I have completely redone the spacing in this font, making the sidebearings more conventional. And after replacing the kerning with fresh pairs working together with the new spacing the font looks like a real gem. I love it! The inline version has a wider spacing after the letters CEK = no connecting words. Otherwise just as lovely and retro! Nick Curtis says: "Here’s a strange hybrid: I took the lower case from the formal script font Stuyvesant, straightened out its rather extreme 22° slant, and combined them with caps from the font Bellevue, again making them upright, and adding an inline effect. The result is a font that flows very nicely, with a nice balance between clean lowercase characters and swashy caps. Thanks to Deb Dunbar for naming this font. Fontleroy Brown is the solid version, produced at the request of the King of Ding, Jeff Levine." ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

While the Aspire SmallCaps family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow SmallCaps family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire Narrow SmallCaps is perhaps the most true to form tribute to the original all capitals inspiration logotype. It maintains all capital forms (whether standard or smallcaps) and yet is still strikingly powerful in its presence and readability including numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here's what's included with the Aspire Narrow SmallCaps Family bundle: - 430 glyphs per style - including Capitals, Small Caps, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) - Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. - 3 weights in the family: Light, Regular, & Black. - 3 obliques in the family, one for each weight: Light, Regular, & Black. - Fonts are provided in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here's why the Aspire Narrow SmallCaps Family is for you: - You're in need of automotive sans font family with a range of weights and obliques - You're love that ACURA letter styling, and want to design anything within that genre - You're looking for an alternative to Eurostile with more stylized letterforms. - You're looking for a battle-tech typeface for your futuristic war chest labelling. - You just like to collect quality fonts to add to your design arsenal

Oddsorts is delighted to present Bradley Wayside and Bradley Chicopee as its début offerings. Begun in 2000 as a wedding gift for the designer’s wife and used privately for years, they’re finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments. Bradley Wayside and Chicopee derive much of their charm from an organic mix of shape and spacing intrinsic to hand drawings. Mimicking that spirit in type used to mean painstaking substitution and adjustment of characters. The Bradley fonts make imaginative use of OpenType’s power to achieve the same effect — minus all the work. Wayside and Chicopee contain alternate forms for every letter — up to seven for some characters. Part of what makes these Bradley types delightfully “smart” fonts is that the fonts themselves actually choose the variation best suited to a letter’s place in a word. All you need to do is turn on your software’s “Ligatures” or “Contextual Alternates” option and the Bradleys do the rest. The alternates even work in most word processors. Bradley Wayside and Chicopee are available in “Standard” and “Pro” editions. The Pro editions sport all the bells and whistles, including the alternates. They support over one hundred forty languages and include localized forms especially for setting Bulgarian, Serbian, Polish, Romanian, and Turkish. The Standard editions are geared toward casual use and are ideal for license as webfonts, where streamlined character sets mean faster load times.

While the Aspire family finds its roots of inspiration in the ACURA automotive company logo, with its wider base, the Aspire Narrow family condenses those styles into something more suitable for larger bodies of text in a more standardized width. Aspire pays homage the techno display styling of the inspiration logotype, further evolving beyond its brand inspired origin to give birth to a font family that pulls on modern and historical styles. It adopts a sturdy yet approachable style with its uniform stroke forms and curves, and goes on to include a lowercase, numerals, and a comprehensive range of weights, creating a straightforward, uncompromising collection of typefaces that lend a solid foundation and a broad range of expression for designers. Here’s what’s included with the Aspire Narrow Family bundle: 477 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. (see the 6th graphic for a preview of the characters included) Stylistic Alternates - alternate characters that remove the angled stencil cuts for a more standardized text look. 3 weights in the family: Light, Regular, & Black. 3 obliques in the family, one for each weight: Light, Regular, & Black. Fonts are available in TTF & OTF formats. The TTF format is the standard go to for most users, although the OTF and TTF function exactly the same. Here’s why the Aspire Narrow Family is for you: - You’re in need of a narrow automotive sans font family with a range of weights and obliques. - You’re love that ACURA letter styling, and want to design with a narrow font within that genre. - You’re looking for an alternative to Eurostile with more stylized letterforms. - You’re looking for a clean techno typeface for your starship console labelling. - You just like to collect quality fonts to add to your design arsenal.

Our new Hamburger font is based on the old classic Brush Script design with many new additions. We've added many alternates to the design including lowercase swash tail letters, swash underscores and a few alternate uppercase letters. Upright scripts are popular these day so new to this old type design is a near upright script version, a lot of hand work went into producing it. One of the biggest problems with the old Brush Script font is that people use it as all caps, which doesn't look good because of the extended swash on the top left side of the caps letters. We've fixed that problem by making an all caps version where the caps in the lowercase position have the top left swash tucked in to help the letters display better as an all caps font. We've also created a small caps version, again the small caps lowercase have all the top left swashes tucked in to bring the letters closer together for a better display. Also new to this font are two higher x-height versions that are ideal for signage. The first is Hamburger X which stands for extra x-height and the second is Hamburger SPX which stands for super x-height. Both of these higher x-height fonts are suitable for signage on a building, billboard and vehicle lettering where you're looking for faster readability from moving traffic. We've designed a new lowercase b and moved the original to an alternate position. We've also redesigned the uppercase C bringing the bottom up to the baseline and moved the original C to an alternate position. The original lowercase g was open at the top, we've closed it and we're not offering the original g as an alternate.

Hello! Do you need letters that look like they are drawn with a brush so that your creative work shines and stands out? We present Bechamel, a family of script fonts designed to be combinable with Bechamel Roman. BECHAMEL SCRIPT was hand drawn to design words and phrases in logos, packaging, posters, envelopes and greeting cards. BECHAMEL SCRIPT has high expressiveness because its energetic set of letters are meticulously drawn with calligraphy and lettering. In addition each of its incredible cursive letters give you the possibility to add a central vein to change the color, enhancing its impressive artisan splendor. These are the possibilities you receive by acquiring BECHAMEL: A) BECHAMEL-SCRIPT & VEIN: Cursive letters with carousel effect and OPENTYPE contained in: 26 Uppercase letters, 26 Small letters, 10 Numbers, 3 Fractions, 31 Punctuation marks, 77 Signs for languages belonging to Western Europe, 113 Signs for Central European languages. 20 Lowercase wipes, 13 uppercase alternatives for WORD START, 44 lowercase alternatives for HALF of word, 20 lowercase alternatives for WORD FINAL. NOTICE: Alternatives appear by clicking on glyph panel in Adobe Illustrator, Inkscape or Photoshop CC. B) BECHAMEL-WORDS: 57 words with capital letters underlined and combinable with BECHAMEL-SCRIPT 1, 2 and 3 ideal to connect and decorate your designs increasing expressiveness and authentic handwritten look of your ideas C) BECHAMEL-ORNAMENTS: 30 wonderful drawings made up of stars, borders, waves, hearts, dots, arrows, bow ties, etc., all specially coordinated to accompany your composite designs in BECHAMEL-SCRIPT and BECHAMEL-WORDS. Well, I hope that my work will be useful and above all that you have fun with it. If you have questions write to me that I will be happy to help you: • INTAGRAM: instagram.com/andinistas • BEHANCE: be.net/andinistas • FACEBOOK: fb.com/carlosfabiancamargoguerrero • TWITTER: twitter.com/andinistas

Prepare yourself for a wild retro ride with Hot Rush – 80s nostalgia is about hit you harder than a DeLorean at 88 miles per hour. This Sans & Script font duo were simply meant to be together; the unmistakeable clean & condensed sans is complimented perfectly by the long, fast, textured strokes of the script. It’s the ideal font pairing for retro-inspired high impact display text, merchandise design, logos, packaging & more. The Hot Rush font family consists of; Hot Rush Script • A fast, textured script font hand-made with a marker pen. Hot Rush Script contains uppercase-only characters, however a full alternate set of uppercase letters is available when you switch to lowercase. Supports a full set of numerals & punctuation. Hot Rush Sans • A condensed sans-serif font with a big impact, containing uppercase-only characters. Supports a full set of numerals & punctuation. Hot Rush Sans Striped • A second version of Hot Rush Sans, with vertical stripes running through each letter for added retro style. Italic Versions • For Hot Rush Sans & Hot Rush Sans Striped are also included as separate fonts. Extra Stuff; End Forms For Hot Rush Script are available for the letters A, C, E, F, G, H, K, L, R & T. These have elongated horizontal strokes and look great as the last letter of a word. Simply turn on ‘Stylistic Alternates’ with any Opentype capable software to access these characters. 4 Swashes For Hot Rush Script are available, these are great for underlining your text for extra style. Simply type any of the square brackets [ ] { } in the Hot Rush Script font to access the swashes. Language Support; All fonts support English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Turkish, Slovenian

The bâtarde flamande is a style of writing used predominantly in France and present-day Belgium in the 15th century. The style shares an ancestry with other writing styles traditionally grouped as blackletter— fraktur, textura, rotunda, and schwabacher. It had evolved, however, into an æsthetic far removed from its relatives. While high-contrast in nature, the bâtarde flamande is more delicate and dynamic than the austere and condensed fraktur and textura. Quick curves lack the rigidity of the schwabacher and rotunda. Flair through swashes is thematic, as are the variations in letterforms. The flowing rhythm, achieved through a letterform axis that is overall slightly rightward, is most noticable in the hallmark f and long s. Round forms are fused together for economy of space. It is a writing hand that, with its syncopation and fluidity, produces a vibrance uncharacteristic of other blackletters. Givry has been created in the spirit of the bâtarde flamande. It melds the particular traits compiled from the works of the style’s prominent scribes—Jean Fouquet, Loyset Liédet, and Jean Bourdichon. While suitable as an elegant and energetic display face, Givry was conceived for setting continuous text. The result of many refinements and adjustments is the preservation of the style’s irregular nature, as well as a consistency that continuous-text typography requires. Carefully researched and developed in OpenType format for a wealth of typographic features and support for more than forty languages, Givry is neither derivative nor experimental, but historically accurate. Of the many blackletter digital typefaces available, fraktur and all its connotations have become representative. In contrast, the bâtarde flamande is essentially non-existent in digital form, and has until now been overlooked. Givry provides designers and anyone searching for typographic expression a lively, delicate, and striking side to blackletter.

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Cooper Black's second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. By the early 1970s, though Cooper Black still held its popular status (and, for better or for worse, still does), countless so-called hippie and funk faces were competing for packaging and paper space. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s. But the European (particularly German) response to that whole display type trend remained for the most part cool and reserved, drawing more on traditional art nouveau and art deco sources rather than the bottomless jug of new ideas being poured on the other side of the pond. One of the humorous responses to the "hamburgering" of typography was Friedrich Poppl's Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. It is presented here in a fresh digitization under the name Gator (a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain). To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black. Gator comes in all popular font formats, and sports an extended character set covering the majority of Latin-based languages. Many alternates and ligatures are included in the font.

Introducing Geoparody, the typeface that channels the free-spirited energy of the 1960s with its bold, groovy style. This typeface is inspired by the iconic Anonymous font, which rose to fame as the font of choice for the hit TV quiz show, Jeopardy. Geoparody takes the original Anonymous typeface to new heights with a range of six weights and italics. Plus, you can unleash your creative side with OpenType stylistic alternates, featuring an alternate “X” and “Y” that add an extra touch of playfulness to your designs. Whether you’re designing a retro poster, a funky album cover, or a psychedelic website, Geoparody will help you stand out with its distinctive style. So, let your creativity run wild with Geoparody, the typeface that captures the rebellious, futuristic spirit of the late 1960s. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

"PGF Caprina Pro" is an audacious and rough geometric sans-serif font inspired by the wild and untamed personality of mountain goats (the word "caprina"‘ in Spanish is related to or resembling ‘goats’)—amazing animals which can skilfully climb up slopes and withstand very cold temperatures. Was originally developed under the Latinotype team supervision and is now upgraded to this Pro version that comes in 20 font styles, with 739 glyphs each, supports now more than 200 Latin-based languages and includes a wider OpenType features range like: Stylistic Alternates ‘set 01’ for b, d, g, p, q, i, j, t, y, &, I, G, M Stylistic Alternates ‘set 02’ for d, g, j 4 Stylistic Alternate from ‘set 01’ to ‘set 04’ for Enclosed Numbers (circles and squares) Stylistic Alternate ‘set 05’ for curved 3 and ‘Zero with dot inside’ Contextual alternates automatically turns ‘zero’ into a ‘slashed zero’ in alphanumeric contexts Contextual alternates automatically turns “Il” into a serif for improve its legibility Case Sensitive when "All Caps" is activated for ß, ¡, ¿, () [] {}, ‹› «», •(bullet), *(asterisk), -(hyphen) Standard Ligatures for fi, fj, fl Discretionary Ligatures for tt, tr, www, LL, TT Lining Numbers Old Style Numbers Tabular Lining Tabular Old Style Numbers Slashed zero on every number figures Numerators and Denominators from 0 to 9 for any Fraction expression Superiors and Inferiors from 0 to 9 for any scientific notation Ordinal forms for ‘a’ and ‘o’ Localized language customization for German, Dutch, Polish, Catalan, Romanian, Moldavian, Turkish, etc. Every OpenType option is also accessible via Character Map allowing users and designers to choose an alternate design for a particular character. “PGF Caprina Pro” is well-suited for high-impact action publishing and advertising as well related with adrenalynic and extreme sport design stuff.

Paralucent Slab is an addition to the ever-popular Paralucent family. Paralucent is versatile all-purpose modern sans and slab serif design. Available in seven weights, from Thin to Heavy, with corresponding italics, it avoids some of the more eccentric calligraphic quirks of Akzidenz or Helvetica or the cool precision of Univers for an elegant, functional, yet warm design. Several core ideas inform Paralucent’s design. Prime attention has given to the negative space between characters, giving a more even “colour”, especially in text. For example, the J, L and T have shorter arms than comparable sans typefaces, while the M and W are wider. The A has a lower bar, opening up the interior counter. An unusually high lower-case x-height again helps to give a more even colour and improve legibility. Care has been taken to rationalise repeated elements like the tails on lower-case letters, or the Q and the “ear” of the g. Typographic design solutions that are consistent across all these features add more stylistic cohesion. ‘Ink traps’ are exaggerated incisions used to open up a letter's narrower internal angles, which can become clogged with ink, especially in small point sizes. Now largely redundant due to the high quality of modern print, they are still sometimes used as a stylistic quirk or design feature. Now that digital fonts are often reversed or outlined, or enlarged to enormous sizes, these can also lead to unexpected or obtrusive results. Paralucent takes these inevitable digital manipulations into account, and adds optical corrections without resort to ink traps. The family has been picked up by many UK and US publishers, featuring heavily in magazines like Loaded, Heat and TV Quick, as well as high-end coffee-table photography books and gallery websites. The addition of the Slab family adds even more options for running text and headline.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Introducing Flyswim, the font that’s as wild and rough as your message! This typeface was born to break the rules and stand out from the crowd, with its unique lackadaisical definition and pencil-drawn style. Flyswim is the perfect choice for anyone who wants to add a touch of raw, unpolished energy to their designs. But don’t let its casual tone fool you—Flyswim is packed with features that make it a versatile and professional font. In OpenType-aware apps, some letter combinations are automatically replaced with bespoke pairs, resulting in a more natural and organic appearance. And with its eraser-like texture, Flyswim adds a touch of handmade charm to any design. So whether you’re designing a poster, a website, or a product label, Flyswim is the font that will help you stand out from the pack. Download it today and unleash your wild side! 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.

Looking for something new for setting powerful headlines? Need a font that can create logos with ease? How about something masculine, a design with authority and panache? Then ITC’s newest typeface, ITC Sportbet™, may be the perfect choice. ITC Sportbet is a design that should be set tight, creating an arresting graphic image as well as words. Although a capital-only typeface, it benefits from a large suite of alternate characters that enable individual words and headlines to be customized with a distinctive personality. In addition to the obvious power of ITC Sportbet’s square-jawed character shapes, it’s fun to use. Exchange one or two letters with their alternative designs and a brand new headline or logo appears. ITC Sportbet was designed by Dane Wilson, the principal of the London-based design firm of Dane Design. Although this is his first commercial typeface design, Wilson has ample experience creating logos and custom typefaces for corporate branding. In fact, Sportbet grew out of such a project. “The idea initially came from wanting to provide a client with a stylish, modern and graphically impactful corporate identity logo font,” recalls Wilson. “Although the first sketches looked promising as a typeface, because of time and budget constraints, developing an entire alphabet would be overambitious.” Not to be deterred, Wilson continued to work on the design when time permitted. He eventually completed the font and started final application tests. The results looked good to Wilson, but he felt that the design was missing something. “I hit upon the idea of breaking out the left side of all the closed counters,” Wilson wrote about the design. “This simple device gave Sportbet the kick it needed.” Although one weight and a capital-only typeface, Wilson’s ITC Sportbet should prove to be a powerful and versatile communicator.

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

From fine print and red ink in corporate annual reports to huge three dimensional signage, Neutraface has become the definitive designers’ workhorse. Now this geometric juggernaut boasts even more font firepower with the addition of the Neutraface Slab family. Neutraface Slab features five display weights, four text weights with italics plus a unique stencil style that work together like a typographic symphony or can stand alone like accomplished soloists. Just like its sans-serif counterparts, Neutra Slab Text includes small caps, seven figure styles and a host of other sophisticated OpenType features that have been integrated in a single seamless package. The complementary display weights afford an uncompromising statement that can range from thin and delicate to bold and bombastic. FEATURES: MORE ALTS: Neutraface Slab comes with several alternate characters, accessed through either OpenType stylistic sets or through the Stylistic Alternates feature. TITLING ALTERNATES: The distinctive lower crossbars of the original Neutraface are included in Neutraface Slab as the Titling Alternates OpenType feature. TEXT FIGURES: All variations of Neutraface Slab Text feature seven figure styles. Included are text figures for use in running text, lining figures for use with uppercase forms and small caps figures. Each of these styles is supplemented with tabular figures for use in columnar settings. Plus, superscript and subscript figures are included for use in fractions, footnotes, etc. NEUTRAFACE SLAB CREDITS: Typeface Design: Christian Schwartz, Kai Bernau, Susana Carvalho Typeface Production: Ben Kiel, Hannes Famira Typeface Direction: Christian Schwartz, Andy Cruz, Ken Barber Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

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

This is Bolyar Sans font family. For us it is a dream-come-true. It took more than 1 year hard work to transform the existing Bolyar Pro from Serif to Sans Serif version. The result really surprised even us from The Fontmaker and we decided to develop it in 9 instead of 7 weights. So at the end we created 7 different styles of Bolyar sans each consisting from 9 precise weights. Bolyar Sans is not just another font family in our portfolio - it is the essence from all our efforts thru the past 5 years to create a powerful type tool that could easily meet very diverse and complex demands of modern design. Furthermore, like all its predecessors, Bolyar Sans is a type concept created by Designers for Designers. If you are in wine and spirits industry, packaging design, or you just love to work with strong headlines that effortlessly could turn into brand logos, then you should definitely try our Bolyar Sans. It is designed for this. Of course there are plenty of different features like multilingual support, ligatures, alternates, we even added adaptive over- and underlining to make it even more complex in its use. Bolyar Sans pairs perfectly with other members of Bolyar Family - Pro , Ornate and Typecraft . So as you see Bolyar is developed as a type platform with own character and style. By using it you could be vintage, classic, modern, soft, even bold, rough and ornate. It is a visual bridge between different typographic periods united under Bolyar name. With our Sans version we aim to be contemporary and to provide powerful type tool to those designers who often love to swim between past and modernity.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Adi Stern’s Noam Text shows that typographic progress is often in the small things — in the perfecting of familiar traditions and in staying loyal to the spirit of what came before. It can’t really be called progress unless it honours its history. In this way, TypeTogether is happy to introduce Noam Text: A Hebrew and Latin serif font that builds on its heritage with the twin tools of honour and progress. Since 1908, the Frank-Rühl fonts have dominated the Hebrew book and newspaper market. Noam Text’s design goal was to create a coherent family with both Latin and Hebrew serif text typefaces, each authentic to its own script, and which would serve as an alternative to last century’s predecessor. In short order, users will recognise Noam Text as a source of progress in its bilingual abilities. Hebrew and Latin have opposite reading directions, creating many issues: opposing directionality of the open counters; vertical stress in Latin, but horizontal in Hebrew; fewer extenders in Hebrew; and no Hebrew capital letters. All these have been taken into account in Noam Text’s modern design. Of unique importance — all punctuation marks have a Hebrew version, which makes each script complete and uncompromising. Among other technologically advanced details, Noam Text was programmed for all expected scenarios of mixing Hebrew, Latin, figures, and punctuation. Noam Text is intended mostly for setting long texts, so it strives to achieve maximum legibility in minimum space with its large x-height, short and fairly condensed Latin capitals, large and open counters, and low contrast. Originally derived from the Hebrew, the shallow horizontal curves and strong baseline serifs provide dynamism and enhance the reading flow. Noam Text Latin’s italic is rounded and reading friendly, is condensed to generate a lighter texture than the roman, and has a flowing stance. These virtues help it endure harsh printing conditions and subpar inks and paper. Noam Text’s three total weights provide a proper solution for integrating texts in both scripts, as well as a contemporary alternative for use in books, newspapers, and magazine design. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noam Text family displays an impressive amount of discretion, applying to wide use-cases by not edging too close to religious motifs or imbibing in secular indulgence. This means Noam Text can be the go-to family across the board and capitalise on the desire for clear typographic progress in this modern age.

Milan-based Leftloft studio developed LFT Iro Sans, an expansive family that solves the significant, wide-ranging challenges of branding, wayfinding, pictographic language, and complex editorial use. LFT Iro Sans began as the clear and welcoming wayfinding project of San Siro stadium in Milan. Over time many other styles and weights have been added. LFT Iro Sans never finds itself outmatched by the task at hand. The primary aim was to design a technical typeface that was readable in any low visibility condition, for instance in a poorly lit area with awkward wall shapes and overhangs. This worked well for stadium and large lettering use, but other problems also needed to be addressed, such as complementary iconography. A location developer was left mixing — clashing, really — one type family with a different family of icons, resulting in a cobbled-together look which diluted the brand and the experience. They set out to radically simplify and clarify each shape and its meaning, accepting uniqueness as part of the final visual language. LFT Iro Sans pictograms answers the need for having a consistent and large group of icons, perfectly suited to the text typeface. As it concerns public spaces, this didn’t exist before. LFT Iro Sans incorporated a branding project too, so they decided to let LFT Iro Sans go out on a limb and created a unicase style that demands attention. Each unicase letter is a combination of the lowercase and capital form, quite noticeable in the ‘i’, ‘m’, ‘t’, and unique ‘d’ and ‘b’, balanced by more restrained forms of ‘a’, ‘s’, ‘c’, and ‘e’. LFT Iro Sans is not only a technical typeface, but, thanks to letters’ proportions, can also be used for editorial purposes. Assertive and economical in stature, the text weights are clear and assured. And a display version for headlines in Ultralight and Heavy (with italics) was developed for stunning headlines. For enthusiasts of every stripe, LFT Iro Sans can be a brand’s rallying cry with its arresting unicase, be a developer’s go-to pictogram choice, or set the most demanding editorial text in digital or print. With its many OpenType features, simplified pictogram commands (even available in Apple’s Pages and Microsoft Word), and a total of 30 targeted family members, LFT Iro Sans is a brilliant, easy choice. As with the rest of the TypeTogether catalogue, the complete LFT Iro Sans family, designed by Lefloft and developed by Octavio Pardo, has been optimised for today’s varied screen uses.

Levato, the first font designed by Felix Bonge, is an Antiqua that is full of character and is refined but by no means sterile. This typeface provides for a wide range of options for creating individual designs. It was not really Felix Bonge's intention to create a whole font family when, as a second year student, he began several exercises in contrast and proportion as part of the typeface design course of Professor Veljovi? at Hamburg University of Applied Sciences. However, these initial studies developed into a project that Bonge persisted with over the following years while working towards his degree. He continually had new insights and ideas that he was able to exploit for his font. Of particular importance, he claims, was a calligraphy seminar, which prompted him to completely rework his concept. It took him several years before his extensive font Levato™ was ready. Although the forms of Levato are ultimately derived from Renaissance Antiqua, Bonge has slightly increased the relative contrast in his version. This gives the font a graceful appearance that is further emphasized by the reduced x-height and the associated prominence of the ascenders. And, in addition, the relatively fine serifs, which are almost linear at their ends, infuse Levato with a hint of classical Antiqua á la Bodoni. At the same time, Bonge cleverly compensates for the sterilising tendency of this font form. Soft and rounded serif attachments and rounded line apexes offset the severe nature of the font and provide it with an aura of vivacity. This effect is promoted by the calligraphic-like foot of the lowercase h, n and m and the not quite horizontal bars of the uppercase E and F. Overall, Bonge has succeeded in creating a refined and yet very dynamic typeface. Levato is available in five weights; Light, Regular, Medium, Bold and Black, in each case with the corresponding italic versions. Bonge treats Levato Italic as a genuine cursive typeface. Its letters are thus slightly narrower than the analogous upright letters and their forms are considerably more curvilinear. All the versions of Levato boast an enormous range of characters to meet all possible requirements. In addition to four sets of minuscule and majuscule numerals for tabular and proportional typesetting, there are also small caps, numerous ligatures, ornamental characters and even swash variants of letters. With their generous, sweeping curves, the swash variants (available as OpenType versions) can be used for striking titling effects or as initials.

A FEW THOUGHTS Indie is a trendy script, result of the wide range of possibilities that can be achieved using a pointed brush. (1) “You Only Live Once” say The Strokes, (to me, symbols of indie music) so, what would represent that sensation of volatility better than a brush? As you may already know, this time inspiration came from hipsters and indies around us: We may sometimes criticise them, we may sometimes want to be like them, but the truth is that the universo gráfico they generated these past years is gigantic, full of colour and variations. (2) Brush lettering and Sign painting are fields I've been fond of since I started as a designer. Nowadays, these styles are getting a lot of attention and maybe it’s due to the undeniable mark of life that is materialised when using a brush. This tool is so expressive that shows the passions and fears of the artist, and materialises that idea of “living the present”, so popular in this era. When you see Indie, you think of skaters, rollers, surfers, hiphop dancers, street artists, summer, and why not? California beaches. So if you feel life is only one, it’s high time you got Indie into your fonts' collection! STYLES Indie comes in 4 styles plus another one which consists only in capitals. Indie; Indie Shade; Indie Shade Solo; Indie Inline are all open-type programmed and have exactly the same glyphs and metrics, so you can combine them without probem. (I.E. You may use Indie Inline, then write the same word using Indie Shade Solo, and finally put them together). In applications such as Adobe Illustrator, the font has nice results when fi ligatures is activated. However, if you want a more casual look, activate the contextual and the decorative ligatures. NOTES 1. After several years of practicing calligraphy I can say that to me, there’s nothing more satisfying than being able to create fonts out of your own handlettering. I owe a lot of this brush-style to Carl Rohrs. He was the very first calligrapher who taught it to me. His style is unique and what he can do with a brush is truly marvelous. I'm serious. 2. In spite of some particular cases, I can say I'm happy to live in a present in which Typography is living a kind of Renaissance along with Lettering. Like it happened with W. Morris a hundred years ago, handcrafts are being revalued/reborn, and some of this may be happening thanks to these indie designers that, trying to be unique, gave new/fresh air to different areas of graphic design.

Norwich Aldine ML is a all-cap typeface with enlarged serifs, designed and produced in wood by William Hamilton Page of Norwich, Connecticut in 1872. Norwich Aldine ML is a fine example of the strength of decorative wood types: large, simple type forms that provide the visual boldness sought by advertisers of the Victorian period. While our marketing has gotten so very sophisticated, there is always a place for a simple, visually strong typeface. Although about 14 miles inland, Norwich, Connecticut lies at the head of the Thames River. The river is both wide and deep, and therefore was not bridged in the early 20th century. Until then, if you wanted to get from Groton on the west bank to the whaling port of New London on the east bank by land, you had to go by way of Norwich. Because of its size, the Thames is navigable all the way from Norwich to New London. Docks were built in Norwich around 1685 and the city became Connecticut’s 2nd largest port by 1800. With the construction of the Norwich & Worcester Railroad in 1835, Page could easily ship his wood type north by rail or south by coastal schooner. Included with our font, Norwich Aldine ML, are two 19th century printer’s ornaments of sailing ships similar to those that sailed up the Thames to Norwich. Reference: Moon’s Handbooks, Connecticut 2nd Edition (Emeryville CA 2004) The family has expanded from one to four fonts: 1. Norwich Aldine ML: the concept font, computer-sharp corners and smooth curves, as we imagine it was designed. 336 Glyphs including some reduced-width alternatives for better letter spacing. 2. Norwich Aldine Worn ML: the way actual wooden type would look after have been used for a while. 332 Glyphs 3. Norwich Aldine Distressed ML: the way the wooden type would look after it had really been used, perhaps abused. Alternatives to the more popular letters reflect the damage that typically occurs on a well-wormn font, with nicks, cuts and scratches and the overall wear that reduces the overall height and leads to uneven inking due to varying heights in the chase. A couple of bullets look like bullet holes. 345 glyphs. 4. Norwich Aldine Cyrillic: Cyrillic includes alll English and Cyrillic letters for MS Windows Code Page 1251, ISO 8859-5 and MacOS Cyrillic. 235 glyphs. We did Cyrillic because is was fun and we felt the basic design cried out for Cyrillic. While obviously subjective, we hope you will agree.

Oxford Street is a signage font that began as a redrawing of the capital letters used for street nameplates in the borough of Westminster in Central London. The nameplates were designed in 1967 by the Design Research Unit using custom lettering based on Adrian Frutiger’s Univers typeface, a curious combination of Univers 69 Bold Ultra Condensed, a weight that doesn’t seem to exist but which would flatten the long curves of glyphs such as O, C and D, and Universe 67 Bold Condensed with its more rounded lobes on glyphs like B, P and R. Letters were then remodelled to improve their use on street signs. Thin strokes like the inner diagonals of M and N were thickened to create a more monolinear alphabet; the high interior apexes were lowered and the wide joins thinned. The crossbar of the A was lowered, the K was made double junction, and the tail of the Q was given a baseline curve. K-Type Oxford Street continues the process of impertinent improvement and includes myriad minor adjustments and several more conspicuous amendments. The stroke junctions of M and N are further narrowed and their interior apexes modified. The middle apex of the W is narrowed and the glyph is a little more condensed. The C and S are drawn more open, terminals slightly shortened. The K-Type font adds a new lowercase which is also made more monolinear so better suited to signage, loosely based on Univers but also taking inspiration from the Transport typeface both in a taller x-height and character formation. The lowercase L has a curled foot, the k is double junctioned to match the uppercase, and terminals of a, c, e, g and s are drawn shorter for openness and clarity. A full repertoire of Latin Extended-A characters features low-rise diacritics that keep congestion to a minimum in multiple lines of text. The font tips the hat to signage history by including stylistic alternates for M, W and w that have the pointed middles of the earlier MOT street sign typeface. Incidentally, Alistair Hall (‘London Street Signs’, Batsford, 2020) notes that when the manufacturer of signs was changed in 2007, Helvetica Bold Condensed was substituted in place of the custom design, “an unfortunate case of an off-the-peg suit replacing a tailored one” and a blunder that has happily since been rectified, though offending nameplates can still be spotted by discerning font fans.

LAMPOH - The Handmade Scratch Display Font LAMPOH is an artistic and captivating handmade display font, meticulously crafted by a talented type designer to bring uniqueness and authenticity to your creative projects. With its scratch-inspired design, LAMPOH stands out as a one-of-a-kind font that exudes a raw and artisanal charm, making it perfect for various artistic endeavors. Every character in LAMPOH has been meticulously hand-drawn with love and passion, ensuring that each glyph carries a distinct and organic feel. The imperfections and irregularities of the scratch strokes add an element of human touch, providing a genuine and authentic character to the font. LAMPOH comes in both regular and bold styles, giving you the flexibility to choose the perfect weight for your design needs. The regular style boasts elegance and subtlety, while the bold style makes a powerful statement, ideal for headlines and emphasis. LAMPOH's versatile design makes it an ideal choice for a wide range of projects. Whether you're creating eye-catching headlines, attention-grabbing posters, logo designs, merchandise branding, or anything that requires a touch of artistic flair, LAMPOH will effortlessly enhance the visual appeal of your work. The uppercase characters of LAMPOH are bold and expressive, demanding attention with their captivating presence. On the other hand, the lowercase letters bring a touch of playfulness, offering quirky alternatives to add delightful variations to your text. LAMPOH comes complete with a set of thoughtfully crafted standard characters and ligatures, allowing you to elevate your designs even further. These unique elements enhance the font's versatility, making it easy to create visually engaging and harmonious compositions. LAMPOH is designed to seamlessly integrate into various design software, making it effortless to use in your preferred creative tools. From Adobe Illustrator to Photoshop, InDesign, and beyond, the font's compatibility ensures a smooth and hassle-free design process. LAMPOH's high-quality design ensures that it looks equally stunning in both print and digital formats. Whether you're producing posters, brochures, social media graphics, websites, or any other project, this font will consistently deliver outstanding results. LAMPOH is not just a font; it's a work of art that adds a touch of human craftsmanship to your creative projects. With its handmade scratch-inspired design, versatile usage, and expressive characters, LAMPOH brings a unique and authentic flair to any design. Unlock your creativity and let LAMPOH illuminate your artistic vision with its captivating charm. Choose between regular and bold styles to create striking and memorable designs that leave a lasting impression on your audience.

Paneuropa 1931™ is a faithful recreation of XX-century Polish classic, made by Idzikowski foundry in Warsaw, 1931. Original Paneuropa was a renowned and highly popular typeface in XX-century Poland, and was widely used in all kinds of design, editorial use and printed materials for decades. Paneuropa is a geometric, clean and versatile font family inspired by Paul Renner's famous Futura - it is a bit narrower, with different proportions and details in drawing, completely different figures and punctuation shapes than Futura. It is an interesting and refreshing alternative to Futura with its own distinct personality and a subtle authentic vintage flavour. Paneuropa 1931 contains separate styles for display and large sizes as well as styles for small text sizes - differing in spacing and the softness of letterforms. The family features an original Paneuropa Double font - a beautiful inline style for headlines and display use. The whole family is completed with added missing inbetween styles as well as italics. The original subfamily set is available for purchase and it contains solely the original Paneuropa styles (Thin, Regular, Bold, Text Regular, Text Italic, Double). Paneuropa 1931 characteristics: letter shapes and proportions are very faithful to the original, keeping its idiosycrasies and inconsistencies spacing and kerning are carefully adjusted in order to achieve the colour of the original fonts, keeping maximum possible consistency - a compromise between authentic vintage feel and legible consistent text colour (for hardcore users: just turn off the kerning) weights precisely matching the original (Thin, Regular, Bold, Text Regular, Text Italic, Double), inbetween weights were added (Light, Demi Bold, as well as missing italic styles) italic angle faithful to the original (8 degrees) softened corners help achieving the character of old imprecise printed display styles for big sizes are sharper and have tight spacing, text styles have softer shapes (recreating small print imperfect print) and broader spacing for use in paragraph text (spacing in both display and text styles matches the original as well) original style names in Polish for devices with Polish set as their primary language The family is very versatile. The Inline style as well as bold and thin weights are perfect for headlines and display use, other styles works wonderfully as paragraph text. Paneuropa 1931 consists of 18 fonts - 5 display weights with corresponding italics + 3 text weights with corresponding italics + 2 inline styles (for big and small print sizes). It has extended support for latin languages, as well as broad number of OpenType features, such as case sensitive forms, fractions, superscript and subscript, ordinals, currencies and symbols.

Winslow Title is a high contrast modern type family comes in two styles and a monolinear script family. The traditional proportions of Winslow Title are historical in nature and follow the design and style of Winslow Book as a high contrast variant. The Winslow Title Mod family is a contemporary take on the style, with tapering terminals and less pronounced finials. Each family includes both styles, to be accessed through the opentype panel as a stylistic alternate. If preferable, you can purchase the entire family collection to have easier access to both styles, but it's not necessary. The typeface family comprises of roman and italic styles in six weights from Thin to Black and two widths in the roman style: Regular and Narrow. The accompanying script family has a single weight but offers five tracking widths, from Narrow to Wide. The bundle is an elegant combination of styles perfect for titling and display design. The serif typeface is packed with features that make ideal titling styles. Not only do they include the Stylistic Alternates, but also Titling Alternates, Discretionary Ligatures, Small Capitals, Swashes and Contextual Ligatures. As noted previously, the typeface comes in two styles, Traditional and Modern. Each can be accessed either by the Stylistic Alternates or Stylistic Sets. Titling Alternates are alternates that expand the ball terminals to K, R, V, W, and Y (see Titling Alternates slide). Contextual Ligatures are for capital combinations with A that tighten the gap created by the extended serifs. It connects characters with a pairing serif (the lower right serif of the M with the lower right serif of the A) and bridges them together. This combination works for single and multiple A combinations. It is turned on automatically in the Opentype panel and shouldn’t need to be accessed individually. Alternatively, the Discretionary Ligatures feature combines diagonal or baseline stems with lifted small capitals, creating a unique combination of characters. Swashes is an extensive feature that offers up to five swash options per many of each character. These can be selected via the Glyphs panel or as character alternates in Adobe programs. The Script family has a feature set of it’s own, with initial and final swashes on lowercase letters, middle swashes for select characters, and a titling feature that joins words together by replacing the space with a line. Stylistic alternates create a bouncing baseline on connecting strokes. *Note: there is no great need to purchase both families as all styles can be accessed via Opentype features, but if customers prefer to purchase both styles, it can be done by selecting the Complete Typeface Family collection.

Martian Grotesk is a large typeface family originally designed for the screen which consists of a variable font with 2 axes of variation and 63 styles: Condensed to Ultra Wide, Thin to Ultra Black. Aesthetics The font style is characterized by some brutality and assertiveness. Overhanging terminals, a closed aperture, and an almost complete lack of contrast lead to this effect. Additionally, some elements of the letters are especially enlarged. This font gives any text the impression of being a “signature” style. Nevertheless, we still maintain the golden mean between its rebellious nature and readability. Perfect for web development We created Martian Grotesk for the web and digital project world. When laying out web pages, frontend developers are constantly faced with the fact that uneven metrics do not allow text to be evenly placed on some design element, for example, on a button. Instead, they have to compensate in some way, like making the top padding smaller and the bottom padding larger in CSS. This little deal really hurts. Also, if your project adheres to design system principles, you might be unable to stand a lack of systematic approach when working with fonts. We researched and calculated vertical metrics and set them up in a way that guarantees equal space above the cap height and under the baseline. This enables the text labels to be evenly placed on buttons, inputs, lists, and forms. In addition, we found a proper ratio of the letter heights, so, with commonly used font sizes—10, 15, and 20 pixels—the glyph heights stick to the pixel grid. As a result, the letter shapes become sharper, which reduces the load on the reader's eyes and simply looks much better. The typeface also comes equipped with OpenType and TrueType hinting, and Martian Grotesk appears legible on most platforms, even when being rendered in small sizes. When coupled together, all the above features make Martian Grotesk a reasonable choice for any user interface design. Roadmap Martian Grotesk right now is a work-in-progress product. The font is completely ready for professional use, however, many great features are still ahead! For example, support for Extended Cyrillic characters, and italics. Pricing Purchasing an early version of the font presents the opportunity to get it at a very attractive price! That’s because with every new version, costs will go up to reflect the additional value that comes with every release. But after purchasing Martian Grotesk, all its future updates are included for free!

The quality or feeling of being grateful or thankful. An appreciation for the world around us. Gratitude for being a part of it all. No matter what’s happening in our lives, there’s always something to be grateful for. When we have an appreciation for all we have, life gives us more to feel grateful for. It’s a naturally occurring cycle. Some of the most profoundly grateful times in our lives can be felt when we find ourselves surrounded by beauty: in art, nature, music, special places, the seasons, family, loving relationships, a cozy home, meaningful work; in doing what brings us joy, comfort, and feelings of deep love and satisfaction. There is beauty everywhere, and creating beauty is an artist’s mission. We all have the ability to create and experience beauty. In this high-tech, fast paced world of strict, unbending rules, we give you Gratitude Script: A celebratory font that’s deeply rooted in tradition letterforms but with a modern, updated twist; a casual, whimsical, fun look that is also elegant and versatile! Partnering with Ale Paul is seasoned wedding calligrapher Kathy Milici, who is well known for her passionate writing style and highly ornamental pen flourishing. With its signature hand-written look, flowing lines, graceful curves and flourishes, Gratitude Script’s space saving, vertical style is perfect for small printing areas as well as large format presentations. An extended variety of alternates makes it a perfect and versatile addition to your font repertoire.. These are tender times. Long hours and work pressures add to our stress. Time spent with family and friends is more valuable than ever before, as we try to balance it all. It’s important to mark time with special, happy events in our lives that we can all appreciate and enjoy. Let’s be grateful for it all! Hooray for Gratitude, and Gratitude Script! About the font: Gratitude Script is an OpenType font that contains more than 1400 glyphs icluding ligatures, alternates, endings , a wide range of latin languages and a set of ornaments and words specially designed to use in stationery for weddings, birthdays, etc. There is a smooth version of Gratitude Script too. To access to all the extra characters you will need to use software that actually supports OpenType like Adobe CS apps or later where we recommend the use of the Glyph palette. About the presentation: Every time we publish a new typeface we love to invite an artist to collaborate. Vero Scherini, an argentinian and very talented designer and illustrator, fits perfectly with Gratitude.

Welcome to Jillsville, the charming slab-serif typeface that will give your message a delicate and sympathetic tone. With its lovely curls and unusual design, Jillsville stands out from the crowd and offers a contemporary and unique touch to your design. One of the most striking features of Jillsville is its slab-serif design, which adds a touch of boldness and solidity to your text while still maintaining a delicate touch. Whether you’re creating a logo, a title, or a piece of body text, Jillsville’s distinct and eye-catching design will help your message stand out. In addition to its elegant design, Jillsville also offers a wide range of symbols and numerals, including mathematical symbols, fractions, numeric ordinals, and monetary symbols. This makes it a versatile and practical choice for a variety of design projects. With seven weights and italics to choose from, Jillsville offers plenty of flexibility and options for your design. Whether you’re looking for a bold and impactful headline or a softer and more delicate body text, Jillsville has the perfect weight and style for your needs. Overall, Jillsville is a must-have slab-serif for any designer looking for a contemporary and unique typeface. Its charming design and practical features make it an ideal choice for a variety of design projects, from branding and marketing to editorial and web design. Try Jillsville today and see how it can take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing "Anger Style": Unleash the Power of Emotion Are you ready to harness the raw energy of emotions and bring them to life in your designs? Look no further than "Anger Style," an electrifying and dynamic font that will leave a lasting impact on your audience. Designed by our team of expert font designers, "Anger Style" is a captivating blend of intensity, power, and expressiveness. Possible Design Uses: "Anger Style" is a font that excels in making a bold statement. Its commanding presence and fiery nature make it perfect for various design applications, including: Headlines and Titles: Grab your audience's attention and make a lasting impression with powerful headlines that demand to be noticed. Logos and Branding: Infuse your brand identity with passion and intensity, creating a memorable and distinct visual presence. Posters and Flyers: Advertise events, concerts, or special promotions with eye-catching designs that embody rebelliousness and energy. Book Covers: Create striking covers that captivate readers and convey the emotional depth of your story or message. Apparel and Merchandise: Add an edgy touch to your clothing designs, making a statement that resonates with your target audience. Unique Qualities: What sets "Anger Style" apart from other fonts is its ability to evoke a wide range of emotions, not just anger. It transcends its name, allowing you to express passion, determination, and rebellion through your designs. Its versatility lies in its bold strokes and sharp edges, which convey a sense of intensity and power. By choosing "Anger Style," you gain access to a font that embodies the very essence of raw human emotion. Font Pairing: "Anger Style" pairs exceptionally well with other fonts that complement its intensity and create harmonious combinations. Consider combining it with: "Bold Sans Serifs": The clean lines and strong presence of a bold sans serif font can enhance the impact of "Anger Style," creating a balanced and eye-catching composition. "Elegant Script Fonts": To add a touch of contrast and sophistication, pairing "Anger Style" with an elegant script font can create a visually engaging and dynamic design. Functional Aspects: "Anger Style" offers a range of functional aspects designed to enhance your creative possibilities: Styles: "Anger Style" is available in bold and regular styles, allowing you to emphasize different levels of intensity within your designs. Character Sets: The font includes an extensive character set, covering uppercase and lowercase letters, numbers, punctuation marks, and special characters. This ensures versatility and legibility across various design projects. Special Features: "Anger Style" includes stylistic alternates and ligatures, providing you with additional design options and allowing you to create a truly customized and unique look.

The turn of the millennium marked a significant shift in the world of design. From the pulsating lights of Times Square to the glowing screens of our computers, technology became an essential part of our lives. Inspired by this futuristic aesthetic, the Xyzai typeface brings a unique blend of industrial elegance and scientific clarity to your message. Xyzai’s segmented LED-inspired structure and unusually wide letterforms are sure to catch the eye of any viewer. Its unconventional design allows for a voice that is both striking and sophisticated. Whether you’re creating a digital display, poster, or magazine layout, Xyzai adds a touch of boldness and sophistication to any project. This Y2K-inspired techno typeface comes in two styles—regular and italic—allowing for versatility in your design choices. Whether you’re looking to create a sleek and modern feel or want to add a touch of edginess to your design, Xyzai is the perfect choice. The ruggedness of Xyzai’s design is reflective of the technology that inspired it, giving it a raw, authentic feel. Its LED-inspired design is both innovative and timeless, making it a font that will stand the test of time. In conclusion, Xyzai is a typeface that bridges the gap between technology and art. Its industrial elegance and scientific clarity make it a must-have for any designer looking to create a bold and striking message. Choose Xyzai and embrace the future of design today. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, 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, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, 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), Venda, Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

The Octin Prison font family is a veritable powerhouse of design, boasting seven different weights to choose from, each one exuding an air of rugged toughness that is sure to make a statement. Whether you’re looking to create designs for sports teams, schools, police departments, construction sites, or military units, Octin Prison is the perfect choice for projects that require a no-nonsense, utilitarian aesthetic. What sets Octin Prison apart is its ability to capture the essence of its namesake—the prison system—while also offering a versatility that makes it a great option for a wide range of design themes. The font’s thick, bold strokes and sharp, angular edges create a sense of solidity and permanence, while its sleek, modern lines give it a contemporary edge that is sure to grab attention. With weights ranging from light to black, Octin Prison is a font that can be used for a variety of design purposes. The lighter weights work well for smaller text, providing a clean, legible look, while the heavier weights make for an imposing headline font that demands attention. In conclusion, if you’re looking for a typeface that can capture the essence of ruggedness and durability, while also offering versatility and style, look no further than Octin Prison. It’s a font that is sure to make a statement and leave a lasting impression on anyone who sees it. Check out the rest of the Octin families: Octin Sports, Octin College, Octin Stencil, Octin Vintage & Octin Spraypaint. 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.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.

In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design of a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for books. A number of parameters needed to be considered, including the pressure of the printing presses and the quality of the thin newspaper ink that would have smothered any delicate strokes. Rough drafts of type designs for the competition were submitted by Vratislav Hejzl, Stanislav Marso, Frantisek Novak, Frantisek Panek, Jiri Petr, Jindrich Posekany, and the team of Stanislav Duda, Karel Misek and Josef Tyfa. The committee published its comments and corrections of the designs, and asked the designers to draw the final drafts. The winner was unambiguous — the members of the committee unanimously agreed to award Stanislav Marso’s design the first prize. His typeface was cast by Grafotechna (a state-owned enterprise) for setting with line-composing machines and also in larger sizes for hand-setting. Regular, bold, and bold condensed cuts were produced, and the face was named Public. In 2003 we decided to digitise the typeface. Drawings of the regular and italic cuts at the size of approximatively 3,5 cicero (43 pt) were used as templates for scanning. Those originals covered the complete set of caps except for the U, the lowercase, numerals, and sloped ampersand. The bold and condensed bold cuts were found in an original specimen book of the Rude Pravo newspaper printing press. These specimens included a dot, acute, colon, semicolon, hyphens, exclamation and question marks, asterisk, parentheses, square brackets, cross, section sign, and ampersand. After the regular cut was drafted, we began to modify it. All the uppercase letters were fine-tuned, the crossbar of the A was raised, E, F, and H were narrowed, L and R were significantly broadened, and the angle of the leg and arm of the K were adjusted. The vertex of the M now rests on the baseline, making the glyph broader. The apex of the N is narrower, resulting in a more regular glyph. The tail of Q was made more decorative; the uppercase S lost its implied serifs. The lowercase ascenders and descenders were slightly extended. Corrections on the lower case a were more significant, its waist being lowered in order to improve its colour and light. The top of the f was redrawn, the loop of lowercase g now has a squarer character. The diagonals of the lowercase k were harmonised with the uppercase K. The t has a more open and longer terminal, and the tail of the y matches its overall construction. Numerals are generally better proportioned. Italics have been thoroughly redrawn, and in general their slope is lessened by approximatively 2–3 degrees. The italic upper case is more consistent with the regular cut. Unlike the original, the tail of the K is not curved, and the Z is not calligraphic. The italic lower case is even further removed from the original. This concerns specifically the bottom finials of the c and e, the top of the f, the descender of the j, the serif of the k, a heavier ear on the r, a more open t, a broader v and w, a different x, and, again, a non-calligraphic z. Originally the bold cut conformed even more to the superellipse shape than the regular one, since all the glyphs had to be fitted to the same width. We have redrawn the bold cut to provide a better match with the regular. This means its shapes have become generally broader, also noticeably darker. Medium and Semibold weights were also interpolated, with a colour similar to the original bold cut. The condensed variants’ width is 85 percent of the original. The design of the Bold Condensed weights was optimised for the setting of headlines, while the lighter ones are suited for normal condensed settings. All the OpenType fonts include small caps, numerals, fractions, ligatures, and expert glyphs, conforming to the Suitcase Standard set. Over half a century of consistent quality ensures perfect legibility even in adverse printing conditions and on poor quality paper. RePublic is an exquisite newspaper and magazine type, which is equally well suited as a contemporary book face.