To design a font Blezja, I was inspired by an old metal tin from 1907 from Potsdam, which was used to store earplugs. From a few letters I created whole typeface - lower and uppercase characters.

Collins Florets is a collection of embellishments. I found them in the endless archives of Erik Spiekermann. I scanned them and carefully corrected the outlines, to keep the rough look of yesterday. Yours Gert Wiescher

Geometa Deco is based on Paul Renners Futura Classic. The design is timeless, but I always missed some decorative characters. So I sat down and did some. The type-designer for surprising solutions, Gert Wiescher

The type­face Hand Stamp Swiss Rough Sans is desi­gned for the Typo Gra­phic Design font foundry in 2015 by Manuel Vier­gutz. A dis­play sans serif type for head­lines with an authen­tic used stam­ped style by hand. It star­ted ana­lo­gous with 42 stamps. Vin­tage look plus state-of-the-art OpenType-features like con­text­ual alter­na­tes (calt) for more hand-stamped fee­ling with the auto­ma­tic gene­ra­ted sty­li­sitc set loop. Deco­ra­tive liga­tures like CT, LL, LI, LU, MM, OO, TH, TT, TU, UH and Ver­sal Eszett (Ger­man Capi­tal Sharp S) type the word LOVE for ❤ and the word SMILE for ☺. Cha­rac­ter Set: Latin Exten­ded (Adobe Latin 3). 1086 gly­phs with 4× A–Z, 4× a–z, 4× 0–9 and 100+ extra icons like arrows, ding­bats, sym­bols, geo­ma­tric shapes, catch­words and many alter­na­tive letters. Have fun with this font & use the DEMO-FONT (with redu­ced glyph-set) FOR FREE! Example of use from the Font The font works best for head­line size. Logo, Pos­ter, Edi­to­rial Design (Maga­zine or Fan­zine), Flyer, Music Covers or Web­de­sign (Head­line Web­font for your web­site), Web­ban­ner, Animations … ■ Font Name: Hand Stamp Swiss Rough Sans ■ Font Weights: Regu­lar + Mix + Icons + DEMO (with redu­ced glyph-set) ■ Font Cate­gory: Dis­play & Deco­ra­tive ■ Font For­mat: .otf (Open­Type Font for Mac + Win) + .ttf (True­Type Font) ■ Glyph Set: 1086 gly­phs ■ Lan­guage Sup­port: 28+ for Latin Exten­ded (Adobe Latin 3). Afri­kaans, Alba­nian, Cata­lan, Croa­tian, Czech, Danish, Dutch, English, Esto­nian, Fin­nish, French, Ger­man, Hun­ga­rian, Ice­lan­dic, Ita­lian, Lat­vian, Lithua­nian, Mal­tese, Nor­we­gian, Polish, Por­tu­gese, Roma­nian, Slovak, Slove­nian, Spa­nisch, Swe­dish, Tur­kish, Zulu ■ Spe­cials: 100+ deco­ra­tive extras like icons for arrows, ding­bats, emo­jis, sym­bols, geo­me­tric shapes, catch­words + Ger­man Capi­tal Eszett. Open Type Fea­tures: Kerning (kern), Access All Alter­na­tes (aalt), Sty­listic Alter­na­tes (salt), Sty­listic Set 1 (ss01) … Sty­listic Set 6 (ss06), Loca­li­zed Forms (locl), Sub­script (subs) Super­script (sups), Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Old­style Figu­res (onum), Lining Figu­res (lnum), Tabu­lar Figu­res (tnum), Slas­hed Zero (zero), Frac­tions (frac), Deno­mi­na­tors (dnom), Nume­ra­tors (numr), Stan­dard Liga­tures (liga), Con­text­ual Alter­na­tes (calt) e. g. Sty­listic Set-Loop and Deco­ra­tive Liga­tures (dlig) e. g. type the word “LOVE” for ❤ or “SMILE” for ☺ ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

Haakke (or Håkke) - a casual, hand drawn (Stabilo OH pen, Fine) font with 4 alternates to all upper and lower case letters (a-z + å ä ö) as well as numbers for a realistic hand written look and feel! “Ligatures” have been created for double letters (TT, tt, ff, ll & LL (open type version of the font and open type compatible layout application required). Of course it holds all(?) the special characters that you will ever need. 451 glyphs... Haakke also includes symbols. Zodiak signs (letter a-l, upper case A-L write the corresponding name of the sign), planet signs (m-z, upper case M-Z write the corresponding name of the planet) triangles, squares and stars (from pentagrams (5 pointed) to Dodecagrams (12 pointed). (Write a 4, or shift-4 ("euro-sign", european keyboard, or "dollar sign", american keyboard) before your star or triangle and you will get a circle around it).

Just before the end of 2020 all schools in Holland closed for the second time, because of an increase in the number of COVID 19 cases. This means that my wife and I have to educate our three kids at home. The kids are great and take their tasks seriously, but it is difficult, as all three of them require different educational levels. I am sure you parents understand. Trying to get some work done is virtually impossible, so my wife and I made a schedule and we live by ‘on duty’ and ‘off duty’ days. I was thinking of this when I created this font (obviously on an ‘off duty’ day). Home Education is a handwritten scribble font. It was made with a Sharpie pen (possibly used by one of my kids, because I noticed tiny ink stains on my wooden dining table…). It comes with all the diacritics you can hope for and lovely double letter ligatures for you to play with.

Katsudon is a Japanese crumbed and deep fried pork cutlet, typically served on rice with egg drizzled over it. There is also a chicken variety. I have been to Japan numerous times (it is my favourite country) and each time I revelled in the great variety of foods being served in street stalls and hole-in-the-wall eateries. I especially love the grandma-and-grandpa eateries that are tucked away in alleys behind the major shopping streets. They never speak English and my Japanese is shaky (to say the least), but the food is always good and we always seem to understand each other. This year, I couldn’t travel to Japan, because of the Covid outbreak, but I can tell you that I miss Japan a lot! Katsudon is a crumbed and deep fried font. It comes with a splash of authenticity, a sprinkling of cheekiness and a generous dose of oomph. Oh, yeah, and double letter ligatures, plus a few alternates as well.

I made the first sketches for Brocha when I first visited Easter Island in 2011. I took inspiration from pre-Columbian art for such sketches, but I must say that they were kind of rough and clumsy; it was an experimental and limited-use typeface. It took a long time, but thanks to my learning about type design gained over the years, I have finally been able to complete my project. I have made sure to preserve the Latin American spirit of my original designs in order to give my final typeface an expressively handmade, highly humanist look. Brocha is a display sans with friendly design ideal for high-impact headlines, logotypes or use on cookies packaging designs. Brocha consists of 2 subfamilies: one basic and one alternative. Each subfamily comes in 8 weights plus italics. The Alt version is highly recommended for those art directors who look for more varied fonts when designing.

My eldest son Sam always wanted to visit Japan and he has been saving up for a ticket for years now. We should have traveled there this year, but due to the pandemic, that was impossible. We’re now trying to go next year. Sam and I did make some kind of itinerary and I told him how we were going to get around, as I have been to Japan many times. I told him about the Shinkansen trains, the cute Tram in Nagasaki and the immense subway system in Tokyo. One of the lines in Tokyo is the so-called Yamanote Circle Line, which I have used on numerous occasions. A new font name was born and it stuck to this particular font! Subway Circle is a 100% handmade font. It is rounded, slightly slanted and comes with a sunny disposition. I am sure that, when you use it, you will find your 生きがい… ;-)

Based in Maria Consuelo Roman's handwriting, Mimi's Hand Connected is a very spontaneous font. It could be used in any informal project.

Angelyta is an incredibly sweet and cool handwritten font with amazing swashes. It will add a romantic spark to any design project!

Overlia is a beautiful script font that is classy, elegant, and modern. It will add a romantic touch to any crafting project!

FG Alison is the sweet connected script of a young woman. It's perfect for greeting cards or for emphasized headers or slogans.

As with Nocturne, Dusk til Dawn recalls the romantic, sophisticated Zeitgeist of the early 20th century, that nostalgic time "between the wars". It as a number of attractive ligatures and upper-case alternates. I have used Nocturne as a basis for Dusk til Dawn, given the font really bold down-strokes, reduced the width of some upper case characters and changed the shape of many lower case characters. Dusk til Dawn comes in two styles: Dusk til Dawn Regular, which uses the Art Deco convention of small x height, and long ascenders. This Display style is perfect for headers, posters, labels etc. Dusk til Dawn Book, which, with its higher x-height and slightly wider characters, is extremely legible and suitable for longer passages of smaller size text.

The Bringhton Script This is a Vintage calligraphy script font that comes with beautiful alternative characters. copper plate mixed calligraphy with handttering style. Designed to convey stylish elegance. The Bringhton Script has a smooth, clean, feminine, sensual, glamorous, simple, and easy to read typeface. The Bringhton Script comes with a Clean and Aged version, beautiful upper and lower case, binding and favored by many finishes. It has Multilingual support (West European characters) and works with the following languages: English, Danish, Dutch, Estonian, Finnish, French, German, Hungarian, Icelandic, Italian, Norwegian, Polish, Portuguese, Spanish, Swedish. In my example I show how this script can be used. It's perfect for logos, wedding invitations, alcohol labels, romantic cards and more. Recommended for use in Adobe Illustrator or Photoshop. Custom features don't work in Microsoft Word.

Pilgrim is a re-cut of a Linotype face that Eric Gill originally designed for a book published by the Limited Edition Club of New York. Admired for its tranquil dignity, the Pilgrim type is both firm and elegant. Its general appearance resembles that of Gill’s Joanna font family. The contrast of the font is not very strong. The serifs are bracketed. Eric Gill, who designed the type on which Pilgrim is closely based, observed one sort of model for his lettering - the incised monumental letter of Roman origin. This is clearly seen in his capitals, but is also true of his lowercase letters, which have little of the calligraphic or engraved qualities of most other type designs. Gill’s types are Roman in the classic sense, yet also particular to Gill himself.

Plusquam Sans is a humanist sans serif family in eight weights, roman and italic. It’s neutral character and legibility in smaller sizes recommend it as a text face, and wide range of weights and swash capitals make it usable for various designer purposes. While roman fonts are simple, although in humanist spirit, italics are more vivid. Typographic variants are supported through OpenType features. Several kind of numerals are offered: lining and Oldstyle, tabular and proportional, superior and inferior, fractions. Small caps and math symbols are provided. There is a range of standard and discretionary ligatures. Alternates sorted in three stylistic sets are created to soften the overall appearance. Most distinguished feature is a set of swash capitals balanced to match sans serif characters. Plusquam Sans comprises multilingual Latin and monotonic Greek characters.

This family is inspired from the set of two styles, Roman normal and Italic, and the ornaments used by an unknown printer working around East Switzerland, circa 1750's. It is a Dutch style font, slightly bolder than usual Fournier's or Caslon's Roman fonts, with some emphasized serifs and finals parts and special letters as capital "U" for example. A set of initials, fleurons, ornaments and frame elements is joined to the family as a supplement. The two styles, Normal and Italic, are containing standard ligatures, a few alternative characters and titlings (who are more preferable than enlarged capitals). They are "small eye" or "Small x-eight" fonts. The standard characters set is completed with accented or specific characters for Western (Including Celtic) and Central Europe, Baltic, Eastern Europe and Turkish.

Cyan Neue is a substantial update variation to the original Cyan we launched in 2006. Most notably the contrast has decreased making it more contemporary. Many glyphs have been improved especially in the italics. The design of Cyan Neue was inspired by features found in classic Roman. It shows a preference for geometric Roman proportions while incorporating open centers (B,P,R) and compact serifs. The characters stay true to the same features as the capitals, resulting in an unusually distinctive style. There are many subtle details in Cyan Neue that become more interesting in display sizes, for instance the subtle curves in the serifs and the overall smoothness. Cyan Neue is a robust font that will exceed your expectations. Cyan Neue is clearly ideal for headlines, inscriptions, publications, annual reports, corporate identities, packaging.

Itacolomi is a font family conceived for editorial purposes. Based on historical models, it is well placed in the present time, turning classic proportions into contemporary letter shapes. It is robust and clean in small sizes, keeping the consistency in both print and digital environments. Itacolomi is a result of an extensive investigation into Scottish style types produced in Brazil around 1820. A possible connection between Brazil and Scotland. In short, it preserves the qualities of the famous 19th-century Scotch Roman types while adding a personal approach with unique features from the early Brazilian models. It has six weights, romans plus respective italics, which makes twelve fonts with an extensive character set that supports over two hundred languages and includes small caps, ligatures, old-style and tabular numerals.

To see more technical details download PDF specimen document: https://peggofonts.com/pdf/PGF-Elyss-Sans_%28Specimen-2023%29.pdf PGF Elyss Sans is based on its previous family relative PGF Elyss Roman. With clean and modern lines, but preserving the original Roman style, created to be in labels, invitation, website design, digital graphics, book headlines & titles, brochures, newspaper and magazines design, logotypes, branding and corporate design and much more. In seven weights with more than 900 glyphs each, and ready for more than 200 languages. Including: Standard and Discretionary Ligatures Contextual Alternates Scientific and fractional forms Lining, OldStyle and Tabular figures (Numerals, Mathematical operators and Currency Symbols) SmallCaps (alphabet, numerals and symbols) Social Network & Letter alike symbols Localized language customization (for Azeri, Crimean Tatar, Tatar, Kazakh German, Dutch, Polish, Catalan, Romanian, Moldavian and Turkish)

In the early 1960s, the German Master Printers’ Association requested that a new typeface be designed and produced in identical form on both Linotype and Monotype machines so that text and technical composition would match. Walter Cunz at Stempel responded by commissioning Jan Tschichold to design a new version of Claude Garamond’s serene and classical Roman. Its bold, and particularly its italic styles are limited by the requirements of Linotype casting machines, forcing the character widths of a given letter to match between styles, giving the italic its characteristic narrow f. The family’s name is taken from Jacques Sabon, who introduced Garamond’s Romans to Frankfurt. Sabon has long been a favorite of typographers for setting book text, due to its smooth texture, and in large part because Tschichold’s book typography remains world famous.

Cunaeus is intended primarily for use in running text. It brings together the types of two renowned sixteenth-century punchcutters: the roman is an interpretation of a pica font cut by Ameet Tavernier (c.1522–1570), and the italic that of a pica font of Robert Granjon (1513–1589/90). Granjon’s italics have inspired a number of revivals in the past, but usually of his more slanted styles; the present digitization features the lesser slant of his so-called ‘droit’ style typical of the mid 1560s. Cunaeus provides wide support for west, central, and east European languages that use the roman alphabet. Among its OpenType features are ligatures, small caps, several sets of numerals, contextual alternates, intelligent implementation of long ‘s’, and fractions. For more detail, please see the pdf available in the Gallery.

In 1458, Charles VII sent the Frenchman Nicolas Jenson to learn the craft of movable type in Mainz, the city where Gutenberg was working. Jenson was supposed to return to France with his newly learned skills, but instead he traveled to Italy, as did other itinerant printers of the time. From 1468 on, he was in Venice, where he flourished as a punchcutter, printer and publisher. He was probably the first non-German printer of movable type, and he produced about 150 editions. Though his punches have vanished, his books have not, and those produced from about 1470 until his death in 1480 have served as a source of inspiration for type designers over centuries. His Roman type is often called the first true Roman." Notable in almost all Jensonian Romans is the angled crossbar on the lowercase e, which is known as the "Venetian Oldstyle e." In the 1990s, Robert Slimbach designed his contemporary interpretation, Adobe Jenson™. It was first released by Adobe in 1996, and re-released in 2000 as a full-featured OpenType font with extended language support and many typographic refinements. A remarkable tour de force, Adobe Jenson provides flexibility for a complete range of text and display composition; it has huge character sets in specially designed optical sizes for captions, text, subheads, and display. The weight range includes light, regular, semibold, and bold. Jenson did not design an italic type to accompany his roman, so Slimbach used the italic types cut by Ludovico degli Arrighi in 1524-27 as his models for the italics in Adobe Jenson. Use this family for book and magazine composition, or for display work when the design calls for a sense of graciousness and dignity.

To design this font, Crackle, I was inspired by an advertisement in the polish weekly "Tygodnik Powszechny" from 1938. From a few letters I have created an entire typeface - uppercase characters - in crackled and uncrackled versions.

“A couple of years ago, when I was designing a package for a marmalade range, I started having a go at creating a typeface that would suit the package I had in mind. The whole process was intensely appealing to me: from merely using typefaces as an intricate part of my work as an art director, I started exploring the function of each and every element that a typeface consists of. The two things on my mind in designing a typeface for a marmalade brand were firstly, that I wanted it to have a hand-written feel, so as to exude that old-fashioned, homemade quality, and secondly, that it ought to have a certain sweetness and gentleness that would match the product. However, PF Scandal managed to outgrow its original inspiration. As I continued working on it, I toned down some of its elements to make it more versatile. And so, PF Scandal evolved into a typeface that has a contemporary, and yet handwritten look, which makes it suitable for a wide range of uses. The ‘Pro’ version comes with the full array of European characters including Latin, Greek and Cyrillic as well as 120 matching pictograms". -A.S.

Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by display and poster cuts. Because I obviously cannot compete with world’s renowned type foundries which already offer a number of renderings of forenamed typeface, I thought proper to decline a bit from the original Walbaum’s design, strictly speaking, from the apprehension we commonly keep about this typeface. Therefore I didn’t set forth the way of modernizing (shame!), but rather the opposite direction: towards an analysis of the original neo-classical intention. I took the 10-point character, magnified it enormously and cut off progressively all the optically thickened bobbles which raised by small-size correction. I ended up at the size of about 120 points, where it became obvious that any further thinning would lead to an undesired manneristic fragility. Resulting 8-member family Walbaum 120 is naturally usable in variety of sizes, as well as cuts marked “10” you can use, say, from 6 to 30 points. I only hope that mister Justus Erich won’t pull me by the ear when we’ll meet on the other side...

Rough Love, it’s fair to say, came before Love Script. The brushed letter specimens that would ultimately serve as the template for the much ‘cleaner’ Love Script have now been turned into a typeface. As I packed these up, I just kept coming back to them and staring at the texture and movement caught on the page. On a lark, I decided it would be fun to let people see an almost a before and after scenario of how one led to the other and decided to produce a typeface from these specimens… Rough Love. For the most part, in typical fashion for me when I brush out a typeface idea, I try to brush the entire character set along with each of the planned variants for swashes, titling, and other alternates—the reason for that is simple -- each letter looks and acts a bit differently when the same movements are imposed on them. With Rough Love, I tried to adhere to that and made very few modifications to the originals, and only had to ‘borrow’ in a few occasions when I happened to forget to brush a variant.

Trigomy is a proportional pixel font designed on a 5 pixel grid. It is intended for either very small text or as huge display font for posters and the like. To get a crisp look this font should be used at 10 pt or multiples of 10 pt. (A tip for Adobe Creative Suite applications is to change the standard anti-aliasing method from “sharp” to “crisp” and to align the text to whole pixels. Also avoid centered text.) To get started with type design I thought it was best to start with a pixel font because you don't have to focus much on the design itself, but rather have to focus on how kerning and spacing works and the various features you can implement with OpenType. And of course I wanted to have a pixel font that had all that I was missing from other pixel fonts. We were learning trigonometry at the time I started designing Trigomy, and most of the time I misspoke it “trigometry”. So, when I had to come up with a name for my first font I thought: "Why not go with Trigomy?"

Cinque Donne means “Five Women” in Italian. It was inspired by the five sisters in my family as well as a group of five high school friends I have known for 46 years, aka “The Club Girls”. The Pro version has 3370 glyphs with all the bells and whistles! Women are connectors, encouragers and supporters. Young, old, shy, extroverted, when you put us together, somehow we make a beautiful impact on each other’s lives. This is what Cinque Donne does in a visual way. Some letters are simple and prefer to sit quietly. Others are flourished and proud and like the limelight in the middle of a word. And then there are alternates that are flexible and work in any number of surprising places. Stylistic sets can add a vivacious feel while contextual alternates bring better understanding. Classic or contemporary, subdued or flamboyant, these letters represent the variety of women that make life interesting for us all. Within the varied glyphs, I hope you find characters that remind you of the special women in your life. Let Cinque Donne salute them on the page! The Cinque Donne Family includes: Cinque Donne, Cinque Donne Bold, Cinque Donne Swash and Cinque Donne Pro. Check out the Buying Choices tab to see special discounted combinations! Crafters: All of my fonts have been specially coded for PUA (Private Use Area) so you can access all of the swashes and alternates using Character Map (PC) or Character Viewer (Mac) or with any number of apps including PopChar. If you would like to purchase PopChar at a special discount email me and I will send you the link. Cinque Donne Pro and Cinque Donne Swash include Swash, Stylistic and Titling Alternates, Contextual Alternates, Standard and Discretionary Ligatures, Roman Numerals & Fractions.

Fun and friendly characters gave us the inspiration to make this funny layered font family called Riangriung, which means fun, happy, joyful, colorful. Riangriung comes in 4 different styles for you to enjoy and play with!

Antown is a modern & formal sans family and has 4 variants (Regular, Italic, Bold & Bold Italic). It comes with uppercase, lowercase, numerals, punctuations, some alternate characters, and multilingual support. We hope you will enjoy our work.

TOMO Dora is a new face designed by TOMO FONTS. Dora is a condensed style-driven sans serif typeface made by hand, adding unique and a sweet touch. A family of 4 styles + awesome icons! Enjoy!

Merge is a soft family of sans, available in 4 weights. Readable at small sizes, it sets open and wide. At display sizes, the softness makes for a friendlier, more casual alternative to other rounded sans.