It started in 2007 with Chennai, the first of a three-part series of sans that I envisioned with slab serif counterparts. Each font would differ from the others in how the stem terminals were expressed. The initial font was extremely well received, and a revitalized and remastered Chennai made its appearance two years later, complete with new weights and new, novel OpenType features. Then came Madurai, a variation of Chennai based on the same core, only without the rounded stems. Chennai’s rounded stems made it distinctive and great for headlines but left it lacking appeal as copy--a problem that Madurai easily solved. And now comes Sangli, the final iteration of my original 2007 vision. Sangli is a happy medium. Like Chennai, it’s great for headlines--but not too distinct for copy. Sangli keeps the same core structure as the other two, but new less sharp forms give this latest font a friendlier look that’s more versatile than the original Chennai and less formal than Madurai. The font includes a whole range of six weights from light to black, along with condensed and extended options as well for a total of 54 fonts. There are plenty of OpenType features, including small caps. Alternates include normalized capitals and lowercase letters that include stems for when you want a more traditional look or when you’re writing copy. Sangli also supports over 70 languages that use the extended Latin script. Use Chennai, Madurai, and their slab serif variants interchangeably with Sangli, too, for even more options in your work. All three complement one another well. So when you need a balanced font that stands boldly on the page and commands your reader’s attention, look within and find your Sangli.

The great value of something crafted thoroughly by hand has been observed for years by Guille Vizzari throughout a wide spectrum of clients and projects developed at «Yani & Guille» —the studio he runs cheek by jowl with Yani Arabena—, and they both noticed that recently it has been taking on a new meaning. From barbers at their shops, to a barista that passionately prepares coffee every morning, or a bartender that deeply enjoys diving towards unknown ingredients, and even Guille’s admiration for sign painters worldwide that keep spreading their passion for the perfectly constructed letter. This wide trades universe, where craftsmanship represents a huge difference, is where «Proprietor» lives, and it’s the reason why it exists. «Proprietor» was born in a Moleskine notebook —just pencil, paper and ink— as a tribute to those crafts, and to regain the art behind Type Design that involves the fusion between tools, materials and the action of the hand. Fed by these principles, every single glyph within the whole «Proprietor» Family has been fully designed and illustrated by hand by its author (including all the ornaments, frames and crafts icons that can be seen along this specimen), showcasing Vizzari’s solid formation in the drawing field. Proprietor can be described as a compact type family system illustrated by hand, intended and designed to be able to create solid —but beautifully ornamented— paragraphs, and elaborate compositions. For this purpose, Proprietor Roman and Open displays a notorious x-height which goes perfectly with plenty of ornaments that unfold along the ascenders and descenders, but always containing its swashes inside the text line. The icing on the cake, Proprietor Script, a copperplate-based font unbelievably flooded with ornamented capitals, flourishes and endings to break through the coarse feeling of the Proprietor non-script sets, with a huge load of delicate and warm letterforms. Proprietor Wide and Wide Open hand a complete font set to complement the family for composing extended words in uppercase, matching in style and adding a striking personality. And as being part of Sudtipos’ catalogue «Proprietor» comes packed with full Open Type support —thanks to Ale Paul, fearless to tame this hand–drawn beast, supported by his vast knowledge in programming and optimization—. 7 imperfectly elegant and completely handmade fonts join the «Proprietor» system, bringing life to designs that are meant to represent the spirit of the genuine and skilled craftsmen, showing respect for their trade, and at the same time being part of it.

I saw a cool UT-Ligature on an old (maybe 70's or 80's) Texas Longhorns fan-shirt - it was in 3D and I wanted something like that with my own initials A and B to print it on a baseball hat. I started drawing it and when I was finished, I thought it might be nice to do the same for my officemates. I needed another G, T and K. After finishing that I thought it might be cool to do this for other people as well. Since the source of all the 3D glyphs is found in the regular ones which get moved by a 45 degree angle and then connected with lines , I first draw all the uppercase regular glyphs. The thing that followed was kind of an addiction: after finishing the uppercase letters, I wanted to add lowercase letters, after finishing the 3D letters, I thought it would be nice to have a fill version to layer with the 3D letters. Having a rough, woodcut version of the regular style would be cool, too. And the font is also pretty much suited to make a stencil version. When all this was done, I was interested on how the font would look like without the serifs and curves instead of the 45 degree angles, so I did the Longhorn Sans. Good to use for all sports-related designs, especially retro-style soccer/football shirts. Uppercase characters can be combined to form ligatures or logotypes.

The multi award winning ESTA is back, renewed and improved in OpenType format. Now named Esta Pro, is available in Regular, Italic, Bold, Bold Italic, Display and Swashes. Includes plenty of features, like SmallCaps, Alternates, Ligatures and CE characters.

The original Gelato Script has been updated and improved, not once, but twice. This version is kept here for legacy and compatibility issues, but I would encourage new users to check out Gelato Luxe or Gelato Fresco instead. Gelato Script is a smooth-flowing typeface with an air of familiarity. Influenced by both formal scripts and mid-Twentieth Century hand lettering. The power of OpenType is used with precision in the Contextual Alternate feature to make sure letters connect seamlessly, t’s cross where they can and swashes don't crash into neighboring glyphs. 781 glyphs make up this font, which is capable of speaking in many different languages. Alternate forms are grouped into stylistic sets to make it easy to change the mood of the text. For example, ss01 makes droopable letters drop below the baseline to break it up a little if required. I recommend using it sparingly, one glyph at a time, but if you do enable it for a whole chunk of text, the clever OpenType programming ensures that it doesn't go overboard. Sets 2, 3 and 4 bring about alternate forms of S, s, B and Q. Set 5 changes AE and OE to some perhaps controversial Upper/lowercase ligatures. Engage ss06 for the underline feature. After a word, simply type two or more underscores and a line extends backwards under the word you just typed. Don't worry if you have to break for a descender, the OpenType programming will take care of making sure it connects properly to the preceding character. Sets 7 and 8 are for alternate ampersands, and ss09 swaps the script r for a regular shaped r. There are swash capitals available for most uppercase letters, and the OpenType programming makes sure there is room for them under or over the following letters. There’s also a good amount of ligatures thrown in. The localised forms feature can be set for Polish, where acutes get steeper and lslash takes on its script form; Dutch, where IJ and ij digraphs become cool ligatured combinations; and Romanian and Moldovan, where cedillas are subsituted for comma accents. The stylistic alternates feature groups together a few of the stylistic sets for users that can't get to them directly. Gelato Script is a highly usable, powerful typeface. Perfect for everything from food packaging to wedding invitations, sports team logos to magazine headings. Use it however you see fit. Just one thing - it’s not designed for all-caps settings, so avoid that at all costs!

German-born, veteran graphic designer and calligrapher Mandred Kloppert, has designed everything from book covers and packaging to logos and fonts. In fact, in 1977, one of his poster designs was voted best poster of the year. Challenger, his first digital typeface draws on his more than 40 years of experience as a freelance graphic designer and calligrapher. Challenger is a versatile font and is particularly effective in contexts in which the purpose is to put across a message very directly and assertively, while retaining a dignified style - in advertisement texts, on packaging, invitations and greetings cards and the like. It is dynamic without being overbearing, individual without being quirky.

Sutter Camp was born from a light stroke with a special brush in an atmosphere of adventure and the nature! With a touch of rough brush and thick lines, Sutter Camp is here for font users who like adventure style and a hand drawn look. Sutter Camp is very good for use in branding, logo, packaging, quote, hand-lettering look, t-shirt design, banners, posters and many other great jobs. Other features of Sutter Camp: - Simple installation - Support for MAC or PC - Very simple for Adobe Illustrator, Adobe In Design, Photoshop, or other design software. including for Ms. Word. - PUA encoded open (get by opening the Character Map) - Ligature - Multilingual Support

A set of transfer patterns for sewing decorative monogram initials on clothing was manufactured by Women's Day magazine circa the 1940s. Designed by renowned Copenhagen-born industrial artist and letterer Gustav Boerge Jensen [April 8, 1898 - June 27, 1954], these initials have been redrawn into a digital font entitled Danish Script Initials JNL. Large initials are on the uppercase A-Z keys, while smaller initials are on the lower case a-z keys and are centered to the larger cap height. An ornament is provided on the asterisk key, and can be placed between the small initials and the larger initial for decorative effect.

Bodoni Classic Deco is against all rules. Giambattista Bodoni himself would probably hate me for doing it; he was a real purist. The whole idea of the Bodoni typeface is no embellishments and here I go and decorate those nice clear letters. Shame on me! But I find this is a very nice and useful typeface for all kinds of cards and certificates. So I just did it for all of you out there that are not born purists, but want a little embellishment to their lives. And to make things worse, I added a Small Caps cut. I even decorated it. Enjoy! Yours, breaking all the rules, Gert Wiescher

Neo Afrique sans a neo-futuristic typeface with a modern decorative twist. This typeface design came out of further development and refinement on an original typeface that i created some time ago, Durango Sans. True in nature to it's predecessor, Neo Afrique was also born out of this desire to fuse two different aesthetics, the geometric Neo-Futuristic aesthetic, fused with flourishing decorative forms from Art Nouveau and the later Lubalinesque aesthetics. This typeface will form part of a larger body of work that is meant to be an exploration of Afrikan neo-futurism, using the immense power of visual-linguistic narratives to catalyse new cultural movement and perception.

This elegant typeface came out of a quick, back-of-the-napkin, sketch I did for a different typeface. After toiling on that typeface I looked back at the sketch and realized that I had lost some of the elegance and playful character of my original sketch. So, it was back to the drawing board and Lilette was born. Lilette is fun but also serious. Playful but elegant. Personal yet also industrial. That’s the power of a slab serif. Perfect for magazine headlines, wedding invitations, signs, posters, slides, promotions, product design, branding, logos, and so much more. Make this versatile typeface with 10 styles yours.

Meethlake was born from an inspiring vintage display. This font gives a feel of a vintage, classic, old, handmade looked like. Already PUA Encoded, this font is perfect for people looking for vintage aesthetic or logo-type. It's suitable for any graphic designs such as branding materials, t-shirt, prints, business cards, logos, posters, t-shirts, photography, quotes, and more. - Meethlake Script, Meethlake One, Meethlake Two, Meethlake Three. - Numerals & Punctuations - Meethlake Script support Ligature, Stylistic Sets, Contextual Alternates, and Swashes. - Simple installation and choose the Opentype (especially in Meethlake Script) - PUA encoded open (open with Character Map on Windows and Font book on MAC) - Multilingual characters

Welcome to Nootdorp, a Sans Serif! Inspired by modern sans serifs, the powerful typeface Nootdorp is born. The name comes from a place in Germany: Nootdorp. This font is versatile for branding, labels, packaging, logotypes, websites, headers, headlines, magazines, and more. Nootdorp comes with 3 styles: Regular, Italic, and Outline. So, very good for pairing the fonts! Features and advantages: - Simple Installation - Opentype Ligatures - PUA Encoded - Support for MAC and PC. Also for Adobe Illustrator, Corel Draw, Indesign or Photoshop - 23 Language Support: Afrikaans Albanian Catalan Croatian Czech Danish Dutch English Estonian Finnish French German Hungarian Icelandic Italian Norwegian Polish Portuguese Slovak Slovenian Spanisch Swedish Zulu

Hernández Bros, is a typeface designed by Daniel and Eli Hernández. Born in the year 2021, in the midst of the Covid pandemic, from a collaborative spirit where everything called them to work together as family, in order to obtain better results in such trying times. The Hernández siblings, started a ping pong of drawings based on Bulfinch found in the 1912 ATF catalogue. From this exercise, Hernández Bros was designed, a modern Sans Serif, with 8 weights ranging from Extralight to Black. This is an elegant font, with beautiful and harmonious contrasts, which makes it ideal for titles, brands, editorial design, magazines among others.

Fossa is an unconventional serif designed primarily as a display typeface. Its splayed, pinched vertical strokes and pointy wedge serifs give it a distinct flavour. The style for Fossa was initially conceived while studying the forms of Optima – in particular, the subtle taper towards the midpoint of the stems and strokes. Taking the idea of vertical strokes with a nipped waist to the extreme, Fossa was born. The sharper style created by these vertical strokes is echoed within the serifs, resulting in a contemporary wedge serif with an elegant but dramatic character. Available in five weights: ExtraLight, Light, Regular, Medium and Bold. OpenType features including ligatures and fractions.

Alna is an All Caps Display typeface born with a daily calligraphic sketch exploration focused on recurrent diagonal stroke and reverse contrast inspired by Bastarda and 16th century French Caractères de Civilités forebears St Augustine Civilité. The customised retail typeface offers a stable but full of life feeling. Equiped with a bag full of ligatures for reading optimisation, Alna owns whimsical personality and rhythmic shines at large sizes. Technical use: For optimised readibility, Alna uses ligatures features (liga) to replace (by default) sequences of characters with a single ligature glyph. The longest ligature sequence is three letters. Some combinations can induce problems, especially with long words.

The IronOn fonts are a collection of geometric display faces that were inspired by the iron-on t-shirt lettering of the 70s. The original source came from a submitted sample to the MyFonts "What the Font" forums, and while it had similarities to ITC Machine, it could not be tied to any existing typeface. And so, this new geometric sans family was born, exhibiting a more open letterstyle with several weights and widths, with a complete capital and lowercase set, no allcaps set here. Ideal for packaging, T-shirts, advertising, or for industrial applications like signage and newsletter headlines, this powerhouse font family offers a unique rigid flexibility.

Jure Stojan first created JY Klin for a student magazine in Ljubljana, Slovenia. ‘It was borne out of my frustration with layout [programs] and their taste for messing with decent fonts (making the headline occupy the entire column width at any cost, for instance). Therefore, I designed a “heavy duty” display font—it can be extended up to 120 per cent without any loss in quality (it is fairly condensed, so no one could think of squeezing it any further). I even used the font, stretched by the very 120 per cent, for 10 point text and the result was surprisingly legible (given some peculiar details prominent at display size).’

Dx Rigraf is an exciting Modern humanist typeface with contemporary monospace touches. It’s born from strong elementary shapes, with clean circles interwoven with modern cuts and sharp edges. It has been designed as a variable font to give lots of options and access to unique type looks; however it also includes nine weights to give just as much access to creativity to those without access to variable supporting software. Its distinctive character and many variables make it a versatile, stylish workhorse, great for interfaces and design. Dx Rigraf sans serif font family of 9 weights, 3 Style Width with matching italics- 54 styles all in 1 Variable font.