Jürgen Weltin's Mantika Informal is pretty difficult to categorize, but very easy to like. This particularly reader-friendly typeface in regular and bold weights, brings to the table the informal fluidity of a script, the consistency of an inclined italic, and the open and airy forms and contrast of a humanist sans. The result is a warm, approachable, and very legible typeface that is never static and staid, but rather invites an attentive, reading eye. The original idea behind Mantika Informal lay in the challenge to create a typeface for setting children's books. German designer Jürgen Weltin aimed to create a reading typeface for those just starting to learn how to read. On the one hand, it should help create clear word-images; on the other, its letterforms should remain uncomplicated but resist mechanical and industrial sterility. Mantika?s subtle cursive lines stress the printed word's connection with handwriting, in addition to making the transition from school writing exercises to printed texts seamless and effortless. The resulting slightly organic and cursive forms that developed during the design process are so captivating that Mantika Informal may be used for a multitude of unintended applications - anywhere a friendly and informal yet sophisticated character could lend a helping hand, Mantika is there, giving a fresh accent to anything from packaging design to food products. With a broad character set encompassing support for Cyrillic and Green, Mantika Informal's two fonts make for a versatile and dynamic typeface that surely will find its place in a broad range of applications.

Bunday Clean is a minimalist and friendly font family with different moods. It drops everything unnecessary like spurs and ears and appears crisp and contemporary with a slightly squarish touch. Like the other members of the superfamily (Bunday™ Sans and Bunday™ Slab), Bunday Clean provides uprights, a second set of styles with characters that reference handwritten cursive. These curvy styles give words a distinct look and are especially attractive for use in display applications and logotype design. Bunday™ Clean is space-saving and creates a homogenous text color with good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure perfect appearance in all media. It ships with 9 standard, 9 upright, and the corresponding italic styles from a considerably thin hairline to a quite thick heavy. It supports at least 99 languages and provides OpenType® features for ligatures, alternative glyphs, localized forms, and much more. Feature Summary*: -4 Moods: Normal, Upright, Italic and Upright Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, l, t, y, A, E, F, L, and more -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -More than 570 characters per font * Some features may only be available in OpenType®-savvy applications Please, take a look at the other Bunday superfamily members: Bunday™ Sans Bunday™ Slab

Well suited for headlines, packaging and display applications, AE Prosperity will be a robust and versatile addition to your script library. It’s purposefully designed to infer the visual connections of letters for a hand-lettered feel. Some characters will connect, and others will guide your eye to the next letter from, making it highly legible. In 1779, the schooner Prosperity sailed the high seas. Commissioned by a young continental congress, with 6 guns & at twenty tons, she sailed under a Letter of Marque for patriotism and profit. Look lively, because with contextual and alternate glyph sets (contextual glyphs, alternate lower case glyphs and an extended set of alternate capitals), this robust typeface is as inspiring as her namesake and adapts to whatever winds may blow. Prosperity is designed as a free-flowing script, for a spontaneous and historic aesthetic. Contextual glyphs include variations on tt (short and longbar), t longbar, ll, cc and other characters. Contextual features change ascender heights and descender styles. Alternate glyphs (set 1) include variations on b,d,f,g,h,l,o,p,r,s,t,y. Alternate capitals (set 2) include a complete set of alternate upper case letters. Most useful with Adobe® InDesign®, multiple variations of letter combinations can be achieved by selecting Contextual glyphs, and/or set 1 and set 2 from the Character Palette: OpenType: Stylistic Sets menu. Alternate glyphs and contextual characters will be available based on the OpenType support of your application. AE Prosperity™ is available exclusively in OpenType format.

Sofia Pro is a geometric sans font family who dares the modernism and the harmony of the curves. Created in 2009 and completely redesigned in 2012, it has become over time a popular alphabet and has received many accolades from graphic industry professionals. It has very rounded curves with very open terminals that makes this font family elegant, friendly and contemporary. Sofia Pro has been designed with a higher x-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences, circled numbers, and more alternative characters to give personality to your projects. This typeface already has a powerful home kerning system called “Pro Kerning”. With all its specificities, Sofia Pro is a geometric sans that can meet the needs of professionals who want a family of clean geometric font; elegant with a wide character set for more than 130 languages of Western Europe, Europe Eastern, Central Europe, Greek and Cyrillic for international communication.

In a future world where technology reigns supreme, communication must adapt to convey the cold and calculated efficiency of machines. Pirulen is the answer to this need. This hi-tech headliner is a futuristic marvel that transcends the limitations of traditional typography. Pirulen takes inspiration from the bold and daring style of 1930s Bank Gothic, but with a unique and revolutionary twist. It strips away any hint of warmth or humanity and replaces it with a cold and calculated design that perfectly captures the feeling of machines and technology. The result is a typeface that is both imposing and captivating. One of the most striking features of Pirulen is the lambda-style “Λ”, which adds to its already bold and robust appearance. This iconic symbol is a clear indicator of Pirulen’s futuristic design and sets it apart from other typefaces. And if you’re looking for even more variation, Pirulen offers barred “A” and accented variants that can be easily accessed through your application’s stylistic alternates function. With six different weights and italics, Pirulen is a versatile typeface that can adapt to any situation. Whether you’re creating sleek and modern designs or gritty and industrial ones, Pirulen can help you convey the cold and calculated efficiency of the future. So don’t be left behind—embrace the future with Pirulen. 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.

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

The story of Freigeist is a journey into the past, back to the early grotesk fonts and long before Helvetica and Co were standard fonts in operating systems. For what we take for granted today is the result of innovation and pioneering spirit of type foundries such as Caslon or Stephenson Blake in the 19th century, whose expressive designs are mostly forgotten today. The Freigeist family captures this untamed spirit — hence the name (German for “free spirit”) — and puts it into a contemporary context, resulting in a multi-faceted family with a wide range of applications, font styles and features for modern typesetting. Design Details Unlike other modern grotesk typefaces like Helvetica or Univers, Freigeist is characterized by a warm and dynamic appearance. It draws inspiration from various historical models such as Caslon’s Doric or the Grotesque variants of Stephenson Blake. Particularly noticeable are the narrow terminals, the serpentine S or the dynamic g in combination with ascenders that reach to the cap-height only. Italics Many italic grotesk fonts are strongly oriented towards their upright counterparts. Unfortunately, this often means that they cannot do justice to their actual task, which is to highlight words or sections of a text. The italic cuts of Freigeist try to remedy this situation by using the greatest possible formal distance while reinforcing the untamed spirit. What adds to this, is a reminiscent of handwritten forms, which can be found in a, n, y or g, as well as the German sharp s or the ampersand. Alternate Characters Alternative letterforms are ideal for customizing the overall appearance of a text, for usage in logos or they can even work as custom fonts for companies. Freigeist comes with ten stylistic alternatives that are easy to insert via the Opentype window, such as the single-storey a, a tail-less version of the a for compact text, when uses in condensed widths or a dialed down version of the r. Languages Freigeist has a built-in support for Latin and Cyrillic based languages and covers more than 210 languages. Opentype Features and Symbols The family comes with many opentype features to support modern typesetting. This includes ligatures, different number sets or alternative shapes for texts set in all caps. Styles Freigeist is available in five widths (XCon, Con, Normal, Wide, XWide) and six weights (Thin, Light, Regular, Medium, Bold, Black). Including the accompanying italics, the family comes in 60 cuts that are suitable for any application. Testfonts If you like to test the fonts before buying the full version, please follow the link below: https://www.renebieder.com/test-fonts Update 1 A lot has changed in this first update. It is more than just a 1.01 or 1.02. It is actually the 2.0! I’ve gone through all! single glyphs of the 18 master files, making the family more sharp and even a bit more modern. I’ve added some new opentype features and redesigned the italics, because I wasn’t happy enough with the result. I’ve added new kerning pairs, new metrics, and even new glyphs. Please check my website for more details on the new design and overview about the opentype features and alternate shapes. If you purchased the Freigeist family already, thanks a lot!! It is the most advanced family that I published so far. I hope that you’re happy with this new version. Thanks!

Liliana is a geometrical typeface, born throughout comprehensive formal studies while testing new ways of displaying certain words and sentences. The essential structure of Liliana is very conservative: It can look similar to other geometrical typographies, however, it has unique features that make this project very special. Liliana is a typeface that will work perfectly while setting short texts, words, and phrases as well. It shall perform greatly even when the paragraph is too short. Thanks to the versatility of its alternate characters, Liliana is perfect to achieve eye-catching texts. The spirit of this typography is focused on its “s” character, which originates from manuscript writings and provides a very special identity. If the text does not contain the letter "s", the intended personality can still be achieved by using alternate characters such as "f", "l", “r” and “L”, which are aligned with the same concept. On top of that, may all this still not be enough, you can furthermore use its ligatures and swashes. It is actually hard not to set a spectacular text with Liliana! Liliana is a typeface optimal for being used in marketing assets, packaging design, magazines, branding, film captions, headlines, editorial, quotes, logos, corporate identity, and motion graphics. The italic version has a 10-degree slant. This feature is intended to convey a gorgeous feeling of tension, power, and agility. It’s very interesting to realize how the dynamism in the italic characters works when compared with the regular ones. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 642 characters with ligatures, alternates, and swashes. It supports 219 Latin-based languages, spanning through 212 different countries. Liliana supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

A sign of something better When designer Stuart de Rozario surveyed the fonts used in signage on London’s public transport systems, he reached a dead end. They seemed staid, sterile, lacking in personality, and ill-suited to use by modern brands. He was pointed in another direction entirely. ‘The driving force behind my thoughts was to design something more current and fresh without compromising legibility and clarity. A font with both personality and function, that’s versatile and large and small sizes, and effortless to read, but which also says something new.’ Speed reading Late for a meeting and can’t find your way? Trying to catch a flight? Lost in a hospital? Reading signs is a different business to reading a book or a newspaper. Text on signs needs to be deciphered quickly and effortlessly. So the legibility criteria for signage letterforms are different to those for normal reading, too. Throughout FS Millbank’s uppercase and lowercase alphabets, characters have been given features for extra definition, including: wide ink traps on the A, K, M, V, W, X and Y; a serifed i, accentuated spurs on the a, d, l u; and different x-height shapes on the b, g, p and q. Distinctive forms and generous, open internal shapes all help the quick reading of sign text, and wide, open terminals and counters allow similar letter shapes to be distinguished easily when viewed at different angles. Running down a corridor, maybe... Positive/negative Standard type tends to glow on the kind of dark backgrounds often used for signage, and look heavier than its true weight. To correct the imbalance caused by this optical trick, special weights of the typeface have to be drawn for these ‘negative’, light-on-dark applications. These are lighter than their comparable positive weights to overcome the ‘glow’ effect. After extensive tests of the negative weights, at all sizes, we achieved the right optical balance. Glowing, glowing, gone. Icons This wouldn’t be a signage typeface without its own set of icons, or symbols, to help people find what they’re looking for. So, to sit alongside the positive and negative fonts, we’ve created a comprehensive set of 172 icons, covering a wide range of applications from transport and user interface to information and directional. Designed within the typeface capital height, they sit on the baseline and are spaced centrally.

The word ‘Ghibli’ per se refers to a Saharan hot and dry wind commonly known as the Sirocco. In Arabic language, ‘Ghibli’ is known as ‘Qibli or Kibli’, meaning ‘Southern’ for those Arabic nations who live in the North of Africa. The ‘Ghibli’ wind is most common during spring and autumn, and can blow at almost 60mph; it is this wind which is responsible for the dry, dusty conditions on the Mediterranean coast of North Africa. ‘Ghibli’ can last for days making life miserable and is therefore feared by the desert dwellers in that region. It can also have profound effect on the landscape by moving vast quantities of sand and dunes. Inspired by the Studio Ghibli’s unique and magical characters, the ‘Ghibli’ typeface is designed as a Latin free and literary serif typeface. It strongly expresses transition, imagination, sharpness, characterization, and modernization. It is a literary type that can capture the eyesight of readers and other observers with its acute and stylistic letterforms, dots, and numerals. It has transitional serifs and it is generally based upon the Latin printing style of the 18th and 19th centuries, with a pronounced vertical contrast in stroke emphasis (i.e., vertical strokes being heavier than the horizontal strokes). It has more regular forms in which serifs are bracketed and more symmetrical. The main characteristic of ‘Ghibli’ typeface is in its new designed serif letters. Special letters that can be described as having modern designs include small ‘g’, ‘p’ (with their open ends), ‘x’, and capital ‘B’, ‘P’, ‘Q’, and ‘R’ (with their open ends). ‘Ghibli’ typeface has also both of lining and old-style numerals which makes it more suitable for any literary and printing purposes. This gratuitous font comes in only two weights (i.e., Ghibli Regular and Ghibli Bold). It is absolutely preferable to be used in the wide fields related to literature and publication industry. This includes typing titles of diverse literary and academic books, readable texts of novels, novellas, short stories, prose, poetry, textbooks, newspapers, and magazines. It is also notable if chosen for designs that include movies’ titles, logos of academic institutions such as colleges and universities, organizations and associations’ names, medical packages such as those dedicated for tablets and syrups, and also other different educational and social materials. ‘Ghibli’ is simply a free literary typeface dedicated for all who want to write and read using a modern and stylish serif font. Enjoy it.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

The Neue Haas Unica™ family is an extended, reimagined version of the Haas Unica® design, a Helvetica® alternative that achieved near mythical status in the type community before it virtually disappeared. Originally released in 1980 by the Haas Type Foundry and designed by Team ’77 — André Gürtler, Erich Gschwind and Christian Mengelt— for phototypesetting technology of the day, the design was never successfully updated for today’s digital environments – until now. Toshi Omagari of Monotype Studio has given this classic a fresh, digital facelift with more weights, more languages and more letters to meet today’s digital and print needs. Available in 18 styles, the Neue Haas Unica family is remarkably appropriate for a wide range of applications, possessing a delicate gradation of weights and clear character shapes. The family's lighter weights are perfect for headlines and other large settings, as well as small blocks of copy at typical text sizes. The regular, medium and bold weights know no boundaries and the heavy and black designs are ideal for when typography needs to be powerful and commanding. Like the Neue Helvetica and Univers Next typefaces, the Neue Haas Unica family can be used just about anywhere – or for any project. In addition to its 9 tailored weights and complementary italics, the Neue Haas Unica family also possesses additional characters for Eastern and Central European, Greek and Cyrillic language support, which did not exist in the original design. A cosmopolitan typeface for today's modern, discerning design needs, the Neue Haas Unica collection is a new classic in the making—one that every designer should surely have at their disposal.

One design sparks another. As Alejandro Paul experimented with the strokes and curves of the monoline script Business Penmanship, he discovered interesting new forms and shapes that didn't fit the Spencerian theme of that typeface. These forms simmered in Ale’s subconscious over the next three years, during which time he visited New York City, pored over rare type specimen books in the New York Public Library, and explored Brooklyn’s neighborhoods. Brownstone, the face born from these explorations, is an original 21st-century design, yet one subtly infused with historical and cultural references -- keen observers might spot influences from decorative typefaces of 19th-century foundries. And just as faces from that era were influenced by contemporary architecture, the frames included with Brownstone echo the ornate iron railings of Park Slope’s row houses. (There’s also a slight 1960s vibe to Brownstone, of novelty swash-sans photocompositing faces, that can be played up at your discretion.) Influences aside, Brownstone has broad appeal to modern audiences. A soft, monoline sans-serif, with elements of Swiss geometry (see the ‘k’ and ‘x’), its marriage of highly legible, draftsman-like letterforms with decorative swashes and ornaments reflects the old-meets-new aesthetic of the DIY craft culture seen in Brooklyn and other urban centers. It’s ornamental but unfussy, romantic but understated. Brownstone includes character sets for Latin-based languages, including Western and Eastern European, Baltic, Turkish, Maltese, Celtic and Welsh. Over 1500 glyphs, including small capitals, swash characters, alternates, and ligatures, in both Light and Thin weights. Ornamental frames are also included in both weights. The Brownstone Frames fonts are available as separate fonts in the new Brownstone Slab family.

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Palatino® Nova is Prof. Hermann Zapf's redesign of his own masterpiece, Palatino. The original Palatino was cut in metal by August Rosenberger at D. Stempel AG typefoundry in Frankfurt, and released in 1950. Palatino was later adapted for mechanical composition on the Linotype machine, and became one of the most-used typefaces of the 20th Century. Palatino was designed for legibility, and has open counters and carefully weighted strokes. The type was named after Giambattista Palatino, a master of calligraphy from the time of Leonardo da Vinci. Palatino is a typeface based on classical Italian Renaissance forms. A modern classic in its own right, Palatino is popular among professional graphic designers and amateurs alike, working well for both text and display typography. Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino Nova. Released by Linotype in 2005, the Palatino Nova family is part of Linotype's Platinum Collection. Palatino Nova includes several weights (Light, Regular, Medium, and Bold), each with companion italics. Four styles (Regular, Italic, Bold, and Bold Italic) have Greek and Cyrillic glyphs built into their character sets. The Palatino Nova family also includes revised versions of Aldus (now called Aldus Nova), as well as two titling weights. The first titling weight, Palatino Nova Titling, is based on Hermann Zapf's metal typeface Michelangelo, including Greek glyphs from Phidias Greek. The heavier titling weight, Palatino Nova Imperial, is based on Sistina. The fonts in the Palatino Nova family support all 48 Western, Central, and Eastern European languages. Additional features: ligatures and historical ligatures, Small Caps, ornaments, and a range of numerals (proportional & tabular width lining and Old style Figures, fractions, inferiors, and superiors)."

Taca is a typeface built around a shape that Portuguese designer Rúben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type. Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it. Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support. The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

Introducing Corzinair—the typeface that exudes confidence and practicality. Its rugged serifs add a touch of grit and determination to any message. Perfect for businesses looking to make a bold statement, Corzinair was inspired by the iconic IBM Selectric typewriter fonts of the 1960s. Its wide, squarish shapes are reminiscent of a time when simplicity and functionality were the driving forces of innovation. Available in three weights—regular, bold, and italic—Corzinair is versatile enough to suit any design need. And with separate Small-Caps styles, it’s even easier to deploy on the web and in applications. Make your mark with Corzinair—the typeface that means business. 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.