Inspired by the classical “Fell Types”, especially the charmingly quirky weights designed by Peter De Walpergen. WT Solaire is a liberal interpretation of those cuts, meant for the digital age. Its design reflects an elegant tension between tradition and modernity. Its elegance and sharpness make it a perfect fit for any project that requires impact and subtlety at the same time. It is especially meant for editorial design, be it magazines or books, but it also works well with images.

Hagia Signature. Is a unique and natural script font. Its general appearance is in the form of light brush strokes and free flowing. Like the dancer's hand movements when we make upstroke and downstroke. Thick-thin in irregular but blended in harmony. It is a style that liberates expression, full of soul and character. We created this font for branding and only for branding. it's a great font applied to modern logos. Equipped with 99 ligatures to make a natural impression

Gritty heat-forge stamped metally goodness. Can withstand up to 255 pounds of pressure psi, it even says so right on the graphic. This is a fun display font inspired by the stamped text on barbells, sewer drains, and of course boiler-plates, not that we see many of those anymore, but I digress... This font contains all the standard sub-255 unicode characters, plus a few extras for flavor. Apply this font with liberal amounts of axle grease and she should last ya a lifetime.

NaNa Rounded Pro Font family is designed by Naghi Naghashian. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Tangelo is a fun, casual display script that could be more accurately termed a unicase – it borrows characters liberally from the lower case, but scales them up to cap-size. Tangelo is ideal for kid-friendly products like candy packaging, game boards or apps, and clothing labels. It includes 115 alternates and swash characters for a convincingly hand-lettered look. See what’s included! http://bit.ly/2lW33tt These fonts have been specially coded for access of all the swashes, alternates and ornaments without the need for professional design software! Info and instructions here: http://lauraworthingtontype.com/faqs/

NaNa Pro Font family is designed by Naghi Naghashian. The characterset of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Surprise Pro is designed by Naghi Naghashian. It is a delicate decorative headline font. The character set of this Font supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Another offbeat typeface inspired by the lettering on a design by Patrick Owsley for the Chicago Bears. There's nothing more lively than animated text, and Bear Club has that flavor in two ways. With counter inspirations drawn from fonts like Ad Lib and Nightclub, an automatic alternating caps and alternate caps feature, as well as a contextual alternates set that creates a true animated bounce, just like Hip Hopper. Let the fun begin with this spunky, lighthearted and heavy-weighted comic typeface.

The last couple of years felt like I was living in a bad dream: I witnessed crazy leaders, climate change and now Covid. I usually name my fonts after things that affect me and this one is not different. Dreamworld is a font I made with a cheap marker pen I liberated from my kids’ pencil box (I will put it back, pinky promise…). It is a bit rough, but also very easy to read and distinctive enough to make your work stand out. Of course it comes with extensive language support (let me mention Vietnamese again…) and two sets of alternate glyphs, that cycle as you type.

Elogium Pro is designed by Naghi Naghashian. It is a modern interpretation of classic Roman characters in 3 weight: Light, Regular and Bold. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

La tipografía Qátana es una tipografía inspirada en el estilo románico serif y sans serif. Su estilo elegante y de fácil lectura ha logrado ser una tipografía esencial para redacciones de documentos, textos o libros. Cuenta con tres pesos bien marcados que dan un juego visual de resaltados y tenues. Además de las formas itálicas. The Qátana typeface is a typeface inspired by the Romanesque serif and sans serif style. Its elegant and easy-to-read style has become an essential typeface for writing documents, texts, or books. It features three well-marked weights that give a visual play of highlights and lows. In addition to the italic forms.

Our Galindo Pro was inspired by the heavy-weight animated fonts such as Ad Lib, Nightclub, and Bear Club, blending geometric cuts with light-hearted contours. The festive letterforms intrigue and draw in the reader, while the SmallCaps and extensive figure sets open the font up to a wider range of uses. Opentype features include: - SmallCaps. - Full set of Inferiors and Superiors for limitless fractions. - Tabular, Proportional, and Oldstyle figure sets (along with SmallCaps versions of the figures). - Stylistic Alternates for Caps to SmallCaps conversion.

Squoosh Gothic is a serious new contender in the arena of headline fonts. Upright and condensed, Squoosh’s whimsical name belies its true nature. Though, that’s not to say it’s totally devoid of a sense of merriment – it just values a more orderly, regulated kind of tomfoolery. Mad-libs for instance, or The Times cryptic crossword. Its mature but unmistakably witty attitude can go a great distance to lending a sense of culture and an air of scintillation to your designs. Don’t miss out on this sanguine new font, Squoosh Gothic from Thinkdust, available now.

Ostad Pro is designed by Naghi Naghashian. It is a headline font, as a modern interpretation of classic Sans Serif Roman characters in 2 weights: Regular and Bold. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Starsigns is a unique set of zodiac symbols with a handmade feel. This font includes twelve astrology symbols: Aquarius, Pisces, Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, and Capricorn. Additionally, it features a moon and a sun symbol. The symbols were created from watercolor originals, giving them a warm and fluid quality. To utilize Starsigns, simply install it as a regular font. As you type, instead of letters, you will see the corresponding zodiac symbols. For accessing the symbols, type any lowercase letter on your keyboard between 'a' and 'm'. Most design software, such as Illustrator, InDesign, and Photoshop, provide a glyphs palette where you can select the desired symbol precisely.

Bolívar is a contemporary display typeface inspired in the handwriting of one of the most prominent personalities of the Latin American 19th century: Simón Bolívar, “the liberator". The typeface intends to capture the passion of handwritten letterforms and to translate it into type. Among the characteristics that best contribute to its strong personality, are the impressive length of ascenders and descenders as well as the more than 45 degrees of slant. Bolívar mimics certain aspects of handwriting such as the slightly different baseline for each letter and ink clogs in the counters of some letters. Use Bolívar whenever you need to add passion to a piece of text, from logos or single words to sentences and captions.

Avid Pro font family is designed by Naghi Naghashian. A modern interpretation of classic Sans Serif characters in 6 weights: Thin, Light, Regular, Demi Bold, Bold and Heavy. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Divan Pro font family is designed by Naghi Naghashian. It is a Headline font family, a modern interpretation of sans serif characters in 2 weighs: Heavy and ExtraBlack.The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Decora Pro font family is designed by Naghi Naghashian. A modern interpretation of classic Roman characters in 1 weigh and 2 styles: Regular and Regular Italic. It is a Liaison between the classic Roman typeface and script style. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Roumi Pro is designed by Naghi Naghashian. It is a headline font, as modern interpretation of classic Roman characters in 1 weight: Regular. The naming is driven from the name of Rumi (the Roman), Persian philosopher and poet, 1207-1273. The character set of this Font family supports most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili and Swedish. There are 17 additional symbol characters: euro, litre, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greaterequal, and lozenge. It also includes the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish.

Mowaq es una tipografía limpia, abstracta, moderna, minimalista y de trazos sencillos pero elegantes. Sus cuatro pesos hacen un juego visual de degradados muy marcados. La tipografía Mowaq fue inspirada a partir de los estilos mayúsculas sans-serif, como uso de encabezados y subtítulos en dos libros donde se necesitaba mostrar un aspecto limpio, moderno y minimalista. Los tipos minúsculas fueron adaptados posteriormente a la familia Mowaq. Mowaq is a clean, abstract, modern, minimalist typeface with simple but elegant lines. Its four weights make a visual game of very marked gradients. The Mowaq typeface was inspired by sans-serif uppercase styles, used for headings and subheadings in two books where a clean, modern and minimalist look was needed. The lowercase types were later adapted to the Mowaq family.

As a successor of Didots famous font, which marked the beginning of modern typography, the Monceau has inherited the spirit, elegance and sophistication of french style, although in a revamped design, typical for the first years of the 21st century. Liberated from its serifs and with soft and round small letters the Monceau approaches ornamental typography and thus perfectly lends itself to being enlarged: it’s a font that loves to be closely looked at. Its name, lent from the famous parc Monceau in Paris, evokes and reinvents in a modern graphical way all of the Parisian chic at the end of 18th and the beginning of the19th century (the time Didot was born), the French Revolution and Empire, the architecture of this business quarter and notably the arabesques of the monumental gates still present in our times.

Ceres is has its roots in Cyan, our other font family. Like Cyan, Ceres has a complementary lowercase that provides more versatility than a classic Roman. It is arguably more elegant than Cyan with its accentuated serifs. The lowercase "e" and "g" give Ceres a distinct calligraphic personality. Ceres, the font, derived its name from Ceres the Roman goddess. In Roman mythology, Ceres is the goddess of growing plants (particularly cereals) and of motherly love. Ceres was usually equated with the Greek goddess Demeter. Ceres was the daughter of Saturn and Ops, wife-sister of Jupiter, mother of Proserpina by Jupiter and sister of Juno, Vesta, Neptune and Pluto. Ceres made up a trinity with Liber and Libera, who were two other agricultural gods. She also had twelve minor gods who assisted her, and they were in charge of specific aspects of farming.

Full of texture and regal personality, Bell Martellus was derived from a book published in 1475 by Henricus Martellus entitled “Liber Insularum.” The writing style is based on the Carolingian Script created by the Emperor Charlemagne and his scribe, Alquin of York, in the 9th century A.D. This old world lettering comes with new world OpenType capabilities, including swash caps and small caps. The James Ford Bell Library at the University of Minnesota commissioned Bill Moran to develop this font as a means of introducing their amazing collection of rare books, maps and manuscripts to a wider audience. Once the historic script was fontified by Bill, it was forwarded to Chank Co, where we added some snazzy baubles for the discriminating typographer. Everybody can enjoy the antique genuine nature of Bell Martellus, but advanced OpenType users also get extra features in Adobe CS applications.

Bigticy is a typeface with a "new-retro" feeling. Its square outline is tempered by rounded angles. This makes it suitable for a large range of applications in the domains of magazine headlines and posters. The Narrow version has been drawn from a title found in an example (dated from the 50's) of the French newspaper "Le Dauphiné Libéré". For the Maxi style, I have tried to reduce to their minimum the inner white spaces. I had in mind those amazing stone walls that one can see in the antique Inca cities in Peru. The stones are so tightly joined that it is impossible to slip a sheet of paper between them. The Plain version is an interpolation of the two other ones. It is a very useful style since I keeps the main quality of each parent: the weight of the Maxi and the narrowness of the Narrow.

Proudly present Warna - Bohemian Font, created by ikiiko. With a design that is both fun and retro-inspired, Warna perfectly embodies that character. The font in question moves to the beat of your imagination. Each figure has a distinctive, hand-crafted quality, as though they were lovingly and enthusiastically created on a worn-out journal from the 1960s. "Warna" is more than simply a typeface; it's a lively storyteller who tells old tales with a contemporary twist. Its vibrant and youthful appeal makes it ideal for branding with a bohemian or retro aesthetic. The letters serve as your artistic friends, encouraging you to express your ideas with bold strokes that evoke the liberation of a joyful party. This font is very suitable for making a bohomian stuff, vintage boho brand, poster, magazine layout, fashion design, quotes, or simply as a stylish text overlay to any background image. What's Included? Uppercase & Lowercase Numbers & Punctuation Multilingual Support Works on PC & Mac

Orkhon inscriptions (Orkhon inscriptions, Orkhon inscriptions, Khöshöö Tsaidam monuments (also known as Khoshoo Tsaidam, Koshu-Tsaidam or Höshöö Caidam) or Kul Tigin steles (simplified Chinese: 阙特勤碑; traditional Chinese: 闕特勤碑; pinyin: Què tèqín bēi )) They are two monumental installations written by the Göktürks in the Old Turkic alphabet in the Orkhon Valley in Mongolia at the beginning of the 8th century. They were erected in honor of two Turkish princes Kül Tigin and his brother Bilge Kagan. Both Chinese and Old Turkish inscriptions describe the legendary origins of the Turks, the golden age of their history, their subjugation by the Chinese and their liberation by İlteriş Kağan. According to one source, the inscriptions contain "rhythmic and parallel passages" similar to those of epics. In the Old Turkish Alphabet, 38 letters are accepted academically and this pattern is generally used in the books. But there are more than 38 letters in this alphabet, these special letters are included in this font.

Homage to 70s phototype typography in 3 styles The AW Conqueror typeface family is a nod to the spirit of phototype typefaces and transfer lettering from the early 70’s. Founded by Ed Rondthaler, Photo-lettering catalogs swarmed with more daring typefaces than the others. Both transfer letter and phototitling have liberated the principle of letter-to-letter spacing, previously impossible with metal type. Phototype allowed operators to position millimeters, on the fly, letter after letter: words, sentences according to the specifications of the art director. AW Conqueror superfamily AW Conqueror Didot is part of a larger family, who include 4 others subfamilies with great potential: They’re but based on same structure, with some connection between them (width for example), to offer a great & easy titling toolbox to any designers, from skilful to beginner. Each of the members try their best to be different from the others because of their features. They should work harmoniously in contrast. Club des directeurs artistiques Prix 2010 European Design Awards 2011

The Lamia font is inspired by the work of the most famous calligrapher of the Basque Country, Jose Francisco de Iturzaeta Eizaguirre (Getaria1788-Madrid 1853). His writing method was compulsory in Spanish schools since 1835. His "unpolished Spanish font" tried to be more effective than the more commercial English version by avoiding embellishments and excessive rear tearing. More akin with the liberal values imported by the French, his offerings sought uniformity, speed and efficiency to ensure that those in the less-favored echelons of society had an effective communication tool. From his "general collection of characters of European Letters" published in Madrid in 1833, we have chosen the "lower case pancilla reformed" represented in one of the prints. We have tried to reinterpret it by keeping its essence but also ensuring that it is viable for potential contemporary uses which, thanks to its good readability and effectiveness in longer texts, basically means as a decorative or display font. The upper case was generated using the lower case as a reference.

A highly legible typeface in 4 series Le Monde Journal by definition is intended for newspaper use & at small sizes. It’s an economical and workshorse typeface adapted to any extrem condition of uses. Even though it has the same colour as Times, it appears more open. The reading flow has been made more fluent & less abrupt. The glyphs counters are bigger, as if they were “alluminating the interior.” The form, characterized by its serifs, remains embedded in our visual memory. Intermediate weights like Book can be considered as a grade supplement of the Regular. Italics accompany Le Monde Journal. With a more delicate design & a distinctive rhythm, they remain noticeable when used with the romans. Its companion, Le Monde Sans can extend your typographic palette. For beautiful page layout, use it in conjunction with Le Monde Livre for titling sizes. The verticals metrics and proportions of Le Monde Journal are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

Frutiger Capitalis Regular and Outline belong to the group of typefaces for the Linotype’s Type Before Gutenberg project. However, they are not based on direct historical sources. At first glance, they may seem related to the roman type Capitalis Monumentalis, but upon closer examination, the fonts reveal a vitality unknown to the characters the Romans etched in stone. Frutiger confesses that creating Capitalis was “a liberation”. After working on so many sophisticated and meticulously designed typefaces, Frutiger Capitalis was a breath of fresh air. Stylistically, Frutiger Capitalis Outline forms a bridge to Frutiger Capitalis Signs, a whole universe of its own. Frutiger Capitalis Signs is a personal cosmos of symbols, many are immediately “legible”, others leave room for interpretation. Some of the symbols are the product of Frutiger’s imagination, such as his “Life Signs” — soft, hand drawn figures whose lines have no apparent beginning or end, creating both interior and exterior spaces, new forms emerging at each glance. These contoured drawings have accompanied Frutiger throughout his professional life, a fantasy garden which has provided an important balance to his many years of disciplined typeface design. Yet he does not consider himself an artist. Frutiger says he simply “wants to tell stories, to draw thin lines, create contours of signs; that is my style”.

Zira is a playful hand-drawn font family designed by Daniel Bak (Artcity). It is available in three handy weights: regular, bold and screaming. It contains international language accent marks and diacriticals, including Greek and Cyrillic. Zira can be considered as smoothed serif version of Cornelius font. Zira as Cornelius as well is a chimpanzee character in the novel and movie series Planet of the Apes. Dr. Zira is a chimpanzee psychologist and veterinarian, who specializes in the study of humans, in the novel and subsequent movie series Planet of the Apes. Zira was played in the first three Apes movies by actress Kim Hunter. Unique among the Apes characters, Zira has blue eyes. Zira is the fiancée (later wife) of Cornelius, and both are ultimately responsible to the Minister of Science, Dr. Zaius. Zira's character and role are essentially the same in both the novel and the movies, though some story details differ. Her work in each involves both working with humans under laboratory conditions (e.g. learning and behavioural experiments), and working on them physically (lobotomy and other brain surgeries, vivisection, physical endurance and tolerance experiments, and subsequent autopsies). Zira is an outspoken liberal by nature, deploring war and militancy (and despising the gorillas, who seem to make both a way of life), and eager to seek and develop intelligence anywhere it can be found. Zira literally stands for her principles - or refuses to stand, as the case may be.

Marit Otto about C-Nation: The building typeface. Although the 70ties were very liberating and progressive, still girls played mainly with dolls and sweet things and boys with all kinds of challenging stuff. They did all sorts of basic scientific experiments in mini labs and of course built cool things with Meccano building sets. As a girl I was perfectly happy with the toys I had access to. But at the same time I was very curious about all the adventure toys and discoveries my brother did. It also made me wonder why the grown up people thought that our world could be separated so easily by separating our toys in pink and blue sections. At this day of age Meccano is probably hopelessly old fashioned and far to manual. Children of today are fed by fast images and cool animations on screen, they learn, play, communicate and relax in the same space, the digital space. The special feature of Meccano was that even though it was very basic there was the promise you could create anything. It might even contribute to a logical mind. The typeface I designed refers to the Meccano feel. It is a creative typeface. A bit masculine and bold looking perhaps but after the first impression a subtle and refined female touch is revealed. It has links to architecture and associations with metal constructions like ‘The Eiffel Tower’ and (old railway) bridges. I am convinced that we all think of that as very charming man-made objects.

Released on the occasion of the 2012 London Olympics, Olympukes 2012 was a new set of pictograms telling the ‘real’ story of the Olympics and extending the unofficial project that began in 2004. The occasion of the London games provided an opportunity to revisit the complex contradictions of the modern Olympics and to acknowledge the geopolitical shifts of the intervening eight years. The 2012 games arrived at a time of great economic and political uncertainty for the nation and Europe. Greece – the host of the 2004 games – was now located at Ground Zero of a disintegrating Eurozone and the United Kingdom was two years into a programme of austerity enacted by the coalition government of Conservatives and Liberal Democrats. Given that the previous London Olympics had been held in 1948, in a climate of recovery and austerity after a devastating World War (1948’s Olympiad was dubbed the ‘Austerity Games’) there was a sick irony to the 2012 games' arrival. The suppression of human rights in order to deliver the perfect games for PRoC’s Beijing games shocked no-one and yet, in London, the security measures seemed grossly excessive. Then again, in a country with an estimated 1.8 million cctv cameras, perhaps we shouldn’t have been so surprised. Another aspect of the Olympics that returned for 2012 was the unfettered commercialism – if you think the Games are about pure sport, about noble human endeavour, think again. Please note that Barnbrook Fonts is in no way affiliated with, or has received any endorsement from, the International Olympic Committee, the organising committees of the Olympic Games, or any national Olympic committee.

Lindemann Sans is an immediately-inviting typeface with a pleasing distinct visual voice grounded by geometry and golden proportions. This modern geometric san serif typeface serves the interpretive needs of modern design through its legibility. This legibility is achieved through proportional balance of each letter based on the golden ratio, open counters, high x-height and wider individual shapes. In addition, a high level of legibility is arrived through distinctive glyphs like a, e, @, and f, which are engaging and add to Lindemann Sans visual voice. Being a modern, spirited, tech-savvy typeface, Lindemann Sans has many of the features demanded by today's designers. These features include 800 characters within each font, many ligatures, full numbers sets, small caps, alternative characters and other niceties found in opentype fonts. Due to Lindemann Sans high legibility, geometric sans tradition, and a large feature set list, it is a very versatile typeface and can be used in replacement of the more commonly used sans. Specifically, Lindemann Sans can be used by technology corporations, architectural firms in their supporting materials, in magazines as headers and key-points, as the typeface for professional keynotes, for the package design industry as a whole, in automotive concept projects, and for cosmetic branding for high class hair products. With its inviting nature it may also be used for liberal arts promotional materials. In addition, this typeface can be used by green industries because of its nature derived proportions. Each style and weight of Lindemann Sans adheres to the same geometric and golden proportions, however, each weight is innately noteworthy. For example, there is a charm that is found in the ultralight weight's elegant geometry and lights impressive use as oversized headlines. It shines with true clarity of vision with the book weight and the versatility of the medium. One cannot overlook the power and pacing of the bold and extra bold weights with its clear counters and restrained letter forms. Within Lindemann Sans family each weight has a distinctive role to play but stays true to its purpose.

Arabetics Latte is a Latin Serif typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. While its seemingly-idiosyncratic Latin design eliminates the excessive usage of serifs and offsets the visual effects of several geometrically-intense glyphs, its Times Romanesque proportions gives a full nod to the beginnings of Latin types and produces an overall stable look-and-feel of a classical Serif style, making it suitable for both text and display applications. Liberal spacing is maintained throughout to match that of the Arabic text and is further supplemented by a careful implementation of a typical Latin kerning. The overall design of this font, including metrics and dimensions, was intended to make its Latin harmonize well with most other Arabetics foundry fonts. Arabetics Latte fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Latte includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the tatweel key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Latte includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.