Bloem, two new fonts with oodles of character designed by Carine de Wandeleer. Its slight bounce and intentional irregularity gives your words a wonderful flow. The thick and thin strokes in this typeface combine balance and harmony. This new font family includes a sans regular and a script font. The script has OpenType features such as Stylistics and Contextual alternates, Swashes, Ligatures, up to nine Stylistic sets by letter that allow you to mix and match pairs of letters and  a Central European language support to fit your design. This will help your creativity and make it easier to make the impressive and elegant typographic work. All OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. Bloem Sans is a complementary handmade font, that works in harmony with Bloem script to create accurate typographic designs quickly! Bloem looks lovely on wedding invitations, greeting cards, logos, business-cards, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds!

Rialto dF is a book face inspired by calligraphic tradition. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers… As tradition demands, uppercase, numerals and punctuation are used in combination with italics – the same solution adopted by Francesco Griffo when he cut his first italic for the Virgil, the first of the octavo series printed and published in Venice by Aldus Manutius in 1501. Rialto dF comes in two optical weights: Piccolo, for up to 14 pt, and Grande for 16pt and above. Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke.

Bernhardt Standard, which was designed in 2003 by Julius de Goede, is a flowing Bastarde script. Bastarde is one of the sub-categories of Blackletter typefaces. The term Blackletter refers to typefaces that have evolved out of Northern Europe’s medieval manuscript tradition. Often called gothic, or Old English, these letters are identifiable by the traces of the wide-nibbed pen stroke within their forms. Of all of the various sorts of Blackletter styles, Bastarde scripts are the most flowing, or Italic. The first Bastarde typefaces, cut in the late 1400s, were based on French handwriting styles, especially those styles popular in Burgundy. The flowing nature of Bernhardt Standard makes it similar to some other sorts of Blackletter typefaces as well. Bernhardt Standard, because of its handwritten roots, is also similar to Kurrent, a style of handwriting that was popular in Germany prior the 20th Century. Bernhardt Standard is a very calligraphic face, suitable for formal applications. This typeface would be an excellent choice for certificates or awards. The old style figures in the font allow for nice short settings of text as well.

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Operetta is a neo-didone display font family inspired on Bodoni, Didot (early 18th century) and Walbaum (19th century). Despite of this heritage, Operetta’s design meets contemporary taste and typesetting needs. With five optical sizes, masterfully navigate between contrast and legibility across various dimensions. The range of eight weights, from the weightless Extralight to the robust Extrabold, let you set your tone: from delicate to exuberant. Operetta's generous character set and opentype features let you meet the most demanding layout needs. And don’t forget swashes, arrows and other extra glyphs, seldom included in a didonesque font. The number displayed in the font family name signifies the recommended minimal print size in points. In web design you should double the minimum value for a retina screen, multiply by 4 for a 72dpi screen. Of course its rendering depends on the printing support, screen resolution etc. Therefore, take it as a suggestion or a starting point; make your own trials. And now, the pièce de résistance: Operetta unveils its italics, adding yet another layer of allure and sophistication.

Mirella Script is a modern and clean approach of the classic French Bastarde script style. Mirella has the follow resources : - Lots os ligature forms (using contextual alternates open-type feature), - many stylistic alternates for each letter (upper- and lowercase and all accessed with the glyph palette), a set of 55 ornaments and fleurons accessed with the glyph palette or using the Ornaments feature); - initial and final letters with artistic variations accessible using the initial and final form open-type features - a tour-de-force kerning work: almost 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. We ever suggest the use of the glyph palette to find ideal solutions to specific designs, because the high number of gliphs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. Mirella Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Myhtring is a spine-chilling display font that will cast a spell of fear on your designs. Designed in uppercase and with a bold weight, this typeface demands attention and exudes an aura of darkness and mystery. Each letter is meticulously crafted with details resembling menacing plant roots with sharp edges, adding an eerie and sinister touch to the font. With its bold weight and uppercase design, this font creates a powerful and impactful presence. The root-like details in each letter of Myhtring give the font an organic and unsettling appearance, as if the letters are entangled with malevolent and ancient roots. These haunting details add a sense of otherworldly energy and create an atmosphere of foreboding and suspense. The combination of bold weight and sharp-edged root details gives this font a sinister and enigmatic look, evoking images of dark and sinister forces lurking in the shadows. The letters seem to possess an aura of malevolence, making it an ideal choice for projects that delve into the horror and the supernatural. For the best legibility you can use this font in the bigger text sizes. Enjoy the available features here. Features: Alternates Multilingual Supports PUA Encoded Numerals and Punctuations Mythring fits in headlines, logos, movie posters, flyers, invitations, branding materials, print media, editorial layouts, headers, and any horror-themed project. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The Swiss typewriters were famous for their unique precision. As complex digitalizations and macro shots were a start for the inspiration and studies, each character has been carefully re-crafted from the ultra high def scans of the printouts made on a special bleed-proof paper. Today’s characters such as @, euro sign and most of accents have been crafted according the original alphabet design. The idea was to digitize and keep a saving of the original typewriter including all its functions (e.g. underlining key) . It’s surprisingly very legible at small sizes. Thanks to an x-height tighter and more spaced, a glyph design less detailed and more neutral/simple than other fonts found on american or italian typewriters. The final artwork can be set at very large sizes due to the highly detailed glyph design. Swissa Piccola Regular is loaded with more than 150 glyphs created with the typewriter to avoid letter repetition in a word. This OpenType feature can be accessed through the 'discretionary ligatures' option. Plus it comes with two stylistic sets : one with an original underlining feature, another with a slashed-x feature. In which all characters are unique and also have been originally typed with the typewriter. It contains more 600 glyphs in total. The two features are separated in another two fonts (Swissa Piccola Slashed x and Underlined) in case a non OT-savvy app is used. If you wish to obtain exactly the same prints as the original Swissa Piccola typewriter, you should set your font at 11.3 pt and 19.5 pt of line spacing. The Swissa Piccola font was originally offered in a dedicated limited edition packaging.

The perfect typeface for the modern age has arrived. Good Timing is the ultimate fusion of style and substance, taking the best of the classic Good Times typeface and elevating it to a new level of cool. The wide, capsule-shaped design of Good Timing makes it stand out from the crowd, giving your text an edgy, high-tech vibe. And with its seven weights, including italics, you’ll have all the flexibility you need to create eye-catching designs that are sure to grab attention. But that’s not all—Good Timing also comes packed with all the symbols and characters you need for any project. Mathematical symbols, fractions, numeric ordinals, and monetary symbols are all in good supply, so you’ll never be left searching for the right character. So whether you’re designing a cutting-edge website, a sleek marketing campaign, or a futuristic logo, Good Timing is the typeface for you. Download it today and take your design game to the next level! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing “Backover Typeface” – Unleash the Power of Words with a Heroic Twist! 🔥 Immerse yourself in the epic realm of typography with our latest creation, the “Backover Typeface.” Inspired by the valor of superheroes and the chivalry of knights, this font is a visual journey into the heart of heroic tales. 🗡️ Strike with Power: Channel the strength of legendary warriors as each letter in “Backover Typeface” is meticulously crafted to embody the essence of a hero’s decisive strike. The sharp angles and bold lines evoke the precision of a superhero’s punch or a knight’s swordplay. 🛡️ Defend with Style: The font doesn’t just pack a punch; it defends with flair! Each curve and contour replicate the resilience of a shield, offering a typographic fortress that stands strong against the ordinary. Let your words be the armor that shields your message with distinction. 👤 Unleash Your Inner Hero: “Backover Typeface” isn’t just a font; it’s a transformation. Feel the power surge as you type words that resonate with the bravery of classic heroes. This font empowers your message to become a beacon of courage, ready to take on any adventure. ⚔️ Warrior’s Arsenal: Immerse your audience in the visual feast of classic warrior illustrations included with “Backover Typeface.” Swords clash, shields protect, and helmets gleam with the promise of valor. These meticulously designed elements seamlessly integrate into your typography, allowing you to create a visual narrative that echoes the grandeur of heroism. 🎮** Level Up Your Designs:** Whether you’re working on a superhero movie poster, a knight-themed game interface, or any project that demands a touch of legendary charm, “Backover Typeface” is your ultimate companion. Elevate your designs, captivate your audience, and let the font be the hero of your creative journey. 🌟 Key Features: Heroic Typography Superhero and Knight Theme Sword, Shield, and Helmet Illustrations Perfect for Movie Posters, Game Graphics, and more 🚀 Elevate your design game with “Backover Typeface” – where every word becomes a heroic adventure! Download now and embark on a typographic journey like never before. Unleash the hero within your words! ⚡️

For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet Portada by Veronika Burian and José Scaglione. Sans serifs are commonly used on small screens to save space and carry a modern tone. Serifs may appear fickle and unsteady, pixel grids change from one product to another, and space is at a premium. Portada now provides a serif option for these restrictive digital environments, putting that old trope to rest. The screen has met its serif match. Portada was created from and for the digital world — from e-ink or harsh grids to Retina capability — making it one of the few serifs of its kind. Portada’s text and titling styles were engineered for superlative performance, making great use of sturdy serifs, wide proportions, ample x-height, clear interior negative space, and its subservient personality. After all, words always take priority in text. It’s not all business, though. Portada’s italics contain an artefact of calligraphy in which the directionality of the instrokes and the returning curves of the outstrokes give the family a little unexpected brio. Yet even the terminals are stopped short of flourished self-absorption to retain their digital clarity. When printed these details are downright comforting. Portada’s titling styles enact slight changes while reducing the individual width of each character and keeping the internal space clear. Titling italics have increased expressiveness across a few characters rather than maxing out the personality in each individual glyph. Digital magazines, newspapers, your favourite novel, and all forms of continuous screen reading benefit from Portada’s features. This family can also cover many of the needs developers have: user interface, showing data intensive apps on screen, even one-word directives and dialogs. And, as a free download, an exhaustive set of dark and light icons is included to maintain Portada’s consistent presence, whether as a word or an image. The complete Portada family (eight text styles, ten titling styles, and one icon set) is designed for extensive, clear screen use — a rare serif on equal footing with a sans.

Oktah Neue is an extended version of a more limited Oktah family. Since its release in 2019, Oktah Neue received two major updates, the most recent in June 2022. The latest version of Oktah Neue is comes in 22 styles as well as one variable font. Oktah Neue inherits the best traits of Oktah—great legibility, simple geometric letters shapes, low contrast across all styles—but also introduces what Oktah fell short of: extensive language support and enhanced OpenType features. While working on Oktah Neue, we strove to create a neutral typeface that would be a workhorse for designers, typographers and other font users alike. Building onto the familiar shapes of Oktah, we tried to make them more neutral, at the same time preserving the unique character of the typeface. Certain characters remained the same, others have undergone a complete transformation, which left them better tailored for the wide implementation range of Oktah Neue. Over the past years the size of the character set in Oktah Neue was significantly expanded (currently standing at 2500+ characters). In addition to Extended Latin, new language systems (Extended Cyrillic, Greek — both Basic and Polytonic — and Hebrew) were introduced. The already vast Cyrillic set also includes localised forms for such languages as Bulgarian, Serbian and many others. Oktah Neue is OpenType friendly: it knows how to do alternatives, contextual alternatives, switch various between stylistic sets and adjust the height of punctuation and symbols as you type. Small Caps include all listed languages as well as numerals and symbols. Oktah Neue comes equipped with various styles of numerals — from standard Proportional Lining figures to Oldstyle, Tabular Oldstyle. Sub- and Superscript, Fractions and two sets of circled numbers. Oktah Neue is well-kerned with more than 3000 kerning pairs and automatically hinted. Oktah Neue comes in 22 styles (11 uprights and 11 italics), two of which — Ultra Light and Black Italic — can be downloaded free of charge to get a firsthand experience of what Oktah Neue is ready to offer. The latest update of Oktah Neue introduced a fully variable option: now, both axes (Slant and Weight) can be accessed in the same file for utmost convenience.

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

Mikha, designed by Carine de Wandeleer, is a delightfully handwritten family font which keeps the casual drawing of a marker with clean strokes. Its slight bounce and intentional irregularity, gives your words a wonderful flow. This new font family with 736 glyphs, includes Regular, Condensed and Sans. It has OpenType features such as Stylistics alternates, Swashes, Ligatures, up to five Stylistic sets by letter, initial and terminal forms in upper and lower, ornaments that allow you to mix and match pairs of letters and a Central European language support to fit your design. This OpenType features may only be accessible via OpenType-aware applications, or the Character Map to view and copy any of the extra characters to paste into your favorite text editor/app. This will help your creativity and make it easier to make expressive and elegant your typographic work. Also with Mikha Sans it is possible to write all in capitals. Mikha looks lovely on wedding invitations, greeting cards, logos, posters, labels, t-shirt design, logos, business-cards and is perfect for using in ink or watercolor based designs, fashion, magazines, food packaging and menus, book covers and whatever your imagination holds! Enjoy it!

Guanabara is the third release of Plau Type Foundry. It started from the need of a wayfinding typeface that had personality enough to be the brand typeface for a city. The city of Rio de Janeiro, with its never-ending curves and all year long summer weather provided the constraints and requirements of this typeface. From there, it evolved to be a workhorse, with 8 weights from Thin to Black and matching true italics. It just had to have the features that all us designers have grown to love, such as alternate letters (a, g and r for the romans), tabular and proportional figures in lining and oldstyle set-ups as well as small caps, fractions and all that jazz (I mean, samba). And it needed to be recognizable and distinct. For that, design features like tapered R legs, capitals with classic proportions and calligraphic finishes on the terminals proved crucial. And last, but not least, like Rio, it had to welcome many cultures. We came to think of it as the “Typeface from Ipanema”, with a classic, timeless look, swinging elegance and joyful attitude.

Henrician can claim two sources of inspiration. One of these was a set of beautiful capital letterforms seen on the cover of a 19th century album of engravings. The engravings contained therein depicted lovely examples of half-timbered Tudor architecture and there was a clear 'Tudor' intent behind the letterforms. The second source of inspiration is more conceptual-the title lettering of period films from the 30's to the 60's…think if the opening text when Errol Flynn plays Robin Hood, or think of Richard the Lionheart, or even that great comedy Classic 'Carry on Henry', and it's discussion of Sir Thomas de Cobbler….but we digress! Henrician is a set of eight display and text (but perhaps not Body Text) faces in a 'Tudor Revival' spirit. Like any good revival design they are somehow at home with a wide range period themed design work, covering the medieval until, perhaps, the 18th century, just so long as we're more concerned with fun and appearance than strict historical accuracy. The family will be at home in the realms of advertising, posters, cover design and web design. Try Henrician out today!

Muisca, that in its early edition was named as «Muisca Sans», was developed in mid-1997 and based on the graphic concept of pre-Columbian characteristics figures within some of the very few visual elements recovered from the Muisca culture. This ancient pre-Columbian tribe disappeared since the arrival of the Spanish 500 years ago, in what is now the center of Colombia. In fact, the name of the capital Bogotá goes back to Bacatá as primary or village downtown of what was once the imperial capital of the Muisca tribe. This typographic project was submitted as my work for the degree in Graphic Design, obtained in September of that year (at the Universidad Nacional de Colombia), under the creative concept of vindicating the ancient culture and identity through a functional typeface, into a fact without precedent in the country. Muisca was recently edited, arranged and completed, including multilingual diacritic glyphs to be versatile in several languages. Related and inspired by Latin America, Ethnic, Native, Tribal, Mysthical, Handmade, Aboriginal, Pre-Hispanic, Pre-Columbian, Textured, Fantasy. Ideal to be used in logos, display text & titles, games and other design applications that reminds of the Pre-Hispanic art.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

This set of initial decorated letters was inspired by a font in use in the beginning of 1500s in Paris. Exactly, we have used the set that Barthélémy Verand employed for the printing of Triumphus translatez de langage Tuscan en François, (from “Triumph” of Petrarque) in the year 1514. Some letters, lacked, have been reconstructed to propose a complete alphabet. It appears that the printer used some letters to replace others, as V, turned over to make a A, or D to make a Q. The original font’s letters were drawn in white on a black background only, but it was tempting to propose a negative version in black on white. It is used as variously as web-site titles, posters and flyers design, publishing texts looking like ancient ones, or greeting cards, all various sorts of presentations, as a very decorative, elegant and luxurious additional font. This font supports strong enlargements remaining very smart and fine. It’s original medieval hight is about one inch equivalent to about four lines of characters. This font may be used with all blackletter fonts, but works particularly well with 1543 Humane Jenson, 1557 Italic and 1742 Civilite, without any anachronism.

The origins of Bembo go back to one of the most famous printers of the Italian Renaissance, Aldus Manutius. In 1496, he used a new roman typeface to print the book de Aetna, a travelogue by the popular writer Pietro Bembo. This type was designed by Francesco Griffo, a prolific punchcutter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo's roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

A brighter slab n’ sans in 18 styles Referred to as Egyptian’s in the early years of the nineteenth century, today slab serifs are primarily used in display sizes but seldom used in body text. With Mislab, Xavier Dupré has designed a brighter and more legible slab serif than most. Mislab aptly combines the strength of a slab serif with the lightness of a sans serif. Bold and thick serifs make for strong impact in display uses while performing extremely well under the most stressful body text conditions. A slight cursive feel adds spice to the text while its delicate rounded rectangular structure is naturally adapted to screen displays. The capitals have fully assumed serifs while the lowercases have more discreet versions. Notable features include sanserif endings on the lowercase a, c, e & s, inducing fluidity and enhanced readability. This highly versatile typeface brings clarity to headlines. Mislab will provide foolproof stability to your layouts. Mislab, a new design by Xavier Dupré Type Directors Club 2014 Tokyo TDC 2014 Communication Arts Typography Awards 2014 Club des directeurs artistiques, 45e palmarès Slanted: Contemporary Typefaces #25

Oscar Niemeyer is one of the greatest architects of our time—his unique way of mixing straight lines and abstract curves gives rise to an unmistakable and characteristic style. This typeface is my own tribute to Brazilian architect Oscar Niemeyer. The design process started when my wife and I visited Brazil while she was running a series of workshops on calligraphy. In my spare time, I would walk through the streets of beautiful cities like Rio de Janeiro or São Paulo, enjoying the local architecture and urban life. I had also the opportunity to attend to some of the workshops during which I was able to observe the organic of calligraphy and people. Then, I started to draw some shapes that reflected everything about this beautiful place: Niemeyer’s architecture and work and, in his own words ‘the curves on the body of the beloved woman’. This versatile typeface comes in 8 weights with matching italics, alternative characters, oldstyle figures and much more! Niemeyer is well-suited for logotypes, advertising, publishing, branding and corporate use. Special thanks to everyone in the Latinotype Team (especially to César Araya) for their support, help with corrections and digital editing.