designers who want to emulate hand-painted and casual motifs. Taking its name from American artist Jeremy Pinc, aka the painter Guzzo Pinc, the typeface channels the quirky, funny and poignant qualities of his paintings - with wacky characters, loosely painted geometric forms and bright colors. For this mid century, authentic, nostalgic typeface - the story is really what you make of it.

The Postea font family is Veronika Burian and José Scaglione’s take on German geometric typefaces, reshaped with the right attributes for setting paragraphs and headings, and perfect for branding and text use. Some typefaces are a rough tool, like a pumice rock: abrasive to the senses, unforgiving, and unhelpful for most reading situations. Postea is an obsidian: smooth and classy, with attractive nuances in any light. The classic curves and purposeful details keep its individuality intact while allowing it to fit an incredible range of geometric font needs. Because of these qualities, Postea makes normal reading in paragraphs a cinch and your branding memorable. Compared to midcentury attributes of restraint and a sparse appearance, Postea’s deliberate play between character widths injects life and distinctiveness into its personality. The default ‘t, f’ have lyrical doses akin to a robust evening drink and are rounded out with a serpentine ‘s’ and rotund ‘o, g, b’. Another nice surprise awaits: spacing for the Hairline weight is tighter for optimal use in large headings and titles, while the regular weights have the expected, slightly looser spacing for text. Setting the test word ‘bogarts’ brings all this together nicely, invoking a balance between a constructed and human feel while brushing away the dust from a century of derivatives. Postea is opinionated and its modern stylistic sets allow it to be accommodating with softer, specially-designed alternative characters. SS01 replaces ‘b, f, M, m, t’, while SS02 changes only the lowercase ‘a’ to the round style, and SS03 swaps out the angled ‘y’ for a straight version. The fourth and sixth stylistic sets are packed with wallpaper-worthy geometric patterns, ornaments, arrows, and symbols aplenty. Postea’s 14 styles (seven upright and italic) and two variable fonts are accompanied by an all-new family of icons in three weights, which we developed a new, easy way to activate. Simply bookend the desired icon name with colons (:arrowUp: :chargingStation: :aid: :firstAid:), making sure to capitalise each word after the first word, then highlight and activate SS05. Icons include wayfinding, social interface, sanitary precautions like face masks, thermometers, and hand washing, and much more. Postea is resilient in the number of ways the family can be used, and its recognisable characters make it a prime selection for branding, signage, corporate typefaces, and magazines. Beginning with midcentury virtues, Postea is the rational response for text — a lyrical take on geometric sans serifs.

The script version of the typeface Viabella introduces us to the calligraphic side of the Berlin type designer and typographer Karl-Heinz Lange. The sketches for this script typeface, which resulted from the close cooperation with Veronika Elsner and Günther Flake, found their roots in sketch drawings which Karl-Heinz Lange had already drawn in the 1980’s. For the Viabella design, Karl-Heinz Lange drew the basic letterforms of the Black and Regular cuts with a brush. He then re-worked the drawings and transferred them on to tracing paper. The design studio Elsner+Flake in Hamburg cut these typeface extensions and later digitized them manually with the help of the IKARUS Sustem. With the Regular cut as a basis, Elsner+Flake extended the family with the Light version and interpolated and re-worked the Medium weight. The completion of the family was taken over by the type designer Björn Gogalla who had done the same kind of work on Rotola, a design which Karl-Heinz Lange had also created for Elsner+Flake. While Viabella was originally conceived as a headline typeface, its lighter weights can certainly be used for shorter text applications. The Black version creates powerful headlines with highly effective accents. With the help of swashes, which are available for all weights, the user can lighten up longer texts and add special character to titles. In contrast to pure headline fonts, Viabella has been enriched by an extensive complement of special characters. In addition to the Europa-Plus character set which allows setting type in over 70 latin-based languages, the user will find multiple versions of numerals as well as oldstyle figures, tabular and proportional lining figures, diagonal fractions, and a complete set of superior and inferior figures and fractions (60%). With such a rich character set, Viabella is not only ideal for many different uses in the areas of newspaper, magazine and advertising but it will surely be chosen for the design of greeting cards, invitations and other design projects within the privat sphere.

The idea behind designing ‘Matwin’ font was related to the youngest children of the designer namely the M-A fraternal twin. The name of the typeface (i.e., Matwin or M-A-Twin) was composed by merging three linguistic small syllables. The ‘-Twin’ syllable refers to the non-identical twin of the designer. The ‘M-’ and ‘A-’ syllables refer to the initial letters of the twin’s first names (i.e., Muhammad and Abdul-Wli) respectively. The typeface ‘Matwin’ has a personal trait which makes it as one of the most favorite fonts for the designer among his humble collection of fonts. Modestly, it is the designer’s handwriting and it has been designed to be added to the script font family known as brush un-joined. The brief process for having this typeface alive was done by firstly scanning the real script for each Latin letter, digit, symbol which were handwritten earlier by the designer himself. Then, the combination of these many scanned characters was manipulated using digital programs to produce at the end the complete typeface. The typeface has the essential glyphs comprising the character set required for most of the Latin, Western, and Eastern European languages including the Irish language. It combines +605 characters and this makes it as a pro font. It also entitles it to be applicable for usage in many languages of different communities and nations worldwide. ‘Matwin’ is dedicated for those who search for a genuine handwriting typeface with a natural touch and informal style to be added on their different published and produced products and services. It is more preferable when it is used in artistic, typographic, and other works using the lowercase letters or by mixing both upper- and lower-case letters. Moreover, the typeface is appropriate for any type of typographic and graphic designs in web, print, and other media such as boards and walls. It is also preferable to be used in the wide fields related to publications especially children-related ones, comics, printed or handwritten menus of cafeterias and restaurants at universities and public places, as well as other prints related to services and production industries. It also can create a very personal and friendly impact when used in headlines, books and novels’ covers, posters, titles, messages, envelopes addresses, grocery lists, postcards, ads, fliers, journals, paper arts, public notices, invitations, scrapbooks, notations, products’ surfaces for organic foods and juices, logos, medical packages related to children, Android applications, as well as products and corporates branding and the like. In a nutshell, ‘Matwin’ typeface fits without a glitch those (i.e., designers, typographers, publishers, artists, packagers, service providers, and so on) who have drastic and strong tendency towards imprinting their works with spontaneous and outlandish touches made by this typeface. Please, enjoy it extremely.

TT Milks useful links: Specimen | Graphic presentation | Customization options About TT Milks: The collection of scripts and wonderful decorative typefaces. Initially the idea for TT Milks was to create a collection of fonts to be used for packaging and branding of dairy products. While working on the initial idea, we've tested all possible glyph variations, which resulted in a large decorative designer font family. Thanks to a variety of elements, TT Milks collection has exceeded its initial idea and now offers an unlimited application range. TT Milks type collection includes several subfamilies and consists of 26 typefaces: TT Milks Script subfamily is a satellite to the basic typefaces and features 5 weights. Every typeface of the TT Milks Script subfamily consists of 801 glyphs and supports a lot of OT features: ordn, frac, case, sups, sinf, numr, dnom, tnum, onum, pnum, liga, calt. TT Milks Casual Script consists of two script faces with a different degree of roughness. In TT Milks Casual we've collected 6 typefaces—the unique Black called 900 in three degrees of roughness, and the Bold called 700 featuring three degrees of roughness as well. TT Milks Casual Shadow is a version with broader letter setting and shadow effects. There's a clean shadowed version, three variants of rough typefaces with shadows, and a rough shadowed inline typeface—5 typefaces in total. TT Milks Casual Pie is a special set of typefaces which can be easily combined with each other using different layers. The set of the subfamily includes two basic typefaces—black and inline, and also features a typeface with a clean shadow, a shadowed inline typeface and line typeface. TT Milks Outline completes the collection. It consists of a total of 3 amusing super-display typefaces—outline, outline shadow, and a cow pelt patterned typeface. All typefaces belonging to TT Milks Casual and TT Milks Outline subfamilies contain uppercase letters only, and support tabular numbers and case sensitivity. TT Milks 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, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, 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.

From the beginning “Esmeralda” was born with a strong influence of the classical “capitalis monumentalis”, carved in stone. In the same way, the origin of this majuscule writing emerged from the brush, from a way of writing made merely by hand. For this reason, these two universes were intended to lie beneath the shape of each letter, redefining them. And this combination of styles should also be reflected in a lower case set that also allows to open up the spectrum of usage possibilities. Foundational calligraphy represented a solid base for the development of lower case glyphs, ensuring proper interaction with the upper case letters. “Esmeralda” features a great number of ligatures that mix classic structures with a more contemporary impression. With more than eleven hundred glyphs, it provides a multiplicity of uses across a wide combinatory of ligatures, alternative signs, initial caps, miscellaneous and connectors; each one of them accessible through Open Type. “Esmeralda” is perfect to speak with a classical yet fresh, modern – and a little bit bold – tone of voice. Designed by Guille Vizzari, together with the tough and remarkable work of Ale Paul, in use “Esmeralda” stands out in a subtle and unexpected way that’s almost unnoticeable. Its delicate yet solid curves, serifs and endings give each composition a fine, elegant and exquisite feeling, along with a firm and sturdy look. “Esmeralda” was initially born as a typographic project developed by Guillermo Vizzari – tutored by Ale Paul and Ana Sanfelippo – under completion of the Specialization in Typography Design at University of Buenos Aires, Argentina, during the years 2011 and 2012.

Lust’s original masters were completely redrawn, expanded, with a new optical size added based on customer requests. Lust now sports 6 fonts, instead of the original 4: Standard, Display, Fine, and complementing Italics. The character set has been expanded as well to include more OpenType features and more swashes. The Lust Collection is the culmination of 5 years of exploration and development, and I am very excited to share it with everyone. When the original Lust was first conceived in 2010 and released a year and half later, I had planned for a Script and a Sans to accompany it. The Script was released about a year later, but I paused the Sans. The primary reason was the amount of feedback and requests I was receiving for alternate versions, expansions, and ‘hey, have you considered making?’ and so on. I listen to my customers and what they are needing… and besides, I was stalling with the Sans. Like Optima and other earlier high-contrast sans, they are difficult to deliver responsibly without suffering from ill-conceived excess or timidity. The new Lust Collection aggregates all of that past customer feedback and distills it into 6 separate families, each adhering to the original Lust precept of exercises in indulgence and each based in large part on the original 2010 exemplars produced for Lust. I just hate that it took so long to deliver, but better right, than rushed, I imagine.

Y’all, have you met Caryn? She’s a typeface that’s as friendly as a front porch conversation on a sunny day. With her short brush strokes and swooping flourishes, she’ll make your words sing with genuine warmth and charm. Caryn is like a cozy quilt or a hot apple pie, bringing a homemade touch to everything she touches. Whether you’re crafting a wedding invitation, designing a logo for your farm stand, or just writing a letter to a friend, she’ll help you express your message with a down-to-earth grace. And here’s the best part: Caryn doesn’t put on airs. She’s unassuming and approachable, like a neighbor who always has a smile and a kind word. You don’t need fancy design skills or a big budget to make Caryn work for you. She’ll fit right in with your homespun style and make you look like a pro. So if you want to add a touch of warmth and hospitality to your next project, give Caryn a try. She’s the perfect typeface to welcome your readers, customers, or loved ones with open arms. 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.

INSPIRED BY THE LOVERS OF LETTERS AND ANCIENT ANIMATED DRAWINGS: We present one of our most desired typographical tools of 2019: NUTCAKE CATCH-WORDS! Designed and produced by #carlosfabiancg and #a_freitez at different times and places in Venezuela and Colombia. Each word design was like “travel to the old school of hand lettering of 1930” due to the number of options and alternatives we discarded to solidify meticulous researches and Bezier drawings, based on analysis and synthesis of empty and full calligraphy, first done with a round brush and then perfected with pencil and paper. For this reason, each NUTCAKE CATCH-WORDS design contains a high dose of cursive expressiveness, apparently handwritten, and that is why our customers can take advantage of more than 160 words compiled in a single OTF file. NOTE: if you need any new word with the NUTCAKE CATCH-WORDS style, please write us and we will gladly design it to include it in your file. Below the list of 160 catch words: and, An, All, As, After, Ante, Avec, Break, Bright, Big, Back, Both, Best, Body, Butter, Breakfast, By, Bajo, Coffe, Café, Closet, Can, Cocktail, Cookies, Custom, Cabe, Con, Contra, Could, Crisp, Candy, City, Chocolate, Chocolat, Come, Del, Don't, Deliver, Desde, Di, Durante, Enjoy, Eat, Example, El, En, Entre, Front, Fire, Free, Fashion, For, Fresh, Friday, Family, Going, Great, Go, Heres, Here, Hand, Hacia, Hasta, Have, I'm, It’s, Imagine, It, Join, Just, Jam, Kitchen, Kiss, Know, Keep, Like, Life, Lady, La, Las, Les, Los, Le, Love, Money, More, Master, My, Mediante, Now, now, New, new, next, nuevo, nueva, Off, out, ofertas, oferta, offer, offers, Please, Para, Per, Page, Quality, Queen, Question, Valley, Queso, Right, Road, Save, See, Show, Something, So, Según, Sin, So, Sobre, Sale, Shop, Style, Styles, Sweet, Special, To, the, The, Theres, There, To, This, Three, They, That, Tras, Think, Time, Take, Transfer, Until, Vacation, Value, Vote, What, Hats, With, Welcome, Which, You, Y, You're, you, Zip, Zoom, Zombie.

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors 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+, Bosnian (lat), Breton+, Catalan+, Cebuano+, 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, Haitian 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 (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

Why do we need another typeface? This is a prickly question often asked of typeface designers. Depending on who you ask, the answer in simplified form is usually one of two: 1. As the basis of written communication, type design carries social responsibility, so we must continue to improve legibility. 2. Type design is a form of artistic expression. Without art, life is not worth living. The best work, of course, accomplishes both. Xavier Dupré, the designer of the Malaga typeface family, has at least one leg securely planted in the latter notion. He believes, like others, that within typeface design most legibility needs have been worked out and that today we are satisfying aesthetic desires. We design typefaces to differentiate our communications. Type design is primarily a formal exercise reflecting our personal quirks, technological obsessions, and cultural heritage. In case of Dupré’s work, issues of cultural heritage and personal quirks are of particular consequence. An incessant traveler, he visited the following countries during the development of the Malaga type family: Thailand, Malaysia, Indonesia, Myanmar, Cambodia, Vietnam, France, Belgium, and finally, Spain, where his choice for the name Malaga originates (Malaga is a port city in southern Spain). Dupré’s home is where his laptop is. He travels with a 12- or 15 inch PowerBook, without a printer, and with sporadic access to his reference books and other historical documents. All he needs is a table and chair. He even learned to design without a mouse since hotel and cafe tables are often too small to also fit a mousepad. Dupré is the new global designer who can take disparate influences and fluidly process the information into a coherent whole. Malaga is a case in point. It is inspired by ideas ranging from blackletter to Latin fonts, and from the Quattrocento’s first Venetian antiquas to brush stroke types. This makes Malaga a richly animated font saturated with unorthodox detail. Its black and bold weights are particularly suited for headlines and short texts, while the subtle modulation and moderate contrast in the regular and medium weights makes it perfectly readable in extended text settings. While Malaga doesn’t claim to resolve any particular legibility issues, it is nonetheless perfectly readable and will impart any design with a healthy dose of visual character.

In 1925, at the request of Barnhart Brothers & Spindler, the foundry he worked for, Oswald Bruce Cooper designed a wide selection of "screamers", oversized exclamation points used to grab attention in display advertising. The foundry rushed the screamers into production, much to Cooper's dismay. Cooper was disappointed with the final form of the screamers– they were designed in assorted weights to match the assorted Cooper series of typefaces, as well as in a variety of other formal solutions- squaredoff, incised, wavy, Tuscan, and rounded. Cooper's working design methodology was to re-draw his projects a number of times in order to refine the formal results. However the screamer project was hastily cut by the head of BB&S's matrix engraving room in fourteen sizes from the initial sketches, causing Cooper to fire off a fiery missive stating, "Everything I draw is bum the first half-dozen times I draw it; the trouble with these is that I drew them only once!" This typeface is the result of researching Cooper's original drawings and series of engraved proofs for the screamers, as well as the original Screamer type specimen. Cooper Screamers have never been available before in digital format.

TT Ramillas useful links: Specimen | Graphic presentation | Customization options TT Ramillas in numbers: • 28 styles: 7weights, 7 true italics, 4 decorative styles, 7 initials styles, and 3 variable fonts • 900 glyphs in each style (except decorative & initials styles) • Support for more than 180+ languages: extended Latin, Cyrillic • 25 OpenType features in each style (except outline styles): small capitals, ligatures, old-style figures, arrows and other useful features • Amazing Manual TrueType Hinting TT Ramillas is a fully reconsidered high contrast transitional serif, which is perfectly adapted to modern realities and requirements. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes, high contrast and detailed elaboration of each character. The visual features of TT Ramillas are high contrast, small flared serifs, variable slope of ovals, open aperture of signs, contrasting thin nodules and no drops. In addition, TT Ramillas has a characteristic flame-like element in the lowercase Cyrillic letter ? and a bright "tongue" in the letters ??, ductile legs in ??, ??, and ??, as well as a very interesting upper terminal in the letter a. TT Ramillas is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. TT Ramillas is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. In the process of working on TT Ramillas, we wanted to expand the functionality of the typeface a little more, and thus, after a few experiments, two pairs of decorative fonts were born: Outline, Decor and their oblique versions. These decorative fonts work great for headlines and bold accent lettering. We thought that in these decorative fonts, small caps and some specific features would not be needed, otherwise the composition of decorative fonts is identical to the basic ones. The TT Ramillas typeface consists of 28 styles: 7 weights and 7 corresponding italics, 4 decorative ones, 7 initials styles and 3 variable fonts. Each typeface style consists of 900 glyphs (except for the decoratives). TT Ramillas supports over 180+ languages, including Cyrillic support and Extended Latin support. When creating the typeface, we did not forget to add small caps, ligatures, old style figures, arrows, hands, card suits and many other useful characters and OpenType features. For the most demanding users, we have prepared a variable version of basic styles. Using the variability slider, you can adjust and select the individual thickness, without reference to the existing weight distribution. An important clarification — not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. TT Ramillas OpenType features list: aalt, kern, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, c2sc, smcp, liga, dlig, case. TT Ramillas language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

"Istanbul Type" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Istanbul Type 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

"Istanbul Type Variable" has a modern streak which is the result of a harmonization of width and height especially in the lowercase letters to support legibility. "Istanbul City" has the modernity of the west and the orientalist texture of the east as the city that unites the Asian and European continents. "Istanbul Type Variable" also includes these features. It is a unique character that reflects the spirit of "Istanbul City". Many letter alternatives prepared with care have been created for all letters. You can make dozens of combinations from a word using these alternative letters. "Istanbul Type Variable" is an effective set for creating identities for branding, posters, book covers, headlines, logotypes, restaurants, menu cards, wedding invitations and so on. "Istanbul Type Variable" provides advanced typographical support for Latin-based languages. An extended character set, supporting Central, Western and Eastern European languages, rounds up the family. The designation “Istanbul Type Variable 500 Regular” forms the central point. The first figure of the number describes the stroke thickness: 100 Thin to 900 Bold. "Istanbul Type Variable" 5 weights and italics total 10 types. The family contains a set of 2.200+ characters. Case-Sensitive Forms, Classes and Features, Fractions, Superior, Inferior, Denominator, Numerator, Old Style Figures just one touch easy In all graphic programs. Attention! "Typography Line" is not suitable for use. When using it for special effects, it may be necessary to "Convert / Create Outlines" it first and then "Pathfinder Unite" it. You might have a crush on this typeface :) Do not hesitate to consult me for information about fonts before, during and after purchasing. You can contact me at "buyuksel@hotmail.com". Enjoy using it.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

Metron is so far the most ambitious typeface made to order in the Czech Republic. Despite the fact that for a number of years it has not been used for the purpose for which it was designed, every inhabitant of Prague is still well aware of its typical features. Metron Pro was commissioned by the Transport Company of the Capital City of Prague in 1970 to be used in the information system of the Prague Metro. It was first published in the manual of the Metroprojekt company in 1973 and then used to the full, under the author’s supervision, for lines “A” and “C”. Since 1985 Rathouský's system has been disappearing from the Prague Metro; it survives only in the form of metal letters at its stations and at some stations of the Czechoslovak Railways. In 2014 we're mentioning the 90th birthday of Jiří Rathouský. It’s a good opportunity for updating and re-introducing his Metron. Extended was the choice of figures and fractions, new currency signs added, diacritics revised, etc., but above all the newly designed Cyrillics including true SmallCaps. Now we have six weights plus italics, where the tone of the basic style is even closer to the original. Ten years back we've had the feeling that this typeface should again take a part of Prague’s traffic system and today, when revisiting of all the fonts, the feeling turned to certainty. The main feature of this typeface is namely a noticeability a property above all welcomed in rush of platforms.

Laima is the brush-formed stencil from Bogidar Mascareñas that will create an ovation for branding, album art, upscale venues, and packaging. If wide appeal, attention to detail, or international reach is necessary for your brand, consider Laima’s high-calibre design as your personal ambassador. The general font user is accustomed to stencil typefaces that have a brute look to them — industrial, mechanical, restrictive, or even militarised. Stencils are commonly used because they serve a function, like spray-painting over template letters, giving the reader a warning that must be heeded for safety, or a command to follow immediately. Wooden crates and grunge art are the medium and black or red paint are the norm. Laima, instead, creates a stencil from the world of calligraphy to turn all this on its head. Laima’s 12 stencil styles (six roman and six italic) use the junctures of calligraphic strokes as an opportunity to achieve an uncommon stencil effect, shifting to create unexpected shapes and the illusion of twisted, disconnected overlaps. Inspired by “Arte Nueva de Escribir”, an engravings book published by Francisco Palomares in 1776, Laima progressed well beyond its beginning as a Type and Media Master’s project at KABK, The Hague (NL). It sometimes required completely new character shapes to accommodate the space needed for clear diacritic marks, and was further enhanced with flourishes and alternates for liveliness and variety in individual or branded work. Laima’s italic begins with swashes and uses OpenType features to automatically turn them off with more than two successive capital letters. Use one swashed character for a drop cap, two for ligatured fun, turn them on or off at your discretion, or change the ascender length and swash shape to suit your creative need. With two styles of numerals and stylistic sets for final forms, Laima’s 12 styles and hundreds of Latin-based languages can turn simple words into an occasion that would immediately benefit high-class brands and special uses. Set that article title, release that new product, code your best-looking UI yet, letterpress that business card, and print that gourmet label. Whatever is next, Laima is the unexpected stencil partner to introduce it to an expectant world.