Introducing Melody Party – a brand new serif with all the nostalgic vibes! I've started seeing classic, tightly-spaced serifs of the 80s & 90s making a comeback, and wanted to create the perfect one for you too! Melody Party is a beautifully nostalgic upper and lowercase typeface and has 191 Special Alternates that looks incredible in both large and small settings as a display and body text. I've been loving combining the Regular and Outline, whether all in word or in body text! What's Included? Melody Party Main File 191 Special Alternates Regular and Outline version Instructions (Access special characters in all apps, even in Cricut Design) Unique Letterforms Works on PC & Mac Simple Installations Accessible in Adobe Illustrator, Adobe Photoshop, Microsoft Word even Canva! PUA Encoded Characters. Fully accessible without additional design software. Language Support: Danish, English, Estonian, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Indonesian, Irish, Italian, Luxembourgish, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Rombo, Spanish, Swedish, Swiss-German, Uzbek (Latin) Thank you Dharmas Studio

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

"Basurero Humano" is a bold and avant-garde typeface that defies conventions. Its irregular and captivating letters are framed within rectangles, creating a unique and eye-catching visual effect. With influences from the poster Punk style, this typeface stands out for its rebellious energy and its ability to break boundaries. "Basurero Humano" is ideal for projects that aim to convey a sense of rebellion, challenge, and originality. Whether it's in posters, fashion designs, album covers, or urban art projects, this typeface becomes the focal point, capturing the viewer's attention and leaving a lasting impression. With its striking style and deconstructed shapes, "Basurero Humano" becomes a versatile tool to communicate provocative messages and break away from conventional aesthetics. This typeface is perfect for those who want to push boundaries and make a bold statement in their designs. Discover the power of "Basurero Humano" and elevate your projects to a new level of originality and expression. Let this unique typeface be your ally in creating designs that stand out and leave a lasting impression in the minds of your audience.

Rig Shaded is an award-winning 3D type family with a geometric sans serif at its heart. As its name suggests, Rig is designed as a framework to support a range of striking 3D effects. It has four versatile weights including a unique ‘zero’ weight. Each has two grades of distinctive halftone shading, Fine and Coarse, which emphasises Rig’s solid appearance. Rig developed from my quest to find ideal letter shapes for a shaded typeface while retaining their geometric principles and legibility. Each character has been designed to ensure maximum clarity and harmony when combined with 3D effects. The extrude and shaded styles have been handcrafted to produce a consistent weight and tone. Rig’s character set includes 230 glyphs, supporting 198 languages, including all Western, Central and South Eastern European languages. You can buy individual weight packs of Rig Shaded or the entire family for a discounted cost. See the full specimen for Rigs design features, additional examples and tips on using the typeface. Note: Rig’s shading styles have a high level of detail so may process more slowly in some applications.

Magneton is a brush script typeface that contains three weights and two slant angles. Three weights simulates the pressure of the brush pen; light is written with a gentle pressure and the bold one with more pressure. Two slant angles gives Magneton two natures; the more casual one and the more dynamic one. So with this script you have lots of options to choose from. You can adjust the look and feel just like when writing with a real brush pen! Magneton has lots of alternates and swash characters. It has two sets (and more) of upper case letters. The more basic one and the more flamboyant one. It also has lots and lots of lower case alternates: two styles of end swashes, underlines, a few different ascender and descer swashes and much more. Please explore the images and glyhp set to get the idea. I hope you like what you see and use Magneton in logos, lettering compositions, t-shirts etc. there are lots of opportunities with this one. Thank you and please enjoy!

Safelight Script is a modern calligraphy design. This typeface is casual and beautiful with swashes and can be used for various purposes such as logos, product packaging, wedding invitations, branding, headlines, signage, labels, signatures, book covers, posters, quotes, and more. Safelight Script includes changes in OpenType language style, binders and international support for most Western languages. To enable the alternative OpenType Alternative, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Indesign & CorelDraw X6-X7, Microsoft Word 2010 or later versions. How to access all alternative characters using Adobe Illustrator:https://www.youtube.com/watch?v=XzwjMkbB-wQ Safelight Script is coded with Unicode PUA, which allows full access to all additional characters without having special design software. Mac users can use Letter Book, and Windows users can use Character Maps to view and copy any of the additional characters to attach to your favorite text editor / application. How to access all alternative characters, using Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have questions, let me know. I am happy to help!

Relato has a low contrast and “a muscular” structure that makes it useful for setting longer text. In display sizes it has a variety of details that lends it a unique and personal expression. The formal principle of the serif, the variety of terminal strokes and the combination of curves and semi-straight lines gives the Relato a more “human” flavor. The inspiration for the design comes from different traditional calligraphic styles. The upper case letter, for example, is based on roman capitals from the Rennaissance, whereas the lower case relates to humanist handwriting. Even so, Relato is a decidedly contemporary typeface, proposing individual ideas on the design of type. The italic has a distinct typographic color thanks to the construction principle of broken lines. The bold weights have an increased contrast in the union of the strokes which helps improve legibility in small sizes and reinforce their personality in display sizes. The family consists of a Regular version, Italic, Small caps, Semibold and Bold. For a sans serif version of Relato, please see Relato Sans.

Neo Sans began as an intriguing assignment from a branding agency. The agency’s client wanted an “ultra modern” type family that was "futuristic without being gimmicky or ephemeral.” When a bureaucratic decision cancelled the project, Monotype staff designer Sebastian Lester decided to finish the design on his own. “I was left with a sketchbook full of ideas,” he said, “and thought it would be a shame not to see what came of them.” Lester decided that the principal ingredient of an "ultra modern" typeface was simplicity of character structure: a carefully drawn, monoline form, open letter shapes and smooth, strong curves. By further amplifying these qualities, he crossed the line from modern to futuristic. Two highly functional and versatile typefaces emerged. These are Neo Sans and Neo Tech, designs Lester describes as "legible without being neutral, nuanced without being fussy, and expressive without being distracting." Both the Neo Sans and the more minimalist Neo Tech families are available in six weights, ranging from Light to Ultra, with companion italics. Neo Tech offers a suite of alternate characters.

Labyrindo is inspired on the classic Labyrinth. The oldest known labyrinth is 3200 years old and is to be found in Greece. The mythological king Minos held the monstrous son of his wife ‘Minotaurus’ prison in a labyrinth. Much later the labyrinth made his appearance in the medieval churches, this time as a pattern on the church floor. During the Italian renaissance the multiple gate labyrinth came in fashion. Paths led trough green hedges in beautiful palace gardens. These hedges where perfectly cut in rectangular shapes. Mainly meant as an aesthetic statement. Besides the origin of the physic labyrinth, it has always been a great source of story-telling and myths. I mention a few personal favourites (film) like, Pan’s Labyrinth (a journey to the underworld), Labyrinth (with David Bowie) and the Shining with Jack Nicholson (where a horrific scene takes place in a labyrinth). Not the most cheerful stories but fascinating and intriguing. A Labyrinth is mind boggling and mysterious but wonderful. I made graphic translation in this typeface.

A little more flower and a little less power, please. Fun, friendly, fashionable, and feminine to a fault, Jojo takes display typography to a whole new level, where eyes can’t help but appreciate the day and the design at hand. It takes a graphic designer very little imagination to see these letters on posters, book covers, clothes, and craft paraphernalia. Or how about a sign over a bakery? A music sleeve? A romantic comedy titling? Cosmetics products? Pretty much anywhere! Jojo takes its name from a Beatles song about getting back to where we once belonged. It also takes most of its shapes from vintage photo-setting days, when an art nouveau typeface called Spring, by B. Jacquet, was putting happy times back where they belonged, which was everywhere. The original photo-setting face came in just 26 letters and 10 numerals. This digital retooling optimizes the original forms and expands on them, for a full character set of over 430 glyphs, including ligatures and stylistic alternates, and support for the majority of Latin languages.

Mono To Go is a monospace typeface with a constructed, grid-based body and a playful and quirky spirit. Built from circles and other simple geometric shapes, it sees itself as a contemporary interpretation of the early, consistently reduced typefaces of modernism. With its modular concept, the typeface invites you to "build" individually combined word pictures. Depending on your preference for the type of composition, stylistic alternatives and open typeface features offer you a wide range of possibilities. The rhythm of the glyphs and their distinctive ascenders and descenders give the typeface a confident character for bold designs. The typeface works best in larger sizes, e.g. for brands, poster and cover designs, film titles, exhibition displays or generally for striking headlines. The character set contains 600 glyphs, including full language support for Western, Central and Eastern Europe, digits and oldstyle figures, punctuation, currency and mathematical symbols, and the entire set as small caps. mono to go was designed by buero bauer (2019–2021). Special thanks to Franziska Weitgruber for her support.

The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

TA Bankslab graphic presentation at Behance The building of the Northern Bank of St. Petersburg's Baku branch was built in 1903-1905. It was the first Art Nouveau-style building in Baku, Azerbaijan. Later the bank was transformed into the Russian-Asian Bank. After the oil boom in Baku in the 19th century, branches of many banks and new banks were opened in the city. The branch of the Northern Bank of St. Petersburg was among the first banks that was opened in Baku. N.Bayev was the architect of the building for the branch of the Northern Bank of St. Petersburg located at Gorchakovskaya 3 in 1903-1905. The building currently houses the Central Branch of the International Bank of Azerbaijan. My purpose in writing this is not to copy and paste the information from Wikipedia. What attracted me to the building was the word "Банкъ" (Bank) written in Cyrillic letters, which was also used in Azerbaijan during the Soviet era. The exact date of the writing is not known. Every time I pass by this building, I always thought of creating a font of this writing someday. I had taken a photo of the building and saved it on my phone. I did a lot of research on the font and asked a lot of people. However, some did not provide information at all and some said they did not have any information. I was interested in the history of this font but I do not know if this font really existed or it was created by the architect out of nowhere. If there was such a history of this font, I wanted to recreate this font and make it available. If not, I had to create it from scratch in the same way, using only existing letters on the building. Finally, I made up my mind and decided to develop the font with all letters I have got. It was difficult to create a font based on the word, Банкъ. Because in the appearance of the letters, the midline of the letters on A, H, K was very distinct, both in the form of inclination and in more precise degrees. The serif part of the letters, the height of the upper and lower sides, differed from each other. I don't know whether it was done this way when the building was constructed or it happened over time. I prepared and kept the initial version of the font. I took a break for a while. I started digging on the story of the font again. Meanwhile, I was researching and got inspired by similar fonts. Unfortunately, my research on the font's history did not yield any results. I decided to continue finishing up the font. After developing the demo, I created the font by keeping certain parts of these differences in the letters. In addition, I had to consider the development of letters in the Cyrillic, as well as the Latin alphabet, over the past period. Thus, I began to look at the appearance of slab-serif or serif fonts of that time. In general, as I gain more experience in developing fonts, I try to focus on the precision of the design for each font. In recent years, I specifically paid attention to this matter. YouTube channel and articles by Alexandra K.'s of ParaType, as well as, information and samples from TypeType and Fontfabric studios on the Cyrillic alphabet were quite useful. I gathered data regarding the Latin alphabet from various credible sources. I do not know if I could accomplish what I aimed at but I know one thing that I could develop the font. Maybe someday I'll have to revise this font. For now, I share it with you. I created the font in 10 styles. 7 weight from Thin to Extra Black, an Outline, Shadow, and Art Nouveau. The Art Nouveau style was inspired by the texture in the background used for the text on the building. The texture I applied to capital letters adds beauty to the font. If you like the font feel free to use it or simply let me know if your current alphabet doesn't support this font.

A practical sans serif need not appear dry, constructed, or derivative. It can excel in its sensible role and yet possess a distinct flair. Iskra (spark or flash) is a new sans serif designed by Tom Grace. It was conceived to challenge the limits between utilitarian and decorative. Sporting a low-contrast profile, it is a study of bridled energy in the Cyrillic and Latin scripts. Its eye-catching forms are an oblique tribute to the less-predictable style of brush lettering, and contain daring, elegant curves, economical proportions, and a slight top-heavy asymmetry. Its warmth comes from the subtle emphasis on the structures and details of individual letterforms, whereas its solidity is demonstrated through its balanced rhythm over long spans of text. Each font supports over 75 languages and is hand-tuned for a pleasing legibility and aesthetic both in print and on screen. This type family makes an excellent choice for presentations, articles, branding, and advertising. Available in 14 styles, Iskra represents a fresh, stimulating, forward-looking perspective on how we see both the vitality of the particular letter and the overall harmony of text. Iskra is available in three different character repertoires: Iskra, complete set — Iskra CYR, Cyrillic-based subset with a Latin supplement — Iskra Cyr, Latin-based subset. Both the LAT and CYR series conform to most standard codepages used by typical software covering their respective scripts. All three series have similar OpenType functionality."

Manstein Script is one of the Elegant script fonts that comes with a very beautiful character change, a kind of classic copper decorative script with a modern touch, designed with high detail to present an elegant style. Manstein Script is interesting because the typeface is pleasing to the eye, clean, feminine, sensual, glamorous, simple and very easy to read, because of the many luxurious letter connections. I also offer a number of decent stylistic alternatives for some of the letters. The classic style is very suitable to be applied in various formal forms such as invitations, labels, restaurant menus, logos, fashion, make up, stationery, novels, magazines, books, greeting / wedding cards, packaging, labels or all kinds of advertising purposes. . . Manstein supported With OpenType features with alternative styles and elegant ligatures. The OpenType features don't work automatically, but you can access them manually and for best results your creativity will be required in combining variations of these Glyphs. I highly recommend using a program that supports OpenType features and the Glyphs panel such as Adobe Illustrator, Adobe Photoshop CC, Adobe InDesign, or CorelDraw, so that you can view and access all variations of Glyphs. How to access all alternative characters using Adobe Illustrator: https://www.youtube.com/watch?v=XzwjMkbB-wQ How to access all alternative characters, using the Windows Character Map with Photoshop: https://www.youtube.com/watch?v=Go9vacoYmBw If you need help or have any questions, let me know. I'm happy to help. Thanks & Happy Designing

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

When type historians look back on Jim Rimmer, they will consider him the last type designer who just couldn't let go of metal type, even though he was just as proficient in digital type. Lancelot is one definite case in point: A face designed and produced in digital as late in the game as 1999, only to spring onto the new millenium a couple of years later as a metal type cast in three sizes. That was Jim, a time traveler constantly reminding the craft of its origins. This particular time machine was originally designed as a simple set of attractive caps that emphasize the beauty of the variable conventional dialogue between the drawing tool and the intended final form, and the one exchanged within the totality of the forms themselves. Jim designed two weights, with contrast and counterspace being the main difference between them. In 2013, the Lancelot family was remastered and greatly expanded. Lancelot Pro is now a wonder of over 840 glyphs per font, including smaller versions of the caps in the minuscule slots, and alternates and ligatures that can transform the historic spirit of the original design into anything from half-uncial to outright gothic. Language support goes beyond the extended Latin stuff, to cover Cyrillic and Greek as well. 20% of the Lancelot Pro family's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

-Fabulous, beautiful, friendly, talkative, sweet, caring, a little on the odd side, very desirable by many, good at almost everything- That's the definition of Fabiola according to the slang dictionary of americans. If you were you looking for something delicious, a font that covers a really wide range of uses and always looks amazing, Fabiola should be your choice. Although it may look as another of my scripts with juicy swashes, this time I explored in depth the pairing and interaction with capital letters for more unique results. Why? We are going through some crazy days where the number of people interested in letters is only growing. We see lettering everywhere: I can say that finally our field is shouting out loud; letters are THE protagonist more than ever. Hence the need of combining and pairing different styles is booming. Fabiola Script and Fabiola Caps were done in a way that they seem to need each other. There's nothing better than the above images to prove this. But, how does it work? The big swashes of the Script style were designed so they can surround, wrap and mingle with the Caps styles. The smaller swashes are meant to be used when the Script is alone. Simple, right? I hope you find Fabiola useful on your projects and enjoy using it like I did when making the posters! Have a super fabulous day!

Berimbau is a whimsical narrow hand-drawn typeface. It’s stylish, versatile and loaded with amazing OpenType features that do their magic in OpenType savvy applications. Its sprightly swashes and twisting stylistic alternates (say that 3 times fast!) play together to deliver a really cool contextual feature that, in a push-button way, substitutes the first letter in a word with its left swash version and the last letter with its right swash version (please type a space before and after the words).The feature also applies stylistic variants to some of the intermediate letters. Which button to push? The Contextual Alternates one! If you're not a one-click-way-person you can pick your preferred glyphs through the glyphs palette. There you’ll find at least 4 variations for each letter: left swash, right swash and 2 regular forms that correspond to the upper and lower case keys. Some letters also have a 5th variation that acts as stylistic alternate. This font is conveniently packed with the ‘access all alternates’ functionality, so when you click on a glyph at the glyphs palette you’ll see all variations available for it, making it easier to choose the one that will fit better. A bold weight was made to provide that extra-strength when a bit of… boldness is needed. Please note that it doesn’t have the advanced OpenType features (but is still very charming!). Yet, both weights have a handy set of ornaments for added yumminess.

IMPORTANT: This is the VARIABLE VERSION of PG Gothique This is my addition to a long line of traditional gothic typefaces. As you can probably tell, PG Gothique Variable is inspired by classics such as Trade Gothic, News Gothic, Franklin Gothic, Alternate Gothic, and Gothic Gothic. Well, maybe not the last one... But Paulo, we have all those already, why would we want to add PG Gothique Variable to our collection? This typeface has many subtle design nuances that differentiates itself from its historical influences. Also, this is possibly the most comprehensive Latin gothic font family released to date. It has 99 default styles that cover pretty much every width and weight you could ever need, while this variable version unlocks options to match your exact style preference – including the angle of italic. PG Gothique Variable is designed to handle a multitude of applications, from branding projects, to titles, body text, user interfaces, and film poster credits. This typeface has a style that will suit the purpose. There are 99 default instances in this family, ranging from Thin to Ultra weights across six widths in both roman and italic. Activate Stylistic Set 1 and you will get the alternate slab-serif-style capital “I” that offers improved legibility when placed adjacent to a lowercase “l”. PG Gothique Variable has an extensive character set that covers every Latin European language. See full details and hi-res examples at https://paulogoode.com/pg-gothique

Microbrew Unicase is the latest addition to the Microbrew family, a versatile retro display family. Microbrew Unicase has 14 individual styles plus a very functional set of catchwords, and a fresh and eclectic set of retro-style ornaments. Microbrew Unicase sports a nice mix between wood type poster style, and vintage letterpress. The more detailed styles work well at large sizes, and the cleaner styles add legibility at smaller sizes. Microbrew Unicase is an all caps display font, but the lowercase act as alternates. The uppercase are all uppercase letter forms, while the lowercase is mixed. Type in all caps to be a buzz-kill. Mix upper and lowercase to have a little fun. Or type in all lowercase to have a party! (more informal) For super-easy alternates, just mix uppercase and lowercase letters. To add to the realism, Microbrew Unicase includes double-letter ligatures. Microbrew Unicase also includes a set of extremely intentional and eclectic ornaments and symbols. Designed to give a vintage feel, the ornaments and symbols compliment Microbrew nicely to round off the family. The ornaments also include old style numbers, and lots of retro symbols. Don't let the name fool you, Microbrew Unicase is very versatile and works great for almost any subject matter, including weddings, birthdays, restaurants, coffee shops, music, and many more. Opentype features include automatic fractions, subscript numbers, superscript numbers, and double-letter ligatures.

Jim Rimmer’s first typeface was originally published in 1970 as a basic film type alphabet through a small, independent type house in central California. Its sources of influence (now calligraphic type standards by Dair, Goudy and Zapf) are ones that remained with Jim for the rest of his career. If you squint at Totemic in just the right way, you can see some recognizable themes Jim would later flesh out and make his own in later works throughout his career as a type designer and printer. Totemic is now available for the first time as a digital font, of the refined and expanded kind now expected from Canada Type. It comes with quite a few standard advanced typography features: Small caps, caps-to-small-caps, automatic fractions and standard ligatures, stylistic alternate sets, six kinds of figures, case-sensitive forms, and extended Latin language support. It also comes with a very unique and unprecedented feature: Variably stackable totem poles. Simply enable the discretionary ligatures feature, type any unique three-digit combination using numbers between 1 and 4, and watch the magic happens. With a name like Totemic, we just couldn't help ourselves. Many thanks to Andrew Steeves of Gaspereau Press for finding Jim’s lost gem in a most unexpected place, and for helping us bring it back to life 45 years after its analog birth. 20% of Totemic’s revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

La vie est une fleur dont l'amour est le miel Fleur is the French for flower and I've chosen this language for a good reason. Over the past 5 years, I've had the opportunity to travel a lot to Paris and I've always tried to catch every moment and detail of this delightful city through the eyes of the designer inside me. Paris is full of surprises, mainly for us, artists. In fact, I believe the city is a museum itself. Every corner of any street has something inspiring. But, there’s something I particularly love and I want to address here: The Palais Garnier. Built between 1861 and 1875, this opera house is a dream made true for many of us, who love somptuosité. Garnier, the architect of this magnificent building, said that the style he proposed was not Grecian nor Roman/baroque, he created something new and called it Napoleonic: Luxurious at its best. Fleur is inspired in this palace which, in fact, has some similar letters inside. Garnier put his name at the ceiling of the Rotonde des Abonnés: Letters are interlacing each other with nicely done art nouveau curves. I thought I could take this idea and achieve something very delicate and imposing at the same time if the font consisted entirely of caps with the logic of a didone and a bit of art-nouveau. This mix of elegance and flamboyance gave birth to Fleur which has a wide range of uses but was mainly intended for perfumes, fashion magazines, storefronts, book covers or logos. Not only you'll find many decorative glyphs, but also a vast amount of unique ligatures will make you really adore this font. Get Fleur and profite de la vie TECHNICAL As suggested above, the font has many open-type coded alternates and a vast amount of unique ligatures. Install the font in applications that support them, like Adobe Illustrator or Photoshop.

Far out, fellow psychonauts, have you checked out the trippy typeface called Otoboke? Let me tell you, this font is not from this world—it’s straight from the cosmos! With its mind-bending letter pair thingamajigs, even repeating letters are otherworldly. Take a closer look at Otoboke, and you’ll notice the fur texture—it’s like the letters are alive and ready to party! But where did this font’s tripped-out, letterforms come from, you ask? Well, they were inspired by none other than Louis Minott’s 1965 classic, Davida, channeling the vibes, and taking it to a whole new level. So, if you’re ready to take your graphic design to a whole new dimension, look no further than Otoboke. This typeface is not for the faint of heart—it’s for the true freakazoids. 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.

Fantastic ML is an exuberant Art Nouveau font. It was originally released as “Modern Style” by Fonderie G. Peignot & Fils, Paris, France sometime before 1903. Since “Le style moderne” was the generic French name for Art Nouveau, it is possible that someone decided a less generic name was needed. The typeface became known as Fantastic. Compared to conventional text letters, it is just that. Fantastic has a whimsical, architectural feel. The typeface reminds me of a cross between Hoffmann’s Palais Stoclet in Brussels and Gaudi’s Sagrada Familia church in Barcelona. The letterforms themselves are similar to those by Ludwig von Zumbusch on the cover of “Jugend” in March, 1896, but with the addition of serifs. Fantastic ML is a decorative, all-cap font intended for display use and functions best at 18 points or larger. There are a total of 306 glyphs. In addition to the standard 1252 Western Europe Code Page with character slots up to decimal position 255, there are glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. However, some older applications may only be able to access the Western Europe character set (1252). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS format and a TTF version which is in Open TT format. Use whichever works best for your applications.

After my son was born, I found myself reading him a lot of books. A LOT of books. Some were good, some were great, but I found myself wanting to develop something using my skills and interests to make something that only I could make. In short, I realized my son needed to be indoctrinated—I mean, introduced into the wonderfully wild world of fonts. So, I set about to make a board book to teach about typography, called “The Clothes Letters Wear.” You can learn more about the book here. I’ve made the captivating illustrations bright and colorful, and the use of different letter forms makes for a fascinating read to delight ages young and young at heart. And, as an added bonus, this children’s book has a custom designed font. I’m always looking for an excuse to design a new font, and this book created the perfect alibi. Drum roll, please. I now give you … Cabrito (“little goat” en Español). This new serif typeface incorporates the latest research on typographic legibility for children, features to make it—well, extra legible. A little background: studies show that Bookman Old Style is one of the most readable typefaces, and as a consequence or perhaps the reason why, it is used thoroughly for children’s books. This font became my initial inspiration for the typeface. Then, I found more legibility research saying that (brace yourselves) Comic Sans is also very legible for beginning readers, much due to the large x-height and softer, easily recognizable forms. In addition, forms that are closer to handwriting also seem to be more legible. Once I threw all that into my cauldron and stewed it a bit, the result was a pleasantly rounded typeface that includes not-so-strictly geometric, handwriting-inspired forms for the b, d, p, and q. Es guapo! Cabrito’s slender weights are simple and fun, with extras that turn any “bah humbug” into a smile. Add lighter touches to your project with the typeface’s included sparkles or rainbows (not included). Splash a little more color on the page with the firmer look of the thicker weights. Cabrito’s upright variations across all weights are matched by optically altered italics, too, giving you even more variety with the font family. This modern typeface’s bundle of alternates can be accessed in any OpenType-enabled software. The fashionable options involve a significant team of alternates, swashes, and meticulously refined aspects with ball terminals and alternate titling caps to decorate the font. Also bundled are swash alternates, old style figures, and small caps. Peruse the PDF brochure to check out these options in motion. OpenType-enabled applications like the Adobe suite or Quark allows comprehensive control of ligatures and alternates. This font family also provides the glyphs to aid a variety of languages. Cabrito is a welcoming, everyday font family by Jeremy Dooley. Use it to convey warmth and friendliness on anything from candy and food packages to children’s toys, company IDs or run-of-the-mill promotional material. Cabrito’s unique appearance and high legibility make it equally at home in print as it is on a screen.

Ceundah font is inspired by thick and thin Hand Sketches. This font can be used for film titles, magazine titles, newspaper front pages, billboards, or company brands.

Hypnerotomachia Poliphili, which can be translated in English as “Dreaming Love Fighting of Poliphilus”, is a romance about a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the “Fountain of Venus”. The author of the book is anonymous, however, an acrostic formed by the first, elaborately decorated letter in each chapter in the original Italian reads “POLIAM FRATER FRANCISCVS COLVMNA PERAMAVIT”, which means “Brother Francesco Colonna has dearly loved Polia”. Despite this clue, the book has also been attributed to many other authors. The identity of the illustrator is less certain than that of the author. It was first published in Venice, in December 1499, by Aldo Manutio. This first edition presents an elegant and unique page layout, with refined woodcut illustrations in an Early Renaissance style and a refined Roman font, cut by Francesco da Bologna, which is a revised version of the type used in 1496 for the De Aetna of Pietro Bembo. The print quality is very high for the time, but nevertheless it presents many inconsistencies and imperfections due to the non-ideal inking and adherence of the matrix to the paper. For that reason numerous samples of the original have been used to create every single glyph which will result in an appropriate reconstruction and not a mere and humble reproduction. Some letters like \J, \U and \W were extrapolated, because they are not part of the original alphabet of the period. Some letters like \Q, \X, \Y, \Z and \h have been updated to more modern variants, but the original shape is accessible by Stylistic Alternates Opentype Feature, which also changes the shape of the \V and the \v. The original numerals \zero, \one, \tree, \four and \six have been accompanied by reconstructions of the missing numbers and extended by modern figures. Finally, swashed lower cases and original scribal abbreviations were also included. The font has joined by a matching Italic variant, closely inspired from Aldo Manuzio's 1501 "Vergilius", the first book printed entirely in Italic type by Francesco da Bologna.

Digital Sans Now combines and completes the many diverse requests and requirements by users of the past years. By now, 36 versions for over 70 Latin and Cyrillic languages have become available, including Small Caps. Digital Sans Now is also available as a webfont and reflects, with its simplified and geometric construction and its consciously maintained poster-like forms as well as with its ornamental character, the spirit of the decorative serif-less headline typefaces of the 1970s. The basic severity of other grotesque typefaces is here repressed by means of targeted rounds. Exactly these formal breaks allow the impression that it could be used in a variety of visual applications. Short texts, headlines and logos of all descriptions are its domain. It is because of this versatility that the typeface has become a desirable stylistic element, especially in such design provinces as technology, games and sports, and that, for many years now, it appears to be timeless. Additional weights designed on the basis of the original, from Thin to Ultra, the Italics, Small Caps and alternative characters allow for differentiated “looks and feels”, and, with deliberate usage, give the “Digital Sans Now” expanded possibilities for expression. The basis for the design of Digital Sans Now is a headline typeface created in 1973 by Marty Goldstein and the Digital Sans family which has been available from Elsner+Flake since the mid-1990s under a license agreement. The four weights designed by Marty Goldstein, Thin, Plain, Heavy and Fat, were originally sold by the American company Visual Graphics Corporation (VGC) under the name of “Sol”. Similarly, the company Fotostar International offered film fonts for 2” phototypesetting machines, these however under the name “Sun”. The first digital adaptation had already been ordered in the mid 1970s in Germany by Walter Brendel for the phototypesetting system Unitype used by the TypeShop Group, in three widths and under the name “Digital Part of the Serial Collection.” Based on the versions by VGC, Thin, Plain, Heavy and Fat, new versions were then created with appropriate stroke and width adaptations for data sets for the fonts Light, Medium and Bold as well as for the corresponding italics

In the world of journalism, headlines are the lifeblood of a publication. They need to be compact, sturdy, and project a voice that exudes trust and neutrality. Enter Built, the font family designed specifically for creating striking headlines that grab the reader’s attention. With its wraparound curves and subtle curls, Built evokes a feel of a bygone newspaper era without being too old-fashioned. The font family is available in five weights, ranging from Extra-Light to Bold, each with its own unique character and style. But what sets Built apart from other fonts is its ability to scale up without sacrificing readability. Lighter typefaces may look great on paper, but on-screen, they can quickly become unreadable if not properly designed. With Built, however, the font becomes narrower as it becomes lighter, allowing designers to set oversized page titles without worrying about copyfitting. In addition to its unique scaling capabilities, Built also offers a simple solution to the problem of aligning numbers in headlines. By disabling kerning, Built ensures that all numerals, monetary symbols, and most math symbols will line up perfectly, saving designers time and frustration. Built also includes a range of other typographical features, such as fractions, primes, ordinals, and vertically compact accents. And as the font becomes lighter, the asterisk grows more legs, allowing it to appear tonally even in Extra-Light. So whether you’re designing a front page for a major newspaper or simply need to create eye-catching headlines for your blog, Built is the font family that can deliver the perfect balance of style and readability. With its range of weights and styles, it’s the perfect choice for any journalist or designer looking to make a bold statement on-screen. 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.

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample: You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this. As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are: Each letter should look much like the others but for one defining detail. The letters should be as similarly wide as possible. The letters’ midbars should be the same height and thickness. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts. BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it. BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage. One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

A Postmodern vernacular sanserif in 8 fonts Prosaic designed by Aurélien Vret is a Postmodern typographic tribute to the french vernacular signs created by local producers in order to directly market their products visible along the roads. These signs drawn with a brush on artisanal billboards do not respect any typographic rules. The construction of these letterforms is hybrid and does not respect any ductus. Nevertheless the use of certain tools provokes a certain mechanism in the development of letter shapes. It’s after many experiments with a flat brush, that’s these letterforms have been reconstructed and perfected by Aurélien Vret. This is the starting point for the development of an easily reproducible sanserif with different contemporary writing tools. From non-typographical references of Prosaic towards readability innovation The influence of the tool is revealed in the letterforms: angular counterforms contrasting to the smoothed external shapes. This formal contrast gives to Prosaic a good legibility in small sizes. These internal angles indirectly influenced by the tool, open the counterforms. In the past, to deal with phototype limitations in typeface production, some foundries modified the final design by adding ink traps. In our high resolution digital world, these ink traps — now fashionable among some designers — have little or no effect when literally added to any design. Should one see in it a tribute to the previous limitations? Difficult to say. Meanwhile, there are typeface designers such as Ladislas Mandel, Roger Excoffon, and Gerard Unger who have long tried to push the limits of readability by opening the counters of their typefaces. Whatever the technology, such design research for a large counters have a positive impact on visual perception of typefaces in a small body text. The innovative design of counter-forms of the Prosaic appears in this second approach. Itself reinforced by an exaggerated x-height as if attempting to go beyond the formal limits of the Latin typography. It is interesting to note how the analysis of a non-typographical letters process has led to the development of a new typographic concept by improving legibility in small sizes. Disconnected to typical typographic roots in its elaboration, Prosaic is somewhat unclassifiable. The formal result could easily be described as a sturdy Postmodern humanistic sanserif! Humanistic sanserif because of its open endings. Sturdy because of its monumental x-height, featuring a “finish” mixing structured endings details. The visual interplay of angles and roundness produces a design without concessions. Finally, Prosaic is Postmodern in the sense it is a skeptical interpretation of vernacular sign paintings. Starting from a reconstruction of them in order to re-structure new forms with the objective of designing a new typeface. Referring to typographic analogy, the Prosaic Black is comparable to the Antique Olive Nord, while the thinner versions can refer to Frutiger or some versions of the Ladislas Mandel typefaces intended for telephone directories. Prosaic, a Postmodern vernacular sanserif Prosaic is radical, because it comes from a long artistic reflection of its designer, Aurélien Vret, as well a multidisciplinary artist. The Prosaic is also a dual tone typeface because it helps to serve the readability in very small sizes and brings a sturdy typographic power to large sizes. Prosaic, a Postmodern vernacular sanserif

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

Hello. Welcome to the Foundry "REN FONT"! I am a Japanese font artist, and this is my first challenge at a full-fledged Latin fonts. The typeface name is “Amabile (Adorable, прекрасный, Αρκετά/Αξιολάτρευτο)”. It means “lovely” in music terms. The design feature reflects the feature of Japanese typeface “Waon”, as the depending latin characters of which this typeface is designed. “Amabile” briefly expresses the basic concept of Waon, to “Express a music with typeface”. The non-Japanese characters in the Japanese font are basically composed with Latin, Cyrillic, and Greek. In addition to these 3 types of characters, “Amabile” have the capability of 87 languages by extending character types so called “W1G”, which consists of Latin supplements, Cyrillic supplements, Greek supplements, Latin extensions. We no longer offer free Regular weights for OpenType. こんにちは。ファウンドリー "REN FONT" へようこそ！ 私は日本人のフォント作家ですが、初めて本格的な欧文フォントに挑戦しました。 この書体の名前は「Amabile（アマービレ）」。音楽用語で「愛らしく」という意味があります。 「和音」の従属欧文として制作された性格上、当然ながら「和音」の特長を反映したデザインになっています。 「和音」の基本コンセプトである「文字で音楽を表現する」を、最も端的に文字通り「表現」しているのがこの「Amabile」です。 ほとんどの和文書体の従属欧文は Latin, Cyrillic, Greek の３種類が基本です。「Amabile」はこの３種類に Latin 補助、Cyrillic 補助、Greek 補助、Latin 拡張などを加えた、いわゆるW1Gの規格にプラスアルファし、87か国言語を表現できる多言語フォントに生まれ変わりました。 グリフ形状は、比較的自由にデザイン表現が可能な Latin 以外は「Amabile」の特徴を残しつつ、ネイティブの形状を壊さない、ぎりぎりの選択を施してあります。 OpenType の Regular ウェイトの無料提供は終了しました。

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.

DIN Next is a typeface family inspired by the classic industrial German engineering designs, DIN 1451 Engschrift and Mittelschrift. Akira Kobayashi began by revising these two faces-who names just mean ""condensed"" and ""regular"" before expanding them into a new family with seven weights (Light to Black). Each weight ships in three varieties: Regular, Italic, and Condensed, bringing the total number of fonts in the DIN Next family to 21. DIN Next is part of Linotype's Platinum Collection. Linotype has been supplying its customers with the two DIN 1451 fonts since 1980. Recently, they have become more popular than ever, with designers regularly asking for additional weights. The abbreviation ""DIN"" stands for ""Deutsches Institut für Normung e.V."", which is the German Institute for Industrial Standardization. In 1936 the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration and business. The design was to be used on German street signs and house numbers. The committee wanted a sans serif, thinking it would be more legible, straightforward, and easy to reproduce. They did not intend for the design to be used for advertisements and other artistically oriented purposes. Nevertheless, because DIN 1451 was seen all over Germany on signs for town names and traffic directions, it became familiar enough to make its way onto the palettes of graphic designers and advertising art directors. The digital version of DIN 1451 would go on to be adopted and used by designers in other countries as well, solidifying its worldwide design reputation. There are many subtle differences in DIN Next's letters when compared with DIN 1451 original. These were added by Kobayashi to make the new family even more versatile in 21st-century media. For instance, although DIN 1451's corners are all pointed angles, DIN Next has rounded them all slightly. Even this softening is a nod to part of DIN 1451's past, however. Many of the signs that use DIN 1451 are cut with routers, which cannot make perfect corners; their rounded heads cut rounded corners best. Linotype's DIN 1451 Engschrift and Mittelschrift are certified by the German DIN Institute for use on official signage projects. Since DIN Next is a new design, these applications within Germany are not possible with it. However, DIN Next may be used for any other project, and it may be used for industrial signage in any other country! DIN Next has been tailored especially for graphic designers, but its industrial heritage makes it surprisingly functional in just about any application. The DIN Next family has been extended with seven Arabic weights and five Devanagari weights. The display of the Devanagari fonts on the website does not show all features of the font and therefore not all language features may be displayed correctly.