A font family with excellent visibility and aesthetic originality was developed after years of troubleshooting. It will be the best choice for designers as it contains a variable font with two axes. A variety of styles, including stem widths from 10pt to 220pt, will be an exciting attempt for unique typography. And, 44 beautiful and amazing ligatures will make your imagination deeper and richer. On the Typographic Foundation, it makes sense to break most of the ligatures used here into discretionary ligatures. However, in view of the trend of modern typography, in which the essential boundary between function and decoration is increasingly blurred, it may be meaningful to use them together. All ligatures of this font family are included in Standard Ligatures. Your choices become easier and clearer. Its name is Quickflio. OpenType Features 44 Ligatures : Am, An, Br, Cr, Gr, Le, Lo, Op, ad, am, an, at, ba, ck, ct, da, de, do, er, es, ff, fo, fi, fl, gh, ha, hn, hs, in, le, ll, lo, ma, ns, oe, om, on, re, sh, st, um, un, ve, wa Ordinals Oldstyle Figures Tabular Figures Fractions Scientific Inferiors Superscrpt

The famous roman type cut in Venice by Nicolas Jenson, and used in 1470 for his printing of the tract, De Evangelica Praeparatione, Eusebius, has usually been declared the seminal and definitive representative of a class of types known as Venetian Old Style. The Jenson type is thought to have been the primary model for types that immediately followed. Subsequent 15th-century Venetian Old Style types, cut by other punchcutters in Venice and elsewhere in Italy, are also worthy of study, but have been largely neglected by 20th-century type designers. There were many versions of Venetian Old Style types produced in the final quarter of the quattrocento. The exact number is unknown, but numerous printed examples survive, though the actual types, matrices, and punches are long gone. All these types are not, however, conspicuously Jensonian in character. Each shows a liberal amount of individuality, inconsistency, and eccentricity. My fascination with these historical types began in the 1970s and eventually led to the production of my first text typeface, Iowan Old Style (Bitstream, 1991). Sometime in the early 1990s, I started doodling letters for another Venetian typeface. The letters were pieced together from sections of circles and squares. The n, a standard lowercase control character in a text typeface, came first. Its most unusual feature was its head serif, a bisected quadrant of a circle. My aim was to see if its sharp beak would work with blunt, rectangular, foot serifs. Next, I wanted to see if I could construct a set of capital letters by following a similar design system. Rectangular serifs, or what we today call "slab serifs," were common in early roman printing types, particularly text types cut in Italy before 1500. Slab serifs are evident on both lowercase and uppercase characters in roman types of the Incunabula period, but they are seen mainly at the feet of the lowercase letters. The head serifs on lowercase letters of early roman types were usually angled. They were not arched, like mine. Oddly, there seems to be no actual historical precedent for my approach. Another characteristic of my arched serif is that the side opposite the arch is flat, not concave. Arched, concave serifs were used extensively in early italic types, a genre which first appeared more than a quarter century after roman types. Their forms followed humanistic cursive writing, common in Italy since before movable type was used there. Initially, italic characters were all lowercase, set with upright capitals (a practice I much admire and would like to see revived). Sloped italic capitals were not introduced until the middle of the sixteenth century, and they have very little to do with the evolution of humanist scripts. In contrast to the cursive writing on which italic types were based, formal book hands used by humanist scholars to transcribe classical texts served as a source of inspiration for the lowercase letters of the first roman types cut in Italy. While book hands were not as informal as cursive scripts, they still had features which could be said to be more calligraphic than geometric in detail. Over time, though, the copied vestiges of calligraphy virtually disappeared from roman fonts, and type became more rational. This profound change in the way type developed was also due in part to popular interest in the classical inscriptions of Roman antiquity. Imperial Roman letters, or majuscules, became models for the capital letters in nearly all early roman printing types. So it was, that the first letters in my typeface arose from pondering how shapes of lowercase letters and capital letters relate to one another in terms of classical ideals and geometric proportions, two pinnacles in a range of artistic notions which emerged during the Italian Renaissance. Indeed, such ideas are interesting to explore, but in the field of type design they often lead to dead ends. It is generally acknowledged, for instance, that pure geometry, as a strict approach to type design, has limitations. No roman alphabet, based solely on the circle and square, has ever been ideal for continuous reading. This much, I knew from the start. In the course of developing my typeface for text, innumerable compromises were made. Even though the finished letterforms retain a measure of geometric structure, they were modified again and again to improve their performance en masse. Each modification caused further deviation from my original scheme, and gave every font a slightly different direction. In the lower case letters especially, I made countless variations, and diverged significantly from my original plan. For example, not all the arcs remained radial, and they were designed to vary from font to font. Such variety added to the individuality of each style. The counters of many letters are described by intersecting arcs or angled facets, and the bowls are not round. In the capitals, angular bracketing was used practically everywhere stems and serifs meet, accentuating the terseness of the characters. As a result of all my tinkering, the entire family took on a kind of rich, familiar, coarseness - akin to roman types of the late 1400s. In his book, Printing Types D. B. Updike wrote: "Almost all Italian roman fonts in the last half of the fifteenth century had an air of "security" and generous ease extremely agreeable to the eye. Indeed, there is nothing better than fine Italian roman type in the whole history of typography." It does seem a shame that only in the 20th century have revivals of these beautiful types found acceptance in the English language. For four centuries (circa 1500 - circa 1900) Venetian Old Style faces were definitely not in favor in any living language. Recently, though, reinterpretations of early Italian printing types have been returning with a vengeance. The name Vendetta, which as an Italian sound I like, struck me as being a word that could be taken to signifiy a comeback of types designed in the Venetian style. In closing, I should add that a large measure of Vendetta's overall character comes from a synthesis of ideas, old and new. Hallmarks of roman type design from the Incunabula period are blended with contemporary concerns for the optimal display of letterforms on computer screens. Vendetta is thus not a historical revival. It is instead an indirect but personal digital homage to the roman types of punchcutters whose work was influenced by the example Jenson set in 1470. John Downer.

Introducing Ultra System; A modern exploration of 8 fonts, each carefully designed to naturally compliment one another. With 6 clean sans fonts and 2 textured script fonts, Ultra System gives you a variety of ways to combine and arrange each font, allowing you to create striking & modern typographic designs. This typeface collection consists of 8 fonts; Ultra System Script • A textured, bouncy & flowing marker script font containing upper & lowercase characters, numerals, and a large range of punctuation. Ultra System Script Alt • This is a second version of Ultra System Script, with a completely new set of both upper and lowercase characters. If you wanted to avoid letters looking the same each time to recreate a custom-made style, or try a different word shape, simply switch to this font for an additional layout option. Ultra System Sans • A wide, bold sans font containing uppercase only characters, numerals, and a large range of punctuation. Ultra System Sans Line One • A thick outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Line Two • A thin outlined version of Ultra System Sans, pair this with other Ultra System Sans fonts to add emphasis to words or phrases. Ultra System Sans Italic • Italic variations are included for all 3 Ultra System Sans fonts. FAQs; Accessing Ligatures • Ligatures are supported by most desktop graphics & text software (not just the fancy ones!), including Photoshop, Illustrator, InDesign, Word, Pages & Keynote. Many programs will automatically have this feature switched on for you, but if you need any help accessing then please feel free to drop me a message. Language Support • All Ultra System fonts support the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian

Plantin is a family of text typefaces created by Monotype in 1913. Their namesake, Christophe Plantin (Christoffel Plantijn in Dutch), was born in France during the year 1520. In 1549, he moved to Antwerp, located in present-day Belgium. There he began printing in 1555. For a brief time, he also worked at the University of Leiden, in the Netherlands. Typefaces used in Christophe Plantin's books inspired future typographic developments. In 1913, the English Monotype Corporation's manager Frank Hinman Pierpont directed the Plantin revival. Based on 16th century specimens from the Plantin-Moretus Museum in Antwerp, specifically a type cut by Robert Granjon and a separate cursive Italic, the Plantin" typeface was conceived. Plantin was drawn for use in mechanical typesetting on the international publishing markets. Plantin, and the historical models that inspired it, are old-style typefaces in the French manner, but with x-height that are larger than those found in Claude Garamond's work. Plantin would go on to influence another Monotype design, Times New Roman. Stanley Morison and Victor Larent used Plantin as a reference during that typeface's cutting. Like Garamond, Plantin is exceptionally legible and makes a classic, elegant impression. Plantin is indeed a remarkably accommodating type face. The firm modelling of the strokes and the serifs in the letters make the mass appearance stronger than usual; the absence of thin elements ensures a good result on coated papers; and the compact structure of the letters, without loss of size makes Plantin one of the economical faces in use. In short, it is essentially an all-purpose face, excellent for periodical or jobbing work, and very effective in many sorts of book and magazine publishing. Plantin's Bold weight was especially optimized to provide ample contrast: bulkiness was avoided by introducing a slight sharpening to the serifs' forms."

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.

RAN Reformed Typeface for Beginners by Georg Salden - 
a headstrong and courageous approach to an improved handling of handwriting. Diverse and sometimes irreconcilable theories exist about how beginners are supposed to learn writing and reading. This has led to fierce discussions among experts already. We don’t want to pour more oil on the fire, but hope to create a new awareness for this topic, which is important to everyone of us. For beginners the combination of single characters (sounds) to whole words is essential during the acquirement of reading and writing. In this process they develop the skill to recall entire terms from memory. Therefore, after current practice, every word shall be written in a single stroke without lifting the pen in between. Georg Salden contradicts this postulate and warns, that coercively holding the pen down within a word can easily lead to exaggerated loop formations and a general meandering of the written text. The intellectual process in connecting single sounds to words while writing would happen anyway and the prohibition to lift the pen would often lead to tensions. 
To still support the necessary connections in general and to simplify the connecting, he teaches to write all round letters like a, e, g, o with inclusion of the connecting stroke, so that the spacing and combining with the next character arise by themselves. By settling the stroke at certain points and with a clear and logical writing method, a conscious and careful contact with the various strokes arises. All this automatically leads, together with a certain deceleration, to an increase of beauty and readability in the handwriting. 
The repeatedly discussed topic »connected or unconnected« appears to be solved in the most comfortable way as, depending on the particular character combination, both solutions are possible.

Haboro is a powerful workhorse. It’s a neoclassical font developed for numerous uses, ranging from editorial and corporate to web pages and apps. This new face from insigne Design takes a modern twist on the high-contrast typeface genre known as the Didone. Recognized for their ability to convey clarity, the geometric simplification of the Didone genre adds a level-headed rationality to whichever work it’s applied. Didones are used to lend style and sophistication to a wide number of applications—everything from style or cosmetic labels to annual reports. With its unique take on this classic genre, Haboro—with its slight wedge-shaped serifs and unique terminals—is still defined by elegance, tradition and timelessness. Even more to its versatility, this multi-purpose text face features whimsical terminals, which liven up even the most serious texts. If you desire, you can also opt for the more usual ball terminals by activating OpenType alternates. The Haboro family consists of seven weights from a Thin to a Black along with matching italics. The contrast from the letters’ thick strokes and thin strokes draws the eye to your design, making Haboro a powerful visual tool for communicating your message. The typeface also contains numerous ligatures and alternates. Choose between serif variants such as ball terminals or standard serifs by utilizing OpenType alternates. We recommend using the default contextual alternates and discretionary ligatures in order to benefit from all members of this fantastic font family. In addition, Haboro has a sizable set of option glyphs and numerous other OpenType variables to give your text the unique touches it needs. Haboro has all of the attributes you need to undertake your next project. Use its modified elegance to shape and mold your next design, whether a web site, app, branding package, or magazine. You’ll find there’s no job Haboro can’t take on.

Rahere is a humanist sans with subtle features that give the typeface a distinctive, warm appearance without distracting the reader. Legible at large and small sizes, Rahere is a versatile family suitable for a wide range of applications such as annual reports, advertising, brochures, catalogues, information signage, screen text and visual identities. For projects that need to convey a sense of authority or credibility, this is the ideal sans serif to use. The family consists of six weights ranging from light to extra bold with corresponding italics and the character set covers most of the major European languages. Each weight contains lining & non-aligning numerals in both proportional & tabular spacing. The tabular numerals share the same width across all weights and styles – a must for financial tables in annual reports. Spirited and lively, the italic lowercase is more cursive and calligraphic than the roman, although it harmonises perfectly, displaying enough character to create emphasis without looking out of place. When used on its own, for pull-out quotes or poetry, the italic exudes a charm that draws attention to the text. The typeface is named after Rahere, a 12th-century Anglo-Norman priest, who founded St Bartholomew's Hospital, London in 1123. I will always be indebted to Barts (as it is now commonly known) because in 2007 I was successfully treated for relapsed testicular cancer. Way back in 1992 I designed my first sans serif, Charlotte Sans, and although it was relatively successful, I was never really satisfied with the end result: not enough weights & italics, a small character set, lack of accented characters, and my design skills were still in their infancy. Whilst Rahere shares many common elements with Charlotte Sans, it is much more than just a reworking; it represents over 20 years of accumulated knowledge and experience as a designer.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

TT Slabs update 1.110 What’s new: Case Sensitive Forms Tabular Figures Fractions Numerators Denominators Superiors Scientific Inferiors TT Slabs useful links: Customization options | Instagram | Facebook | Website About TT Slabs: World needs a beautiful, simple and high-quality fonts. We need simple and geometric fonts. Slab is a form of serifs, which gave its name to the font family. If you are looking for a versatile font with wide proportions for your projects—TT Slabs will suit you perfectly. Optimized for the websites, mobile applications, and printing materials. We offer you to have a look at this font’s narrow version—TT Slabs Condensed. TT Slabs language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

In 1939 the Stephenson Blake Company bought a very popular script called Undine Ronde and began marketing under the name Amanda Ronde. Although Undine/Amanda was quite popular and can be seen in many advertisements from the 1930s and 1940s, there seems to be no surviving record stating the original foundry or designer. We thought that six and half decades of dust layers over the once-popular typeface were enough, so here and now you have its complete and expanded digital incarnation, Adore. It is quite easy to see why this typeface was popular. A round script with graceful meaty curves is rarely found and can be used in plenty of applications. Wedding paraphernalia, chapter titles, posters, poetry, book covers, religious literature... you name it, Adore can fit it. Aside from its totality being unmatched by currently available designs, Adore also possesses some of the most unique and imaginative letter shapes. The narrow loops on the B, P and R, the minuscule-like Z, the looped b and d, the descending h... all these shapes contribute to a breathtaking and adorable calligraphic work unlike any other. The original design came in a basic alphabet, but we have updated it for current digital technologies, and expanded it to include plenty of alternates and ligatures, as well as some ornaments. The Postscript Type 1 and True Type versions come in two fonts, the second containing the alternates and extras, while the Open Type version is a single font containing all the alternates and extras in conveniently programmed features, easily accessible at the push of a button in OpenType-supporting software. We also encourage you to take a look at Typodermic's Mecheria font, which is further experimentation with the same letter forms, resulting in a quirky, friendly, curly, angular gothic-like creature.

Avenir Next Pro is a new take on a classic face—it’s the result of a project whose goal was to take a beautifully designed sans and update it so that its technical standards surpass the status quo, leaving us with a truly superior sans family. This family is not only an update though; in fact it is the expansion of the original concept that takes the Avenir Next design to the next level. In addition to the standard styles ranging from ultralight to heavy, this 32-font collection offers condensed faces that rival any other sans on the market in on and off—screen readability at any size alongside heavy weights that would make excellent display faces in their own right and have the ability to pair well with so many contemporary serif body types. Overall, the family’s design is clean, straightforward and works brilliantly for blocks of copy and headlines alike. Akira Kobayashi worked alongside Avenir’s esteemed creator Adrian Frutiger to bring Avenir Next Pro to life. It was Akira’s ability to bring his own finesse and ideas for expansion into the project while remaining true to Frutiger’s original intent, that makes this not just a modern typeface, but one ahead of its time. Avenir Next Variables are font files which are featuring two axis, weight and width. They have a preset instance from UltraLight to Heavy and Condensed to Roman width. The preset instances are: Condensed UltraLight, Condensed UltraLight Italic, Condensed Thin, Condensed Thin Italic, Condensed Light, Condensed Light Italic, Condensed, Condensed Italic, Condensed Demi, Condensed Demi Italic, Condensed Medium, Condensed Medium Italic, Condensed Bold, Condensed Bold Italic, Condensed Heavy, Condensed Heavy Italic, UltraLight, UltraLight Italic, Thin, Thin Italic, Light, Light Italic, Regular, Italic, Demi, Demi Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic.

TT Corals useful links: Graphic presentation | Customization options TT Corals is a modern humanist sans-serif which has many typical traits of the beginning of the 20th century. For increased functionality, we created 6 styles of various weights: thin, light, regular, bold, extrabold and black. Its distinctive smooth lines and separate elements allow TT Corals to be used for a variety of design applications. It fits classical literature or music perfectly, and is appropriate for any creative or innovative content. TT Corals inspires new ideas for your creativity and art with its freshness and novelty. FOLLOW US: Instagram | Facebook | Website TT Corals language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

The dearJoe series of fonts came to life around the year 1999, when I created dearJoe 1, which was a first (and half-assed) attempt to convert my own handwriting into a working font. Being able to type in my own hand had always been a childhood fantasy, and even though I only partly understood the software, a working font was generated and I decided to put it on the internet for people to use in their own personal projects. Which they did: at this moment the dearJoe 1 font has been downloaded millions of times and can be found on Vietnamese riksjas, Tasmanian gyms and chocolate stores on 5th Avenue for instance. The font is not something I am particularly proud of, but it started me of in building what's now the JOEBOB graphics foundry. Inbetween creating other fonts, the dearJoe series has become a theme I revisit every once in a while, trying to create an update on how my handwriting has evolved, along with my abilities in creating fonts that mimic actual handwriting. In the last decade or so I started implementing ligatures and alternate characters, which helped a lot in coming to a result that can almost pass for actual handwriting. The 2019 dearJoe 7 font is the latest addition to this font family. All characters were scanned from handwritten notes, cherrypicking the characters and letter-combinations I liked best. They were written with a Lamy M66 B pen and only minor adjustments were made to the original scans, leaving most little flaws and rough edges as they were for a convincing ball-point on paper result. The font comes with over 150 ligatures, making sure the font has a variated and credible overall look and feel.

Listen up! Got a font that’s gonna give your text that raw, tough edge you’re lookin’ for. Burnaby Stencil, baby. This typeface is all about the spray-painted stencil vibe, with bold headlines that’ll grab attention like a bear trap. But don’t think it’s all bark and no bite. Burnaby Stencil packs a punch with a gritty tone that’ll make your message feel like it’s coming straight from the streets. And if you’re worried about it looking too cookie-cutter, no need to fret. This font switches up custom letter pairs in OpenType savvy apps, giving your text a natural, hand-painted feel. So if you’re ready to unleash the rugged, urban vibes in your designs, Burnaby Stencil is your new best friend. Let your words speak loud and proud with this font that’ll make ’em stand up and take notice. 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.

Introducing Nexusbold, a modern condensed sans font that redefines typographic excellence. With its sleek and contemporary design, Nexusbold is the epitome of elegance and functionality, enhanced by an extensive array of meticulously crafted ligatures. Nexusbold's condensed form is carefully crafted to optimize space without compromising legibility. Whether you're creating headlines, logos, packaging, or web designs, this font's compact structure ensures a visually striking impact that commands attention. But what truly sets Nexusbold apart is its vast collection of expertly designed ligatures. With an abundance of ligatures at your disposal, Nexusbold empowers you to create seamless connections between characters, infusing your typography with a sense of fluidity and artistry. These ligatures add a touch of sophistication, taking your designs to new heights and captivating viewers with their visual allure. Nexusbold is a versatile font suitable for a myriad of design applications, including editorial layouts, branding materials, advertising campaigns, and digital interfaces. Its modern condensed sans style exudes a sense of professionalism and contemporary aesthetics, making it the perfect choice for projects that demand a refined and sleek visual identity. Whether you're pursuing a minimalistic, high-tech, or cutting-edge look, Nexusbold provides the ideal canvas for your creativity. Its modern condensed form, coupled with a plethora of ligatures, empowers you to create captivating and memorable designs that stand out from the crowd. In summary, Nexusbold is an exceptional modern condensed sans font that combines functionality, elegance, and a wealth of ligatures. Unlock the full potential of your typographic endeavors with NexusBold—a font that seamlessly merges form and function, enabling you to craft visually stunning and harmonious designs. Nexusbold features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Condensed Style +400 of Total Glyphs +156 of Total Ligatures ———

Drawn by George Ryan and named after Robert Givens, the co-founder and first president of Monotype Imaging, the Givens Antiqua™ typeface speaks with elegance and subtle authority. The design's open proportions, generous x-height and soft serifs lend Givens Antiqua a gracious quality that invites reading. I didn't work from any single design model," Ryan recalls. "The face grew out of my experimenting with several characters from a hand-lettered headline in a magazine. I worked on the shapes and forms for some time before I put the drawings in a drawer." At that point Ryan had finished the basic alphabet in two weights, but had not yet tackled the italics. A new project came along that demanded his full attention, and it was two years before he revisited the drawings. He liked what he saw and decided to finish the job. "The italics were the most problematic designs in the family," says Ryan, "but once I had their basic shapes and proportions, the rest was basically a production project." Another year of sketching, testing, editing and reworking characters ensued before Givens Antiqua was ready for release. The result is a four-weight family of roman designs and small caps, with complementary italics for the lightest three weights and a suite of swash caps for the italic designs. Givens Antiqua and Givens Antiqua Light show a modest stroke weight stress and a light, even text color. Givens Antiqua Bold is an effective emphasizer for text copy and an authoritative communicator at display sizes. The Black weight performs best at large sizes and makes a powerful statement without shouting, while the italic swash capitals possess enough vitality to serve as standalone initial letters."

Aure Wye wraps a carefree dispassion with the dignity of tradition. The precise engraving and organic finials of these decorative serif forms engage the reader with a subtext of elegance. Wye brings an unpretentious grace to titles and drop-caps and provides dignity to astrological expressions and chartwheels. In Regular, Wye presents a formal presence; in Italic, Wye offers a more romantic feel. Its small-caps add a stately variety to Wye's typographic textures. Wye is an original design developed by Aurora Isaac. After more than a decade in development, 2018 marks the first release of the CJ and KB glyphsets, now available in regular and italic. The CJ glyphset is a full text font supporting a variety of European languages. A matching set of small-caps complements the extended lowercase and uppercase glyphsets. Supporting glyphs include standard ligatures, four variations of the ampersand, and check-mark and happy-face with their companions x-mark and grumpy-face. Numbers are available in lining, oldstyle, and small versions, with numerators and denominators for forming fractions. Companion glyphs include Roman numerals, specialized glyphs for indicating ordinals, and a variety of mathematical symbols and operators. The CJ glyphset also includes an extended set of glyphs for typesetting Western Astrology. These glyphs are also available separately in the KB glyphset: a symbol font re-coded to allow easy keyboard access for the most commonly used glyphs. Aure Wye will stand up as a text font, but for extended text, try pairing Wye with its close cousin, Aure Declare. Used in titles and drop-caps, Wye will provide a striking elegance that will blend well with the serifed forms of Declare. Give Aure Wye a trial run! You may discover a permanent place for this font family in your typographic palette. AureFontDesign.com

Rinzler AOE is a revival of a LetterGraphics film type called Caren. A modular, mechanical, sans-serif stencil all rolled up into one retro typeface. It's not an all-purpose typeface, it's not an everyday typeface, but it is a cool typeface for the right design projects. Rinzler AOE carries itself with a bold weighted style, and stencil cutouts that don't follow standard stencil formatting. It might be considered more of a techno stencil (if there is such a thing). It reminded me in a vague way of TRON, hence the main poster graphic styling, although it looks NOTHING like the Tron titling typeface. Nevertheless, it's a fun typeface that needed to be preserved and used again. WHAT'S INCLUDED: Extensive language support. Rinzler has accented and special characters that support the following languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan Cornish, Corsican, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Galician, German, Hungarian, Icelandic, Irish, Indonesian, Italian, Kurdish, Leonese, Luxenbourgish, Malay, Maltese, Manx, Maori, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Occitan, Oromo, Polish, Portuguese, Rhaeto-Romanic, Romanian, Scottish Gaelic, Scots, Serbian (Latin), Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, & Welsh. One of my guilty pleasures is in taking the time to recreate historical typefaces as digital fonts, but a lot of incredible historical typestyles created as wood or metal or film type usually have bare bones character sets and have been lost or only exist as limited specimen proofs in old books. These typefaces may have more niché uses than modern typefaces, but I believe it is important nonetheless to preserve these typefaces for future generations. These typefaces, if nothing else, can often inspire new creations.

"At last, something beautiful you can truly own!" This is the first Persian Arabic & Latin COLOR font ever designed! Chromatic or Color fonts are fairly new. And Persian Arabic color fonts are extremely rare. Here, you get a font that supports both Arabic and Latin! Rangarang [means colorful] font comes in with a wonderful color set and variety in forms. Every single glyph has a unique palette of colors. If you look closely at the glyphs, you'll see complex paths and connections in every single one of them. Each glyph could be seen as a typographic artwork! Rangarang font is great for entertainment design, posters, business cards, website titles, magazine illustrations, logotypes, book covers, banners, billboards,... There are countless options! Notes: - SVG fonts contain vector letters with gradients and transparency. - These fonts will show up in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts and their support in third-party apps on: www.colorfonts.wtf - Don't worry about what you see here in the preview section in your browser. You may see the glyphs in black here, but this font is working EXACTLY how you can see it in the font pictures I put here. So if you use it in apps that support colored fonts, you can be sure that after installing the font on the system you will be able to use it like every other font. Shahab Siavash, the designer has done more than 30 fonts and got featured on Behance, Microsoft, McGill University research website, Hackernoon, Fontself, FontsInUse,... Astaneh and Hezareh text and headline fonts, Yaddasht and Yadgar handwriting fonts,... already got professional typographers, lay-out and book designers' attention as well as some of the most recognizable publications in Persian Arabic communities.

Get in touch with Tipogra Fio and get inspired by Guaruja Neue specimens. Guaruja Neue is a neo-grotesque typeface with additional industrial traits to it, such as open corners in diagonal glyphs and short curves. The semi-cursive italics shapes, more than an orthographic matter, give sea waves for the headlines and copies that Guaruja Neue will compose, since it is named after a city on the coast of São Paulo, Brazil. Stylistic alternates, ligatures, ordinals, arrows and emojis give extra personality for texts that cross millennial and modernist concepts, going from a comprehensive Latin script, including Vietnamese support, until a basic Cyrillic set. Brazilian music tells the graphic story of Guaruja Neue specimens, songs that speak about beaches and the city of Guarujá, as well as the inspiration of 50’s and 60’s modernist design and the music movement of Bossa Nova. This family is also an evolution of Guaruja Grotesk (2021), a typeface with four fonts —Regular, Italic, Bold and Bold Italic— developed as part of a design school project, that now in Neue gains professionalism, refinement and knowledge. Guaruja Grotesk took 18 months to make, and Neue took additional 12 months of redrawing and rethinking, as design as processes. Part of the project got feedback from the typeface designer Ulrike Raush, under the Alphabettes mentorship program. Overview and features: 8 weights and 8 italics; 2 free fonts: Guaruja Neue Regular and Guaruja Neue Italic; Extended Latin and basic Cyrillic; 800+ glyphs; Numbers: proportional, tabular, superscripts, subscripts, denominators, numerators and fractions; Greek for math; Case-Sensitive forms; Arrows; Standard and discretionary ligatures; SS01: one story a and SS02: two story g; Emojis and SS03: negative alternate emojis; Ligatures for English ordinals;

Introducing Kimberley, the cutting-edge sans-serif typeface that will bring your message to the forefront of the modern era. Inspired by the bold and timeless corporate industrial logos of the 1970s, Kimberley’s squarish design and sleek angles will captivate and inspire your audience with its effortlessly cool, machine-made aesthetic. With seven distinct weights and accompanying italics, Kimberley is the ultimate tool in your design arsenal. Whether you’re creating a sleek corporate identity or crafting eye-catching advertising campaigns, Kimberley’s versatility ensures that your message will be delivered with clarity and distinction. So don’t settle for less, choose Kimberley and let its contemporary style and sophisticated edge elevate your design game to new heights. Upgrade your typography today with Kimberley and unleash the power of a truly modern typeface. 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, Maori, 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.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

A girl’s handwriting written on the iPad Writing changes – throughout history over centuries, but also from generation to generation. Each new generation of students learns to write the basic forms of the letters a little differently than their predecessors. The role model is also changing. The cursive handwriting taught in school is getting closer and closer to printed type. The children no longer learn the forms of cursive handwriting required for connected writing, but first the “block letters”, only later should they develop their own individual handwriting from this, which many of them no longer do. And the writing tool is also changing. Of course, script looks different when children no longer learn to write on paper with a fountain pen, but on a tablet computer with the “pencil”. The writing experience is completely different, and the “material properties” are different too. There is practically no writing resistance that would make it difficult to move against the direction of writing. "Die Lara" was created based on the template by Lara Mörwald from the winter of 2023. The font version "Black" corresponds to the handwritten original, all thinner variants up to the wafer-thin "Hairline" are derived from it. In the variable font, the intermediate forms can be selected steplessly. In order to preserve the handwritten character of the font, "Die Lara" contains several alternates to most letters and numerals, so that different character forms alternate in the typeface. If the "ligatures" function is activated in the app (which is the default in most programs), these alternates appear automatically as you type. There is also an alternative "swashed" variant of some letters. So you can set somewhat livelier accents at the beginning or end of a word. "Die Lara" also contains fractions and tabular figures.

Neonrec is an innovative display font that merges futuristic aesthetics with the mesmerizing allure of neon lights. With its bold uppercase letterforms and a luminous neon backlight, this typeface commands attention, creating a visually stunning and forward-thinking experience. The special characteristic of this font lies in the sleek and cutting-edge design, embodying the essence of a futuristic world. Each letter is meticulously crafted with precision and sharp lines, exuding a sense of technological advancement and modernity. The neon backlight adds a striking visual element that elevates the font to new heights. Inspired by the captivating glow of neon lights, Neonrec infuses a sense of energy and innovation into each character. The luminous backlight creates a radiant glow that casts a captivating hue, reminiscent of the neon signs that adorn the streets of a futuristic metropolis. This futuristic neon effect adds depth and dimension to the font, creating an eye-catching visual impact. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Neonrec is perfect for attention-grabbing headlines, logos, and sleek branding applications that require a touch of futuristic sophistication. It is thrives in designs that embrace a forward-thinking and cutting-edge style. Whether you're creating posters, digital interfaces, sci-fi themed artwork, or anything in between, this font will add a captivating futuristic element that sets your project apart. It shines particularly bright in applications related to technology, gaming, science, and futuristic-themed designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Though there are many thousands of digital typefaces available, none seem to be made exclusively of letters that tessellate, a complete tessellating alphabet. This void is now filled with not one typeface, but a group of typefaces, the Tescellations kinship group. Even though I am aware of only one use for this typeface--writing about tessellations--that does not mean there are not hundreds or perhaps thousands of other uses. These typefaces are a byproduct of two maze books I designed, Puzzling Typography and Puzzling Typography A Sequel. I found the challenge of making mazes from tessellations, including letter tessellations, intriguing and these typefaces are a byproduct that endeavor. There are seven members of this typeface kinship group. I tried to select the the glyphs that fit together best to form Tescellations; it is the most readable of the lot. The reason for an Italics version is that I needed one for the maze project. In constructing it, I tried to include as many different lower-case glyphs as I could rather than just skew the regular version. A purist might insist that the tessellation deal with the counters. My approach was to worry only about the exterior of any letter that has an interior, but for anyone who who might object to the counters, versions with filled counters are included. What did not fit into Tescellations was dumped into Tescellations Two, which is somewhat of a ransom-note type of face. It comes in two styles, a regular version and a version in which the counters are removed. TescellationPatterns shows how many of the characters in these typefaces tessellate. It has over 100 tessellation patterns, each on only one character. Simply type several lines with any character and make sure the leading is the same as the font size, and you have an instant tessellation pattern of a letter.

Kosnat Trunks is a striking sans-serif display font that seamlessly blends retro aesthetics with a touch of modern design. With its wavy ligatures and a whopping 920 meticulously crafted glyphs, this font is a typographic masterpiece that will elevate your design projects to new heights. Key Features: Retro Charm: Kosnat Trunks exudes a delightful retro charm that harks back to the styles of the past, making it perfect for vintage-inspired designs. Wavy Ligatures: The unique wavy ligatures add a playful and dynamic element to the font, making your text visually captivating and memorable. Vast Glyph Library: With an extensive collection of 920 glyphs, Kosnat Trunks offers you unparalleled versatility in your design work. This includes uppercase and lowercase characters, punctuation, symbols, and special characters. PUA Unicode: Kosnat Trunks supports the Private Use Area (PUA) Unicode, ensuring compatibility across various platforms and applications. This feature allows you to access alternate characters and glyphs effortlessly. Multilingual Support: Whether your project requires Latin-based characters or extends to various international languages, Kosnat Trunks has you covered with its comprehensive multilingual support. Ideal Usage: Vintage Branding: Create eye-catching logos and branding materials for retro-inspired businesses and products. Poster Art: Craft attention-grabbing posters and promotional materials that demand attention. Editorial Design: Elevate your magazine layouts, book covers, and editorial spreads with this unique font. Packaging: Design packaging that stands out on the shelf and tells a compelling story. Web Design: Use Kosnat Trunks to add a touch of nostalgia and personality to your website headers and titles. Kosnat Trunks is not just a font; it's a design tool that empowers you to infuse your projects with a sense of nostalgia and style. Elevate your typography game with this versatile and captivating typeface.

Ariata™, from Malou Verlomme, is three typefaces in one. Like phases of the moon, they gracefully meld from one to the other. The “Text” weights are sturdy designs that perform as well in blocks of copy as they do in the occasional headline. The “Display” versions of Ariata are delicate but confident designs that shine in large sizes, while the “Stencil” typefaces are eye-catching and provocative. Each version is available in four weights, from a forthright regular to a robust black, making for a family that is comfortable taking on a wide variety of tasks. The individual designs can be combined with each other to create a distinctive, yet cohesive typographic statement, or stand on their own as confident communication tools. If you want a little more variety, Ariata’s solid glyphic shapes will serve as a dynamic counterpoint to just about any Humanistic sans. Space economical and distinctly original, Ariata easily creates commanding headlines, pull-quotes and subheads. Packaging, game branding, posters, book jackets and advertising design are all also within its comfort zone. While primarily intended for print applications, Ariata’s full-bodied x-heights, generous counters and clear apertures make for a design that is also at home in many digital environments. Verlomme is an award-winning Senior Type Designer at Monotype. He has a degree in graphic design from l'École Duperré in Paris, and an MA in Typeface Design from the University of Reading. He taught type design at several universities in Paris and still occasionally lectures and gives workshops. His typeface Camille has the honor of being part of the collection at France’s Centre National des Arts Plastiques (CNAP). Verlomme also designed Placard® Next, Madera™ and Johnston100, London’s new underground branding typeface. Click here to see all of https://www.monotype.com/studio/malou-verlomme Malou Verlomme’s typeface designs.