Donatella - Handwritten Fonts are elegant handwritten fonts, with texture, to be as authentic as possible while still being able to read clearly on your project. Donatella is a truly versatile font - combining sophisticated, casual and even fun sides depending on the style you use. A complete set of upper and lower case letters, and a second set of lowercase letters, Donatella - Handwritten Font also has 37 Ligatures for question just email.

Performance is a set of perforated plates that appear to be characters. The construction of characters is described by sequences of holes whose shape and placement define the appearance and mood of font styles. An interesting feature of the design is an absence of side bearings and leading. Due to this feature a text article set by Performance forms a perforated coherent surface similar to postage stamp block.

A quintet of remorseless homewreckers, each member of the Vamp family contains hypnotic dingbats to lure you into their web. The Vamp family consists of the bewitching Vamp, the bigger, brasher Vamp Bold, the dangerous, psychedelic Psycho Vamp, as well as the lean (but still mean!) Vamp Slim and Vamp Slim Oblique. The Vamp family's seductive art deco form and fiendishly geometric wiles will break your heart and steal your soul.

Bubblegum Sans Pro is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. It bounces with joy and tells a great story. Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium. Bubblegum Sans Pro version covers all Latin-based languages and includes some alternates.

Turquoise Inline is a new version of our bestseller Turquoise This version of roman capitals is more focused on display use, with the details of an inline roman type. This font can be used, for ads, labels, wine labels, logo and all kind of display uses. Open Type features needs to be activated for all the ligatures and alternates. Enjoy it! We recommend to combine Turquoise Inline with Nautica Sottile & Auster

Karol Sans is the perfect companion for Karol, without being a literal translation of it. It has its own personality and offers a wider range of six weights and their italics which gives it added versatility. It has all the indispensable OpenType features for a text typeface like Small Capitals, different sets of figures, fractions and many others. The character set supports Latin, Central European, Baltic and Turkish languages.

Horror Party is a spine-chilling Halloween display font designed to send shivers down your spine. With a ghoulish twist on traditional lettering, this font adds a touch of eerie enchantment to your designs. Perfect for t-shirt designs, party invitations, and all things spooky, Horror Party brings the thrill of the macabre to your creative projects. Unleash your dark side and let this font make a haunting impression!

Empires is a supercharged, street-wise brush font bursting with energy, Empires is ideal for logos, apparel,T-shirt,Hoodie, quotes, product packaging, or anything which needs a typographic turbo-boost. Empires Swash - Need a cool drip on your text or a splash of paint? This font set has you covered. Type any letter a-z using this font, and you'll get a unique swash to accompany the font

The Fleurons of Paris were inspired by an iron gate, an iron railing, a Metro tile, a Metro stop, the Eiffel Tower, Notre Dame, a rainy afternoon, a glass of wine, an outdoor cafe and the list goes on and on. Absorbing all things visual was immensely satisfying second only to coming home and reliving the trip tiny graphic by tiny graphic. Also look at the Ornaments of Paris.

Introducing, Qidango is a serif typeface created with elegance and luxury, exuding femininity and glamour, but also a side of beauty with many alternatives to help you create endless variations for your creative needs. Featuring an italic style with striking contrasts and subtle details, as well as luxurious strokes and voluptuous curves, it creates a beautiful and powerful statement for any typographic composition, combining glamor with a contemporary aesthetic.

Buddy Slender is the narrower version of the companion sans for Contenu, the book font family designed for a book on book family design called Practical Font Design. It's a loose, free, easy to read sans, so when my wife suggested Buddy, it clicked. This is the 2-font Buddy Slender family of Regular & Bold. I made a new more limited feature set for these fonts due to their designed usage.

Edicia is modern serif family with 5 weights and matching Italics. Distinctive and recognizable, Edicia stands out clearly with charming details. Characterized by asymmetric serifs, Edicia is designed with special care for ink-traps. Contains extended Latin and Cyrillic character set equipped with left & right side Borders, Localised Forms, Denominator & Numerator, OldStyle Figures, Tabular Figures, Tabular OldStyle Figures, Superscript, Subscript, Stylistic Alternates. Thin weight is available for free.

Stay Drips is an interesting, unique font in capital letters with uneven edge lines and ink drop details to give lovely, dynamic visual effects. The letters have soft brush wipes, and the ink drop details on some letter parts show a unique nuance of organic and artistic touch. The font’s unique, flexible characteristics can carry on various design styles such as formal, creative, and experimental ones. Designs with this font will express strong, amazing, unique impressions. In addition, bright and contrast colors will outstand this dynamic font that is more applicable for big text sizes to be greatly legible. You can also enjoy the available features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Stay Drips fits best for various design projects, such as brandings, quotes, printed products, merchandise, social media, etc. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

A typical Art Deco font with high contrast. I have mirrored the uppercase A and M to give the strokes a correct direction, and shortened/widened a few lowercase letters to give the text a more even color. A stylistic 30s-looking font is ready for international text-setting! ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing DreamGood, a captivating natural handwriting font that adds a touch of artistic charm to your creative projects. With its authentic style and versatile nature, this font is perfect for various craft endeavors. DreamGood's natural handwriting style brings a unique and personalized feel to your designs. Whether you're working on shirt designs, websites, SVG creations, home decor, branding materials, blogs, logos, or invitations, this font will elevate your projects with its organic appeal. With both uppercase and lowercase letters, DreamGood offers flexibility in crafting engaging compositions. It also includes numbers and punctuation, ensuring seamless integration within your text. The font's multilingual support enables you to communicate your message effectively across different languages, expanding your reach to a wider audience. DreamGood features ligatures that enhance the flow and aesthetics of your typography, allowing for captivating and cohesive designs. The font's PUA Encoding provides easy access to special characters and glyphs, opening up endless creative possibilities. Embrace the natural beauty of DreamGood in your craft projects and watch your creations come to life with an artistic flair. From handmade goods to digital designs, this font adds a touch of elegance and authenticity.

Perfora is the typographic antidote to our relentlessly anxious and uncertain times. On one hand, Perfora is heavy, monospaced and brick-like. It feels secure, permanent, reliable. On the other, Perfora is extra variable—stretching taller or growing wider as needed—so all your words can fit perfectly together. And this seeming contradiction is the sweet spot we’ve all been missing: sturdy but not rigid. Named for its punch-hole shaped counters and eyes, Perfora is a flexible powerhouse that’s easy to use, stack, and click into any shape. Use it to assemble everything from dynamic logos to posters and festival lineups, from seamlessly responsive titles to instantly recognizable product lines. Perfora features two uppercase styles—rounded and angular—punctuation, numbers, latin diacritics, and stylistic alternates for a subset of characters. It also includes 19 ornamental glyphs to compose with flair and add some rhythm to your copy. It’s available (and recommended) as a variable type (.ttf) for designers using compatible platforms. It’s also available in opentype format (.otf) as a set of 25 static fonts, spanning 5 widths and 5 heights. Perfora was created by In-House International, designed by Alexander Wright and developed by Rodrigo Fuenzalida.

Karlie is a neat combination of a friendly script & a modern all-caps serif in five widths. The font family is extremely versatile and is perfect for high-end logotypes and magazine headlines, let alone greeting cards, invitations, posters, book covers, ads and the various web and screen usages. The combination of two different font styles (script and serif) also performs very well on product packaging. As for the technical side, the Karlie family has extensive language support and includes a handful of ligatures, stylistic sets and swashes that add visual interest to every letter. We've also included some extras with ready-made words and symbols for more design freedom. The Karlie Font Family in a nutshell: - Karlie - a dancing baseline script with connecting letters - Karlie Alt - similar feel to Karlie, but with disconnected letters - Karlie Serif - a set of five serifs with different widths for a different impact - Karlie Extras - a set of additional designs that will add up to the family’s charm. The overall feel of the family is a combination of casual and sophisticated, thus making it perfect for modern-day applications.

Introducing “Khakoy Font” – Unleash Playful Creativity! Dive into a world of limitless imagination with Khakoy Font, your ultimate tool for injecting a playful spirit into your designs. Khakoy Font is the embodiment of joy and whimsy in typography. Crafted to spark delight, it’s your go-to choice for projects that demand a dash of fun and a pinch of mischief. With its lively and distinct characters, Khakoy Font invites you to explore the playful side of design. It’s a font that ensures your message is conveyed with a contagious sense of playfulness, captivating your audience instantly. Designed to ignite creativity, Khakoy Font adds a touch of amusement to your projects. From cheerful posters to charming children’s books, this font is your partner in crafting designs that leave a lasting, joyful impression. Let your designs break free from the ordinary and embrace the vibrant spirit of Khakoy Font. Elevate your creative game, infuse humor and light-heartedness into your work, and watch your designs come alive with this delightful typeface. Discover the magic of Khakoy Font today! – PUA Encoded Characters – Fully accessible without additional design software.

The polls are in. Now here by customer request--Haboro Serif, the newest edition of the Haboro Hyperfamily. The Haboro fonts are an outstanding upstart success from the first part of 2016. Following the release of the popular Haboro, Haboro Sans and Haboro Slab have both been welcomed additions to the family, too. Now, Haboro Serif continues to build on the base of these related designs. Serif maintains the unique, script-like terminals of the original. These terminals, along with the optimized stroke weight of this face, make it useful for text settings. Prefer standard serifs? These are also available as OpenType alternates within the font, giving you a wider variety of options without compromising its effectiveness in the same text settings.. Haboro Serif works with many other members of the Haboro family as well. Try the original Haboro for your headlines, and pair your Serif text with Haboro Sans for a balanced design that appeals to the reader. Add Serif to your box today, and try this all-around “Renaissance man” of a typeface for a touch of practical elegance on your next job.

Carnollia Signature is a stylish signature font with a modern and natural handwriting impression. And it's perfectly suited to logos, posters, wedding details, postcards, branding, apparel, taglines, quotes, and much more. Carnollia Signature includes more than 100 alternates within the following OpenType features: 3 Sets of lowercase Stylistic Alternates, Underline Swashes, and more than 40 ligatures. Thank you for checking this product and we hope you enjoy it!

A flat pen script font face with a fairly elegant look to it. The design of this script was intended to be used anywhere a well legible script is called for. A heavy stout script is the perfect display face which has a 30s and 40s flair that will add class. Suitable for applications such as captions, fashion headlines, packaging, invitations, cards, posters, ads, book jackets and covers.

BB Manual Mono™ (Pro) visualizes the work of painters: Craftsmanship, precision, professionalism and their tools. The special features of the Font emphasize the work process. ● Flow: visible process ● Alignment: contextual monoline ● Accuracy: individual modularity ● 5 Variants (TX (Text), IT (Italic), ST (Standard), HL (Headline), CR (Cover) ● 40 OT-Features/Style ● 60 Styles ● 100 Stylistic-Sets (20/Variant) ● 122 Languages Support (Latin, Greek, Cyrillic) ● 86,100 Glyphs (1,435/Style)

Kang meatball inspired by brush pen calligraphy. Characters shape based on brush pen stroke. Start by making words with brush pen on paper. Some words that have suitable shape are selected to be the initial inspiration for the font design. We draw calligraphy for uppercase, lowercase and number character. After drew Calligraphy character, next process is design digital lettering. We design Uppercase, lowercase, and number character in digital. Add puctuation and ligature characte. There are some style set, endswash and underline swash character that make lettering design more unique. We encoded unique character in Private Use Area (PUA). Kang meatball has 305 characters including uppercase, lowercase, numbers, punctuation, set style, and underscore swash. Kang meatball is suitable for many design. This brush font is suitable for logos, posters, advertising, gift cards, name cards, and T-shirt design. The font is suitable for logos, name cards, and gift cards. Fonts can be combined with visual elements to create posters, advertising, t-shirt designs or book cover designs. Feature : · Uppercase · Lowercase · Number · Punctuation · Multilingual (Accented Letters) · Ligature · Swash · Style set (01-04) · PUA Encoded Characters If you have question or request for any languange glyph, please contact us.

Malabar is a type family for extensive text. Its design was developed with a nod toward newspapers. Malabar's characters are seriffed and of the Old Style genre. A strong diagonal axis is apparent within the curves. Sturdy serifs help strengthen the line of text in small point sizes, as well as define the overall feeling of the face. Malabar's x-height is very high, a deliberate choice that makes the most important parts of lowercase letters visibly larger in tiny settings. The height of the capital letters is also rather diminutive, allowing for better character fit, as well as eliminating a bit of clumsiness in German, which often includes quite a few uppercase letters. Diacritical marks and additional alphabetic forms required by many Western, Central, and Eastern European languages are naturally a part of the character set, including those needed in the Baltic states, for Romanian, and for Turkish. Malabar's accents are bold and direct, sitting well with their base glyphs. The family includes three weights, each with a companion Italic. Malabar Regular is equipped with small caps, and both it and Malabar Italic include oldstyle figures. All members of the family have both proportional and tabular-width lining figures, as well as special variants of certain punctuation marks vertically adjusted for all-caps text setting. Malabar is informed both by contemporary ideas of typeface design (sheared terminals, the wider-drawn s) as well as by 16th-century masters. Malabar Heavy and Heavy Italic are very loud; their blackness almost shouts out from the page. The Regular's wedge serifs become more slab-ish in nature as the letters' weight increases. Malabar Heavy and Heavy Italic are best relegated to headline use only. Malabar Bold and Bold Italic may be used for text emphasis, a job for which the Heavy is to dark. Malabar received a Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2009.

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.

Sublime45-Regular Sublime Revised for 2021. One font in Opentype format as Sublime45. Families and all TT Truetype versions eliminated in this wonderful stand alone. The Spring 1997 original release of Sublime —borne an organic creature of black water soluble ink & digitized by Coniglio Type. Sublime is a fun font to use in commercial layouts. It is soft and fluid as ink. Like the wrinkles of time, it is imperfect. That in itself makes it incredibly attractive, warm and “human factor”. Sublime offers legibility so sorely missed in the current recreational font market. Sublime was inspired by World War II US fighter pilot Donald Alling. He flew missions over Nazi Germany. His squadron also dropped food, medicine and relief supplies over the Netherlands. Known as “the Colonel” to his friends. Don as a civic engineer ruled literally miles of ink letter callout’s with a template device called a LeRoy in peacetime on vellum and mylar across his career as a technical illustrator. You didn't want to screw up inking into a template with wet black permanent ink. You really had to have a steady hand and it was all done by hand. You can say Don worked “unplugged”. And that is cool! He was part of the broad stroke of postwar industrial expansion that helped keep America strong, rendering exploded views on top secret projects. Many of us were not even born yet when all this was going on. Today at over 80 years young Don is like a national treasure, savvy and bright—and the ladies love him! The Colonel remains a dedicated master airbrush man, stand–up man, caricature artist and letterman all without use of a computer! He was lucky enough to retire before a desktop cathode tube was put in his face. Today the Colonel enjoys restoring VW’s, flying and freelance consulting when not being called to supper by his lovely wife Rea.

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

ATF Franklin Gothic® A new take on an old favorite Franklin Gothic has been the quintessential American sans for more than a century. Designed by Morris Fuller Benton and released in 1905 by American Type Founders, Franklin Gothic quickly stood out in the crowded field of sans-serif types, gaining an enduring popularity. Benton’s original design was a display face in a single weight. It had a bold, direct solidity, yet conveyed plenty of character. A modern typeface in the tradition of 19th-century grotesques, Franklin Gothic was drawn with a distinctive contrast in stroke weight, giving it a unique personality among the more mono-linear appearance of later geometric and neo-grotesque sans-serif types. Franklin Gothic has been interpreted into a series of weights before, most notably with ITC Franklin Gothic. But as the original type was just a bold display face (later accompanied by a few similarly bold widths and italics), how Benton’s design is expanded to multiple weights and styles as a digital type family can vary significantly. Benton designed several gothic faces that harmonize with one another, including Franklin Gothic, News Gothic, and Monotone Gothic, that can serve as models for new interpretations of his work. With ATF Franklin Gothic, Mark van Bronkhorst looked to Benton’s Monotone Gothic—originally a single typeface in a regular weight, and similar to Franklin Gothic in its forms—as the basis for lighter styles. ATF Franklin Gothic may appear familiar given its heritage, but is a new design offering a fresh take on Benton’s work. The text weights are wider and more open than some previous Franklin Gothic interpretations, and as a result are quite legible as text, at very small sizes, and on screen. ATF Franklin Gothic maintains the warmth and the spirit of a Benton classic while offering a suite of fonts tuned precisely for contemporary appeal and utility. The 18-font family offers nine weights with true italics, a Latin-extended character set, and a suite of OpenType features. Download the PDF specimen for ATF Franklin Gothic.

A Nostalgic Signature Font for Christmas Sentimental Feeling is a script font that aims to capture the festive magic of Christmas with a retro design inspired by 1950s magazine editorials, classic movies and real hand-written signatures. It's a warm design that evokes Christmases of old, with a smooth brush-like flow and subtle human imperfections. It's equally at home singing carols, sharing Xmas Eve stories or serving cocktails at your New Years party. This happy holiday font comes with a complete set of uppercase and lowercase characters, plus numerals, punctuation, language support, symbols, alternatives, custom ligatures, underlines and a selection of festive clipart (including everything you might need to re-create the examples seen in my visuals). Add it to your toolbox and create the perfect Christmas designs, such as gifts and stationery products, ads, titles and much more!

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon, a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

Elegant and round Having harboured a desire for a rounded font within the Fontsmith library for some time, Phil Garnham recognised that FS Emeric offered the perfect skeleton around which to design it. Most new rounded fonts rely on scripts or other in-app automation to form their characters. For all their warmth and approachability, they too often conjure images of jelly sweets and sausages. Not so FS Aldrin, where every curve and transition has been crafted by hand, giving a distinctive look and elegant feel. Design highlights FS Aldrin enjoys wide-open ‘lunar’ counters and soft, tube-like terminals. These improve legibility, especially on backlit signage and screens. The open proportions and circular strokes are juxtaposed against a more serious technical aspect that exists within each counter shape. The lighter weights feel precise and efficient, perfect for notes on blueprints or technical drawings. The heavy weights are equally crafted but more playful by their rotund nature, and are perfect for strong headlines or packaging projects. UI icons A suite of 268 icons complement the typeface beautifully and extend the design language in all directions. They cover a range of commonly used applications and themes ranging from ecommerce to weather, and also serve as a solid starting point for a bespoke brand icon set or UI. In addition, born of FS Aldrin’s astronomical theme and playful nature is a special collection of space-themed icons, including rockets, shuttles and lunar modules (hint: if you type the word BUZZ with ligatures enabled, an astronaut appears). Earth to Buzz Buzz Aldrin was the pilot of Apollo 11’s lunar module, the one that put man on The Moon for the very first time. Early on in the project’s life, FS Aldrin emerged as the ideal hook on which to hang the font’s space helmet (hardly surprising given Phil’s fascination with space travel and astronomy). An approach was made to Buzz’s management to see if he would sanction the association. Not only was the great man himself happy to see his name on a typeface, he also asked to use it in his upcoming keynote talks, book launches and online projects.

“There is just something magical about type design,” says Sebastian Lester. “If you draw a successful typeface it can travel the world, taking a part of you with it.” If this is true, his Soho® Gothic family has taken him far and wide. Understated, modern and exceptionally versatile, the family has been put to good use in just about every application imaginable. A good choice for virtually any type of project, The Soho Gothic family performs equally well as the backbone of a global brand as it would in an edgy fashion magazine. Versatile, extensive, customizable, and multilingual – the Soho Gothic typeface family has it all.With the same proportions as Soho, its slab serif cousin, Soho Gothic ranges across seven weights, from a willowy hairline to a brawny ultra – each with a complementary italic.Lester took care to ensure that the Soho and Soho Gothic designs work in perfect harmony. According to him, “The typefaces were developed alongside each other so that I could consider every aspect of each design and be certain that they would be absolutely compatible.”Soho Gothic is a more understated and more subtle design than Soho. Features that give the design its distinctive tone are the flat, crisp apexes of the diagonal characters like the A and V, and the marked horizontal stress in the a, g and s. “I wanted the family as a whole to radiate effortless modernity,” recalls Lester, “to be a master communicator that works in all conditions and at all sizes.” A collection of alternate and “semi-slab” characters were also part of Lester’s plan. “I like to develop alternate characters for all my type designs,” he says. “I believe they give graphic designers greater flexibility and make a typeface more valuable.” Soho Gothic is available as OpenType® Pro fonts that have an extended character set which supports most Central European and many Eastern European languages. If you’re looking to complete your designs, consider pairing it with Bembo® Book,Joanna® Nova,Neue Frutiger®,PMN Caecilia®,or ITC Stone® Serif.

One of the good practices of today’s type foundries is that they release their type families as systems including both serif and sans serif type. Usually, the sources of inspiration need to be well tried with time and practice, since production of a type family is such a laborious and complex process. From the beginning, it needs to be clear that the result will be suited for universal use. Such systems, complete with the broad, multi-lingual variations permitted by the OpenType format, have become the elementary, default instrument of visual communication. Non-Latin scripts are useful for a wide scope of academic publications, for packaging and corporate systems alike. And what about outdoor advertisement designated for markets in developing countries? Cyrillics and Greek have become an integral part of our OpenType font systems. Maybe you noticed that the sans serif cuts have richer variety of the light – black scale. This is due to the fact that sans serif families tend to be less susceptible to deformities in form, and thus they are able to retain their original character throughout the full range of weights. On the other hand, the nature of serifed, contrasted cuts does not permit such extremes without sacrificing their characteristic features. Both weights were drawn by hand, only the Medium cut has been interpolated. Anselm Ten is a unique family of four cuts, slightly strengthened and adjusted for the setting in sizes around 10 pt and smaller, as its name indicates. The ancestry of Anselm goes back to Jannon , a slightly modified Old Style Roman. I drew Serapion back in 1997, so its spirit is youthful, a bit frisky, and it is charmed by romantic, playful details. Anselm succeeds it after ten years of evolution, it is a sober, reliable laborer, immune to all eccentricities. The most significant difference between Sebastian/Serapion and Anselm is the raised x-height of lowercase, which makes it ideal for applications in extensive texts. Our goal was to create an all-round type family, equally suitable for poetry, magazines, books, posters, and information systems.

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

Here in the heart of Santa Monica, in the disused 1940s aircraft hangar we like to call the Comicraft Studios, we know that times are tough. As we were driving to “work” in the back of our chauffeur driven Humvee limo, sipping martinis out of the navels of Playboy bunnies and wondering what font we should release next, we decided it was time to reach out to the poor people. Yes, we felt it was time to create a font for the huddled masses yearning to breathe free, for the wretched refuse of our teeming shores. A font, if you will, for the tempest-tossed. It’s a little skinny and might be described as pinched and starved, but it’s guaranteed to see you through this current economic crisis as only the 26 letters of the alphabet can. It was a tall order, but Jazzy JG Roshell created this one while he was in line at the bank, waiting for his personal bailout. Meticulously crafted using one of those ballpoint pens attached to the cashier’s station by elastic, Credit Crunch is the Hamburger Helper of comic book fonts. It’s kind of a hybrid -- just like the Priuses our trophy wives drive to their personal plastic surgeons -- and it’s solar powered and also comes with a tank full of good old fashioned Biro ink. The Recession, Climate Change AND Global Hunger will probably end mere minutes after you crack open your life’s savings to buy this font. How can you afford NOT to...? See the families related to Credit Crunch: Credit Extension.

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

It's a very happy day when we stumble upon beautiful alphabets that were never digitized. It is even a happier day when the beautiful alphabet finds its way to us through friends and people who like our work. Some two months ago, the forms of this gorgeous font were pointed to us by a friend who saw it in an old Dover Publications specimen book showcasing historical alphabets. It was there under the name Vanessa, with nothing else to go by. We looked and researched for further information but found nothing else. So this gem comes to you like a coal that winked its way out of the ashes because it wanted to shine again. Flirt is very authentic art deco with a noticeable element of artistic pride, swashy delicate majuscules and very aristocratic, fashionable and flirty minuscules. The majuscules can be used as every other capitals usually are, or as initial caps. The minuscules can very nicely stand on their own quite independently from the caps whenever desired. These letters are quite similar to the hand lettering used on of the kind of theater posters, specifically burlesque and opera entertainment, which are now considered very retro-chic and fashionable to see hanging on walls in home or office. The initial specimen we worked from showed a single basic art deco alphabet with numerals which seemed as they belonged to another font. That alphabet became the base Flirt font, the numerals were redrawn to fit much better with the minuscules, and the character set was greatly expanded to include punctuation, accented characters, and many many alternates, especially for the majuscules. Majuscules with a descending right vertical stroke were a common artistic touch in the high days of theater posters, so we thought they would be great additions to the character set. These alternates can be found all over the font. So to maximize the design fun, have a character map or glyphs palette handy when you use Flirt. After the base font was finished, we thought it would be a good idea to give it a bold treatment unlike anything seen out there, and the farthest thing from the mechanical bolds seen everywhere now. This bolding treatment consisted of thickening the lowercase's vertical strokes inwards, but leaving the horizontal stroke weight as is, and thickening only the thicker vertical strokes of the uppercase. The result is quite the visual feat. We encourage you to test both the regular and bold weights and see for yourself.