Zepto is about as small as you can get with pixel fonts without sub-pixel rendering. Featured on Make: A tiny screen font you can actually download and use, free. For optimal use, please turn font anti-aliasing off and set at a size of 8px with image resolution set to 72ppi.

In 1995, FontHaus came upon a rare opportunity to create a revival of Aries, a little known and previously unavailable typeface by the legendary Eric Gill. Discovering a lost typeface by one of the major designers of the 20th Century, was the discovery of a buried treasure, and being the first type company to release it was an honor. Thirteen years later, FontHaus came across another little known typeface treasure: Diane. Designed by the legendary French designer Roger Excoffon in 1956, this remarkable script has never been faithfully recreated until now. In close collaboration with Mark Simonson, FontHaus and Mr. Simonson painstakingly researched rare type books, publications, European metal type services, and period showings from the United States, England, Germany and from the University of Groningen in the Netherlands. Finding full specimens of the font turned out to be quite a challenge. In most cases, only the caps and lowercase were shown. Furthermore, the more we researched Diane, many curious facts came to light. The caps in earlier specimens of Diane are completely different from specimens published later, suggesting that the face was redesigned at some point, perhaps in the mid-1960s. So we are left with two different sets of caps. The original had very elaborate, swirly strokes, very characteristic of Excoffon¹s gestural designs for posters and logos. Later on, these appear to have been replaced by a set of simpler, more traditional script caps. The original caps are criticized in one source Mark found (Practical Handbook on Display Typefaces, 1959) as being "exquisite" but "not highly legible". Perhaps this is what led to the simpler caps being introduced. Nevertheless, FontHaus's release includes not only both sets of caps, but a range of alternates and a number of new characters not originally available such as the Euro, and a magnificent alternate Ampersand to name a few.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

Jantar Flow is a humanist sanserif type family tailored for continuous reading for both printing and screen. With its large x-height and low contrast it also performs very well in captions, side notes, and short paragraphs set in small sizes. Jantar Flow Italic is distinct and readable. Following a proper italic construction, it shows the fun side of the family yet keeps the features of the upright. Jantar Flow – as well as its teammate Jantar Sharp – comes in seven weights from ExtraLight to Heavy, each with accompanying italics. It has a tabular and proportional set of figures in both old style and lining options, and also a special set of hybrid figures sitting between x-height and capitals. Superscripts and subscripts are provided together with a vast collection of diacritics covering all European languages as well as a set of case-sensitive characters. Jantar, the pairing superfamily. ‘Jantar’ is an old Polish name for ‘amber’, a fossilised resin – a substance that is robust and organic at the same time. These qualities somehow reflect the feeling behind the Jantar families, ‘Flow’ and ‘Sharp’. Jantar Flow was designed along with Jantar Sharp. As part of the Jantar superfamily these two faces are perfectly paired: though not based on the same skeleton, they share the same design parameters and the same character set, but each one works independently with its peculiar features. Designed for publishing for print and web, as well as for branding, the Jantar superfamily was inspired by common font pairings of the digital age like Helvetica/Times or Verdana/Georgia. Jantar Flow and Jantar Sharp communicate with individual yet complementing voices, just like two trained acrobats can perform alone but also know well how to perform together.

Welcome to Dream Orphanage, a typeface that will bring warmth and personality to your design projects! With its tidy and friendly sans-serif style, Dream Orphanage is a high-quality reconstruction of the beloved 1990s typeface, Dream Orphans. But we didn’t stop there. We’ve included an alternative style of “g” in OpenType-capable apps, giving you even more creative freedom to make your designs stand out. And with seven weights and italics to choose from, you’ll have no shortage of options to craft the perfect look for your project. Whether you’re designing a greeting card for a loved one, a website for a small business, or anything in between, Dream Orphanage will bring a touch of charm and friendliness that will capture the hearts of your audience. So don’t wait—start creating today with Dream Orphanage! 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.

• Composed of 3 sets: Normal, Compact, Expanded. • Consisting of 3 distinct optical sizes: Display and Text, Expanded. • Comprises 102 fonts • Support for 28 languages: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Latvian Lithuanian Maltese Norwegian Polish Portugese Romanian SlovakSlovenian Spanisch Swedish Turkish Zulu Swedish Turkish Zulu • Contains OpenType features with alternates or substitutes • Tabular Figures • Ordinal numbers • 74 icons (It will keep updating.) • 72 graphic patterns for designer (It will keep updating.) • 28 brand symbols (It will keep updating.) • 27 arrows glyphs • 0-99 line circled glyphs • 0-99 solid circled glyphs • A-Z line circled glyphs • A-Z solid circled glyphs Halenoir is a modern sans serif with a geometric touch that support for 28 languages. It comes in 10 weights, 102 uprights and its matching outlines, Obliques, pattern, so you can use them to your heart’s content, in each of which there are more than 801+ glyphs. Halenoir is composed of 3 types: Original, Compact, Expanded, and each is designed to be suitable for mobile, graphic, and editorial design. Halenoir comprises 102 fonts, consisting of three distinct optical sizes: Display and Text. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Halenoir and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. In the typeface, each weight includes extended language support, fractions, tabular figures, arrows, ligatures and more. Perfectly suited for graphic design and any display use. It could easily work for branding, web, signage, corporate as well as for editorial design. documents and folders, mobile interface. Useful links: Gravitica PDF Type Guide and Specimen (You can know how to use icons and arrows, other glyphs.)

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Passport48 exclusively in otf. opentype format, originally debuted in 1997 as Passport, close to the beginning of the indie typographer boom. Almost 25 years have passed since it was introduced at MyFonts as PS1 and later in 2003 in TT TrueType.** It was designed by Joseph Coniglio of Coniglio Type as a revival. Historically, Passport was digitized from a shiny black enamel 1948 Royal Silent Deluxe portable. Kept on the ship of merchant marine, Captain John O’Learn, it was a salty manual typewriter with no intrinsic value as a collectable, even though it is awash as a work horse and a fine communicator of it’s time.. **NOTE: Little Passport family leaves the nest: The old weight variations, styles and formats have been eliminated to allow the original face to be stand alone, on its own attributes. For those purchasing their first typewriter fonts and to our diehard collectors as well, Passport presents a friendly new port-of-entry. A simple set, that is freed of many of the normal distressed points and paths that had made most “typewriters” authentic looking, but difficult to print and manipulate in layouts back in the day. It’s smooth nature comes from its impressions struck directly onto a piece of carbon paper bypassing the silk ink ribbon and going directly from metal to carbon paper transferring to a piece paper with very little tooth. Examine the glyphs to be certain you have what you need from this minimalist set, Passport48 is intended for ease of use and affordability. This is a warm font in a cold cruel world and a real port in the storm! It is versatile in today’s layouts with 24 years of worldwide sales. …Please enjoy the fruits of its travels, hoping your destinations and explorations into graphic design and letter composition are happy ones. -Joe Coniglio, the Pacific Northwest (2021).

A rustic black letter from the 1930ies — with stylistic alternates. The high degree of abstraction of this typeface allows it to appear modern, even though its shapes clearly show an origin from Fraktur and Gothic. The letters present the effect of woodcarving or silhouette cuttings as they are defined exclusively with straight lines and sharp corners. By doing without any bowls, the typeface becomes a stylistic entity with a decorative effect. Palmona is especially appealing in combination with bold illustrations. Some of the characters of Palmona are available in one or more alternate forms which can be accessed manually or automatically. Use of these alternates is most easily operated with OpenType-Functions Standard-Ligatures and Discretional Ligatures in the user program. With Standard Ligatures activated, problematic letter compositions are substituted with appropriate ligatures. Likewise, in certain letter combinations the alternates are inserted. The Discretional Ligatures include additional alternatives. Configuration of the characters of the Palmona font is according to Unicode ISO 8859-1 (Latin1). Consequently all characters for all European languages with Latin type are covered — including Turkish, the Baltic languages, East European and Scandinavian languages. Congruent with the time of its origin and typical for black letter typefaces, Palmona also includes a long s as well as — uncommon but definitely reasonable — a capital ß. Both characters are automatically applied with the activation of Discretional Ligatures, and the associated ligatures appear automatically as well. When using ”long s,“ you must ensure the correct use of the rules for the Fraktur font: ”round s“ is always at the end of the word, also in compound words. For those of you who want to be even more correct, read the corresponding >> article in Wikipedia.

Introducing Geoparody, the typeface that channels the free-spirited energy of the 1960s with its bold, groovy style. This typeface is inspired by the iconic Anonymous font, which rose to fame as the font of choice for the hit TV quiz show, Jeopardy. Geoparody takes the original Anonymous typeface to new heights with a range of six weights and italics. Plus, you can unleash your creative side with OpenType stylistic alternates, featuring an alternate “X” and “Y” that add an extra touch of playfulness to your designs. Whether you’re designing a retro poster, a funky album cover, or a psychedelic website, Geoparody will help you stand out with its distinctive style. So, let your creativity run wild with Geoparody, the typeface that captures the rebellious, futuristic spirit of the late 1960s. 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.

Some typefaces need time to ripen; Burian and Scaglione made the first sketches for Ebony back in 2008, but it took a few years of maturing in a drawer to be developed into a multi-functional type family. While keeping in tune with TypeTogether’s focus on complex typographic structures needed for magazine, newspapers and books —whether printed or digital—, Ebony goes far beyond editorial use and promises great performance in branding and advertising. The range of dark weights with taut and powerful curves can boost any headline, while the lighter styles create an approachable and clean feel in blocks of continuous text. Ebony does not fall short on aiding legibility either; letterforms have a distinct direction of ductus and features like the top serif on ‘l’ help making them clearly distinguishable from each other. It is a type family that cleverly seeks a balance between the openness and legibility of humanist sans serifs and the striking and more regularised character of grotesques. The letter-shapes feature generous counters and open terminals with crisp angles, and daringly grow both in colour and width as the fonts get bolder. Infused with this strength, Ebony also shows a quirky side in some of her shapes; the vertical fractions, the at-symbol, the old-style numbers, … The predominantly slanted style of the italics is broken up in some letterforms, such as ‘a e f l’, that are more in line with a classic cursive appearance. This, together with a forceful italic angle, ensure a change in texture within a block of text, despite sharing the same letter weight and width with the uprights. With 18 styles, tending towards the heavier part of the weight-spectrum, this face has a powerful quality!

Minimal, modular, modern—at first glance, Materia shows a contemporary flair, combining pure, strong geometrical form with a subtle, distinct appearance. Actually, the design was inspired by lettering from the turn of the 19th to the 20th century that still can be found in the East of France. While its formal origins date back as far as this, revived e. g. by the constructivists into the nineteen twenties and later on by Dutch information designer Wim Crouwel in the nineteen-sixties, the visual language of Materia still speaks of the »future«. Following a minimalistic concept the font is formally built on a grid. Wherever optical curves are needed for a smoother, more comfortable shape of letters than a simple rectangular block, diagonals cut off the egdes – like a diamond is cut to achieve more beauty. Thus headlines and texts set in Materia are given a certain »egdy« feeling, whereas their tonality is still kept well-balanced, keeping concentation all on information in a nonconfomist way. Materia comes in eight styles, from elegant Thin to attention-forcing Ultra. Even a regular Italic is available, following the classic type-set-principle. Two of the styles are explicitly designed for display use, Shadow and Code. Both are ready for combinations with Bold or each other respectively, the layering of Shadow and Code e. g. allows astonishing effects or highlighting within the letters. For OpenType-users Materia is a real Pro, containing accented Latin letters for over 70 languages, small caps, old style, tabular and lining figures and special condensed titling all caps for cases in which space is all that counts. How useful all of the above mentioned is may be seen in the book David Lynch – Lithos, designed by Koma Amok, published in 2010 by item éditions, Paris, and Hatje Cantz, Germany, which was typeset completely in Materia.

Designed by Cosimo Lorenzo Pancini and Mariachiara Fantini with the help of Solenn Bordeau, Erotique is an evolution of the original design by Zetafonts for Lovelace, that challenges its romantic curves with the glitchy and fluid aesthetic of trans-modern neo-brutalist typography. The seductive "evil serif" look of the Pheimester-like Oldstyle letter shapes is made edgier by the quirky connections and unexpected calligraphic twirls that marry digital distortions to traditional penmanship. Sensuous but sharp, Erotique speaks the language of teasing, and unrequited love, over-the-top and restrained like a show of Japanese Kinbaku, and beautifully heartbreaking like a friendzone valentine. Designed for display use, this high-contrast serif typeface is ready to take center stage in projects where a subtle elegance and an edgy, aggressive touch are required. For branding use it is paired by a Erotique Ornaments, a set of interlocking patterns based on the font letter-shapes, allowing for striking packaging, digital and ambient design. For editorial use it can add a sharp sensuality to logos and titles thanks to an impressive array of alternate glyphs, subtle ligatures and a set of whiplike fleurons, collected in the Erotique Flourishes pack. The typeface has been developed in the regular, medium and bold weight plus a monoline version, all of which have been paired with an Alternate version to give immediate access the more exotic alternate letterforms. With a character set of over five hundred glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you are a typeface lover, be warned: Erotique could be your fatal attraction!

Throughout time, history’s architects have incorporated some of the finest illustrations of type into their great works--cuneiform on Mesopotamian ziggurats; Greek etched into the temples of the gods; inscriptions marking the monuments of mighty Rome. From these Roman inscriptions specifically, we take our capital letters of today; and while we've lost the need for serifs over time, our current characters maintain the classical foundations, even after being distilled to their simplistic forms. Here’s where we have the basis for Le Havre Titling. This updated face is a carefully optimized version of Le Havre that uses purely capital lettering. Originally inspired by the golden period of the passenger ship and the French port that bid a rich bon voyage to so many famed, luxurious ocean liners of the Roaring Twenties and Thirties, the typeface includes an exciting array of ligatures that brings it into the present day and gives designers a tremendous amount of versatility in their work. With its seven weights, Titling looks equally at home on the side of a building as it does in a finely crafted invitation. With over five hundred glyphs, Le Havre Titling offers a multiplicity of options for your projects. Combine ligatures, play around with two sets of art deco forms, use original caps, and more; every one of these is obtainable with the OpenType functionality. The new design also shares five weights with the original Le Havre, allowing you to maximize your potential through its interchangeability. Titling’s Thin weights are delicate but not too fragile, and its geometric forms give each individual composition you create an exquisite and beautiful sense of emotion. Without a doubt, this fresh, fashionable take on the classical forms offers your reader refined, yet unanticipated approach as he or she travels through your text.

While Adelle is a slab serif typeface conceived by Veronika Burian and José Scaglione specifically for intensive editorial use, mainly in newspapers, magazines, and online, its personality and flexibility make it a true multipurpose typeface. Adelle’s superior screen rendering and cross-platform consistency has also made it one of our most popular webfonts. The intermediate weights deliver a neutral look when used in text sizes, providing the usual robustness expected in a newspaper font. The unobtrusive appearance, excellent texture, and slightly dark colour allow it to behave flawlessly in continuous text, even in the most unforgiving editorial applications. As it becomes larger in print, Adelle shows its personality through a series of measured particularities which make it easy to remember and identify. Its energetic character, so inherent to slab serif fonts, becomes evident when used for subheadings and headlines. A condensed series of seven weights with matching italics expand Adelle’s possibilities. This extension provides flexible solutions in situations where saving space is vital but losing legibility is not an option. The new condensed series shares the same personality, proportions, and skeleton of the Adelle family, creating an harmonious texture when combined. Be sure to check out the companion to Adelle, Adelle Sans, to complete the look of your design with the intended personality and flexibility. Awards – Third prize for Latin text typeface in the 2009 Granshan Type Design Competition – Won Gold for Original Typeface in the 2010 European Design Awards – Selected in the first Ukrainian typeface competition in 2010 – Exhibited at the Rutenia Calligraphy & Typography Festival (http://rutenia.org.ua/en/index_u.html) in Kyiv, 2010 – Selected in the 2011 Type Directors Club Tokyo Exhibition – Selected in Communication Arts 2011 Typography Annual – Selected in Yearbook of Type I, 2013 – Part of the exhibition «Call for Type» and subsequent book Neue Schriften (New Typefaces)

I fell in love at the age of twelve in Wales, recalls Bernard Philpot. "My father brought me to a small graveyard in the Welsh hills to show me two headstones carved by the great Eric Gill. I instantly fell in love with the beauty of the carving and the perfection of the letterforms. I still go back to marvel at these works of art." However, the ITC Bolthole™ design, Philpot's first commercial typographic endeavor, is quite unlike the works of Eric Gill that first captured his heart. Bolthole is a craggy sans serif with a definite grumpy attitude. It's not terribly legible, and, if more than a few words are set in the design, it's not very readable. To round out its cranky personality, Bolthole does not like to be set in small sizes. Like Cheez Whiz® and bullfights, you either love or hate this typeface. But whichever emotion dominates, there is no denying that Bolthole has a personality to be reckoned with - one with ample magnetism to ensure reader attraction. If used to set brief blocks of display copy, the typeface makes a powerful statement. Bolthole was originally designed to complement a whimsical ad for the Royal Society for the Prevention of Cruelty to Animals. As Philpot recalls, "although the ad didn't win any awards, the type attracted some very positive comments for its original look and feel." Philpot studied graphic design and typography at the London School of Printing, and soon after graduation found himself working in a large advertising agency in London. According to Philpot, "After designing type for everything from packaging to ads, I thought it time to convert one of my designs into a complete font - and Bolthole was born." ITC Bolthole could very well be the Shrek™ of typeface design - which might not be such a bad thing."

Dynamic, attractive and catchy - the new TypeType display font! Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org TT Cometus is an expressive typeface that captivates from the first time you read a text set in it. Despite its massiveness, the typeface is malleable and dynamic, like a comet piercing the space in order to achieve the only goal - to capture the attention of the viewer. TT Cometus is a slab serif whose strong serifs are serifed at the junctions with the vertical stroke to give the typeface a dynamic and modern character. Thanks to this solution, some elements of the font evoke associations with calligraphic works, while display elements remain stable thanks to massive serifs. The pointed endings of the letters c, y, e, t and noticeable inflows of arches and semi-ovals make the character of TT Cometus dynamic. The contrast between the thicknesses of the horizontal and vertical elements is small, but in the serifs, inflows, and letter endings, the contrast is pronounced. The nature of the font is balanced, and its friendliness is supported by the smoothness of shapes. Oriented towards the viewer, flowing yet massive and dynamic, TT Cometus is suitable for use in eye-catching projects. This is a display font that shows its character better in a large body size and can be used in printed materials or on the web. The font looks flawless in headlines and logos, and is suitable for use in branding. TT Cometus consists of 5 faces: 4 upright and one variable font. Each face has 568 glyphs. The font contains 18 OpenType features, including a large number of ligatures, sets of alternative characters for the ampersand and the letter g.

Eyadish is an entertaining, comic, and childish font. The name of this font is originally derived from two main syllables. The first one is "Eyad-" which refers to my first name and the second syllables is "-ish" which means characteristics of or relating to. Hence, "Eyadish" refers to the characteristics that "Eyad", the typographer, himself has and had during his childhood. I do like this font for its childish and comic shapes. I have decided to design this font trying to leave a humble and personal imprint regarding the magic and innocent world of all children. Frankly, it is my most favorable designed font. This font comes in two different weights with facilities for writing and publishing in different alphabets included in various Latin and Cyrillic texts and scripts. "Eyadish" is primarily designed to be fit with all prints of kids, children, and juveniles' products. It is major usage is in advertisements and publications. It is suitable for T-shirts, books' covers of children such as fairy tales and comic stories, advertisement light boards in malls, and titles in parental, childish, comic, and other related magazines. "Eyadish" also can be printed in many children's products such as garments, towels, shoes, socks, toys, pacifiers, diapers, exhibitions, festivals, books titles and contents, medicines' packages, kindergartens' signs, buses, comic and TV series, kids and children organizations and charities names, images, software, foods including milk cans, candies, chocolates, and other related products. The font is extremely and distinguishably attractive when it is used with various, and vivid colorful letters and words in posters, cards, and placards. "Eyadish" is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children. The main characteristic of "Eyadish" Typeface is in its childish look that remains when anyone reads or types or even deals visually with its characters.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Few fonts reach cult status. Despite its ubiquity—and perhaps because of its lack of subtlety—for a hundred years Cooper continues to draw the faithful. It’s even come to define an entire typographic genre and recently starred in its own documentary. Cooper Nouveau is Dave West’s imaginative contribution to the Cooper oeuvre. Drawn in 1966, Nouveau refreshes Oswald Cooper’s original italic with an energetic pitch, simplified contours, and a plump friendly figure. Uniform strokes and generous curves push the font’s playful personality and springy silhouette even further. A selection of swashed characters and ligatures offers options for lively logos and strong captions. While Cooper Nouveau looks laid-back and easy-going, it’s more than capable of pulling it’s own typographic weight. Put it to work where relaxed needs to project confident. Set Nouveau large for eye-magnet posters, packaging, and advertisements. Maximize its youthful energy for kids’ themes, craft action, and apparel bounce. Or set it alongside a master like Benguiat Buffalo or Chalet to show how Cooper Nouveau can communicate on paper and screens with an inherent ability to speak the language of style in many tongues. But like any cult icon: beware! Cooper has a way of setting the needle, and Nouveau just may become your go-to design fix. FEATURES ALTERNATES: Cooper Nouveau contains several alternate characters, which add flair to your designs and can help solve spacing issues LIGATURES: Many letter combinations in Cooper Nouveau form a ligature to solve spacing issues and produce more pleasing designs. COOPER NOUVEAU CREDITS Typeface Design: Dave West Digitization: Dave Foster Typeface Direction: Ben Kiel, with Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Always intrigued by Bodoni's original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni's widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic. After a careful examination of all characters, I decided to create a typeface based on the distinct script capitals presented in the book. Matching lowercase italics were later selected and designed to complete the series. Since my intention was not to create simply a digital version of Bodoni's work, this typeface was designed with connected characters and capitals with extra calligraphic elements. The result was released in 2002 and published in our award-winning catalog/book IDEA/Trendsetting Typography vol.1. Later in 2005 we revived a large number of ornaments and borders (credit goes to designer George Lygas). All this work was left behind till recently when it was revisited to create a complete 'Pro' family. Several new uppercase and lowercase glyphs were designed in order to create a distinct typeface, which is based on Bodoni but yet it stands out on its own. The new version also takes care of conflicts between neigbouring letters, something that was not included in the first version. Bodoni Script Pro is a 3-weight superfamily. It supports 10 special opentype features including 'contextual alternates' as well as support for both Latin and Greek. Each font comes with 725 glyphs including a large number of alternates as well as 144 ornaments. Furthermore, when you purchase the whole package you get a bonus font which contains 120 frame parts. These parts, when put together, create some truly amazing borders. -Panos Vassiliou

The Elzeviriano Ibarra or 'Ibarra Gans' was a typography engraved by Carl Winkow in 1931 to Fundición Gans commemorating 50 years since the foundation thereof. It is designed to be used in the book-homage The Maestro Joaquín Ibarra . This type is a combination of the printers selected by Joaquín Ibarra, Spanish printer and typographer and Ezelvir family types, hence its compound classification. Gans Ibarra, designed in 2006 by Paulo W follow the concepts from the original designs from Fundicion Gans. See also other font families inspired by Gans' original typefaces: Gans Tipo Adorno , Gans Lath Modern and Gans Titular Adornada and Gans Antigua .

Nineteen43 is an elegant typeface with inspiration from the timeless classic "Didot" the style often associated with fashion. Giving our own take on the style, making the hairline stokes and thin as possible to maximise the contrast to the bolder strokes making it a perfect for display use. Nineteen43 has its own unique quirks with striking, bold, abrupt thicker vertical strokes. Elegant smooth serifs and bars not always meeting up with stems like you would expect. You can also purchase the printed specimen book here

Typek is a sans serif typeface for the lovers of minimal design and great curves. Typek outlines' professional shapes are perfect for large display usage.. Perfect for branding, posters, web and publications. The idea is to treat the letters' stroke create absorbing and interlaced shape. The design of small interfering in letters' construction makes Typek unique. Typek contains uppercase, diacritics and digits. The Typek Family is in two versions: Regular and Outline. Outline version can be an interesting addition and decoration for the Regular version.

Introducing a modern display font "Grayson". It's a sans serif typeface with straight geometrical shape that has a lot of ligatures and stylistic alternates. Those OpenType features can help you to create an awesome unique lettering compositions with unexpected characters combinations. Use capital letters to access all those features. Nevertheless it can be a quite simple font if you'll type lowercase letters, which can be useful for small supporting text. This font has West European multi-lingual support (check out the screenshot with available characters).

Avento this is a wonderful vintage font designed in the Art Deco style. With it, you will be transported to the era of the 20s-60s. it will add charm, estetica and create a unique atmosphere of this time in your design project. this font includes four styles : regular, InLine, thin outline and bold outline, as well as it has many alternates that you can use to play with the dynamics of the font. This font is easy to use and has OpenType features. Following international .

Lovage is Modern Elegant Serif Typeface The serifs that we made specifically for the needs of elegant branding, with additional ligatures and alternates in a more feminine and unique form will be ready to add value to your brand. It's great to take advantage of designers or product owners who need a solution to make their designs look more classy and modern. This font is specially designed for fashion-themed projects, perfectly suitable for creating elegant, chic, lifestyle designs such as logos, titles, magazines, and more.