Architype Crouwel is a collection of typefaces created in collaboration with Wim Crouwel, following his agreement with The Foundry, to recreate his experimental alphabets as digital fonts. Crouwel's most recognized work was for the Van Abbe and Stedelijk museums (1954 –72) where he established his reputation for radical, grid-based design. Architype Catalogue’s soft ‘padded’ letterforms were originally created by Wim Crouwel for the Stedelijk museum’s 1970 exhibition of sculptor Claes Oldenburg.. Crouwel said, ‘When you look at Oldenburg’s work, with all those soft objects, it gets into your system, so you try to integrate that feeling in the design. Claes was very taken with the catalogue's typeface, and asked me if I would do the whole alphabet for him, so I did. I cut it all out in pink paper and pasted it together’.

Named in tribute to the members of the American Typecasting Fellowship, this font is an original expression of Jim Rimmer's left-handed calligraphy. It was designed and cut in 24 p in the early 1980s, then cast as foundry type on Jim's own Thompson typecasting machine. This alphabet exhibits classic semi-italic text tension, with sqaurish minuscules and hybrid renaissance majuscules. Jim's unique sense of restrained but attractive typo-calligraphic creativity puts on quite a show here. Fellowship was updated and remastered for the latest technologies in 2013. It comes with plenty of built-in alternates and ligatures. Its glyphset contains over 420 characters, and supports the majority of Latin-based languges. 20% of this font's revenues will be donated to the GDC Scholarship Fund, supporting higher typography education in Canada.

I hate the idea of revivals. I have publicly said I choose not to do revivals because they make me uncomfortable. This is as close as I have been to crossing my own line. To be direct, Rhythm is based on the ATF typeface, Ratio (I just recently learned the foundry of origin). I came across this typeface from a printed specimen years ago when I was in school and held onto it. It was unique and I loved how well integrated the inline worked within both the flourish and serif of the glyphs—it was old, but not, reminiscent, but fresh. My specimen was limited in the glyph offering (it was c. 1930ish) and I realized a lot would need to be done to ‘finish’ it and bring it to contemporary expectations. I didn't want to do ‘retro’ and tried to avoid the visual trappings associated with it. What I did want to do is interpret what I had in the specimen and reinterpret it digitally, refining its construction and extending its typographic equity along the way. The ‘One’ and ‘Two’ (and their matching ‘Solids’) styles diverge providing various elaborations that coordinate well between rigid bracketed serifs and compact tails. I further expanded the glyph offering to include a full diacritic set, old style numerals, fractions, stylistic alternates, swashes, titling alternates and controlled flourishes that adhere to the efficient framework of the script. And yes, I refer to it as a ‘script’ because calling it a ‘cutesy serif’ seems wrong :) I hope this is seen less as a slavish revival and more as a championing of a really unique typeface. The Original Typeface was Adastra, designed by Herbert Thannhaeuser for the Foundry D. Stempel AG in Frankfurt, Germany.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

INTRODUCTION When I started the first Selfie back in 2014 I was aware that I was designing something innovative at some point, because at that time there were not too many, (if any) fonts which rescued so many calligraphy features being at the same time a monolinear sans. I took inspiration from the galerías’ neon signs of my home city, Buenos Aires, and incorporated the logic and ductus of the spencerian style. The result was a very versatile font with many ligatures, swashes and a friendly look. But… I wasn’t cognizant of how successful the font would become! Selfie is maybe the font of my library that I see the most when I finally go out, (type-designers tend to be their entire lives glued to a screen), when I travel, and also the font that I mostly get emails about, asking for little tweaks, new capitals, new swashes. Selfie was used by several renowned clients, became part of many ‘top fonts of the year’ lists and was published in many magazines and books about type-design. These recognitions were, at the same time, cuddles for me and my Selfie and functioned as a driving force in 2020 to start this project which I called Selfie Neue. THE FONT "Selfie for everything" Selfie Neue, because it’s totally new: All its glyphs were re-drawn, all the proportions changed for better, and the old and somehow naive forms of the first Selfie were redesigned. Selfie Neue is now a family of many members (you can choose between a Rounded or a Sharp look), from Thin to Black, and from Short to Tall (because I noticed the feel of the font changed notoriously when altering its proportions). It also includes swashy Caps, which will serve as a perfect match for the lowercase and some incredibly cute icons/dingbats (designed by the talented Melissa Cronenbold, see also Selfie Neue Rounded for more!) which, as you see in the posters, make the font even more attractive and easy to use. You'll find tons of alternates per glyph. It's impossible to get tired with Selfie! Like it happened with the old Selfie, Selfie Neue Sharp was thought for a really wide range of uses. Magazines, Book-covers, digital media, restaurants, logos, clothing, etc. Hey! The font is also a VF (Variable Font)! So you can have fun with its two axes: x-height and weight, in applications that support them. Let me take a New Sharp Selfie! TECHNICAL If you plan to print Selfie Neue VF (Rounded or Sharp), please remember to convert it to outlines first. The majority of the posters above have the "contextual" alternates activated, and this makes the capitals a little smaller. I'd recommend deactivating it if you plan to use Selfie for just one word. Use the font always with the "fi" feature activated so everything ligatures properly. The slant of the font is 24,7 degrees, so if you plan to have its stems vertical, you may use Selfie with that rotation in mind. THANKS FOR READING

A revival and major expansion of a 1926 Ludwig Wagner Schriftgiesserei typeface called Titanic, Lexington is the ultimate art deco expression of the high times of signage and theater during the first half of the twentieth century. Big feminine caps and cozy direct minuscules make for a unique combination rarely found in other deco faces. Topped off with the humorous and quite suave tall and pointy ascenders and descenders of the alternates, Lexington makes for a versatile and uniquely eye-catching display face beneficial to poster art, book covers, classy menus, product packaging and music paraphernalia. The original specimen Hans van Maanen worked from showed the majuscules, minuscules, figures, and 4 alternates of some ascending minuscules. This new digital version includes all of the above, plus many more additions: - Plenty more alternates, for some caps as well as for all the ascending and descending lowercase. - Three different size variations for the comma and the period. - Oldstyle figures. - A full complement of accented characters to support more Latin-based languages than ever, including Baltic, Celtic, Turkish, and Central/Eastern European languages. - A Handtooled style variation that covers both the main character set and the alternates. Lexington was named after Manhattan's Lexington Avenue, home of the some of the most famous and polished art deco architecture of the 1920s and 1930s. Lexington and Lexington Handtooled come in all popular font formats. The OpenType versions combine their respective alternates with the main character sets, for ease of use within OpenType-savvy applications.

"LFT Etica, the moralist type family by Leftloft, began at the end of 2000, but its development is ongoing as it expands to fill the astute designer’s needs. The starting point was the common, cold grotesque sans typefaces — ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility, and colour, but with a much warmer feel. LFT Etica resides aesthetically somewhere between a grotesque and a humanist sans serif, resulting from a design of soft strokes with open counters and terminals. LFT Etica successfully combines forcefulness and delicacy, wrapping both with sober charm. Milan-based Leftloft studio teamed up with Octavio Pardo to develop 24 additional styles for the very successful LFT Etica type family. This expansion is a direct response to type users’ requests who found in LFT Etica a de facto choice for web design. The new styles come in two series — 12 condensed widths and 12 compressed ones — and have proven versatile in applications where the ratio between information and space becomes an important challenge. Each letter was scrutinised to ensure durability throughout time and adaptability within circumstance, so LFT Etica meets the challenge of balance head-on. With its wide current range of 40 styles and many OpenType features (four sets of numerals, fractions, arrows, and dingbats, as well as stylistic alternates), LFT Etica is a versatile typeface suitable for corporate or casual use, for printed publications as well as web design. The complete LFT Etica family, along with our entire catalogue, has been optimised for today’s varied screen uses."

Haboro Squared is a formidable typeface, created for a variety of uses. Clean and consistent, it evokes the 1950s and 1960s. Haboro Squared conveys accuracy and utility with its clean, consistent strokes. In the 1950s and 1960s, designers and the general public began to reject the austerity of the war years in favor of a new sense of American optimism. This era is reflected in Haboro Squared’s gently rounded letters, playful alternates, and multi-purpose use. Whether you are creating a logo, crafting a website, or designing a magazine article, Haboro balances modernity with a hint of nostalgia. Haboro Squared achieves a balance between fashion and practicality. Even though it has an angular, modern design, it radiates friendliness and warmth. Haboro Squared works well for headings and brief texts. This collection of fonts consists of eight weights, from Thin to Black, each with a corresponding italic. Your design will seem robust and fashionable with so many options. Haboro plenty of alternate glyphs from which you can select an alternative or adjust the appearance of each letter. You’ve found a secret weapon. The Haboro Hyperfamily features a whole array of options, from Haboro Sans, Serif, to Haboro Didone. Take a look at the entire family. Even the most serious texts have a touch of whimsy thanks to the quirky alternate terminals in this multipurpose text face. Impress clients with your next branding package, web site, or magazine spread. Let the nostalgia of America’s post WWII heyday fill you with inspiration! Supercharge your next branding package, web site, or magazine spread with Haboro Squared!

LaFarge is a typeface primarily inspired by the historic mosaic titling capitals found in the New York City Subway, designed by architect Squire J. Vickers and his staff between 1915-1927. These elegant but industrial signs are characteristic of early-20th century American architectural lettering, and show an evolution of the classical Roman capitals to lower contrast, bolder serifs, and more regular character widths. The majority of this lettering still remains in subway stations today, and though elements of the style vary from sign to sign, many carry the unique features that are reflected in LaFarge: high-waisted crossbars with angled serifs, elegantly curved “R” leg, and distinctive trapezoidal serifs. LaFarge expands this style into a lower case, taking cues from contemporary typefaces like Bookman, Cheltenham, and Della Robbia. A number of typographic features are included, such as small caps, ordinal indicators / superscript letters, arrows, and a set of borders inspired by early subway tile. The result is a fashionable, architecturally-minded typeface that is just as at home on the façade of a grand public building as it is on packaging, magazines, or the web. LaFarge works well in both text and display settings, remaining readable at small sizes but showing off its elegant details in larger uses. LaFarge has received the Communication Arts Typography Award, the ADC Annual Merit Award, is included in the 2020 STA 100, and was part of designer Greg Shutters’ winning portfolio in the 2019 Type Directors Club Ascender Awards. You can download a PDF specimen of LaFarge, and also view a video of LaFarge in action.

Following from the continued popularity of the original MB Deco, here is Nuovo Deco, its new and improved big brother. Nuovo Deco comes in three weights, Light, Regular and Bold. A full character set of Caps and lower case letters, alternate characters, plus some very nice Ligatures to give some added art deco style and a much wider scope.

"Introducing Badmood, a sleek and modern bold font designed to make a statement. With its clean lines and strong presence, Badmood adds a touch of sophistication to any project. Perfect for headlines, logos, branding, and more, this font exudes confidence and style. Embrace the power of modern design with Badmood and elevate your creative projects to new heights."

Autovia is a condensed sans-serif based on the typeface created for the US Highway signs in the 50s. Autovia comes in 6 weights. Has more than 350 glyphs and 8 stylistic sets, and supports all the Latin based languages. A new and more casual addition for the Highway fonts sub-genre ideal for big headlines.

Grota is back in its new Sans and Rounded versions. The complete family consists of 40 fonts, 10 different weights, cursives and an alt version. Grota Sans Rounded, designed by Eli Hernández and Daniel Hernández, is a grotesque font with Latin spirit. This type accompanies Grota Sans and Grota Unicase. It’s ideal for logos, brands, books, headlines, etc.

Bestters Supply is a hand made script font, bold, classic and fun vintage script. Can be used for various purposes such as logos, t-shirt, letterhead, signage, news, shopping bag, posters, badges etc. Bestters Supply comes with Opentype features with 400 glyphs inside. Including alternate characters upper and lower case, ligatures, discretionary ligatures, and multiple language support.

BluHead Studio LLC is pleased to announce the release of 4 fonts from the Churchward Conserif family designed by New Zealand typeface designer Joseph Churchward. BluHead Studio is in the process of digitizing many of the fonts in Churchward's extensive library of exciting and unique designs and will be releasing them in OpenType format on a regular basis.

Hello Everyone, introduce our new product Insans - Bold Handmade Carefully All Caps Display, inspired by the title of the sports poster and We make it very energetically. Insans font with strong and challenging nuances. very suitable for the title, typography, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional.

All that remains from this once so proud and glorious antiqua are steel skeletons. Destroyed. Distorted. Ruins. The main focus and usage of LamentaX are headlines, posters for event graphics and music/media/game packaging. Lamenta X was revised 2012 and now hold a full character set of basic english/latin letters and west european diacritics!

In the 1930s the WPA (Works Progress Administration) was involved with getting a number of Americans back to work during the Great Depression. One faction of the WPA's efforts was the Federal Art Project. Thin, condensed hand lettering on a poster for an Art Exhibition at the New Bedford Free Public Library is the inspiration for Art Exhibit JNL.

Solidaritha Script is a stylish calligraphy font that features a varying baseline, smooth line, classic and elegant touch. Can be used for various purposes.such as headings, signature, logos, wedding invitation, t-shirt, letterhead, signage, lable, news, posters, badges etc. Solidaritha Script features 389+ glyphs and 194 alternate characters. including initial and terminal letters, alternates, ligatures and multiple language support.

Hermann Zapf and Akira Kobayashi redeveloped Palatino for the 21st Century, creating Palatino nova. The Palatino nova family also includes revised versions of Aldus (now called Aldus nova). A bold weight is added into the font family. The character set support is similar to Palatino nova, but Greek and Cyrillic are not available in book weight fonts.

A 1928 menu for the restaurant “Rotisserie Du Cardinal” had the word “Cardinal” hand lettered in quite an unusual Art Nouveau type design consisting of thick and thin lines using angles to form the letter shapes. This eccentric (yet charming) style of lettering is now available as Rotisserie Menu JNL in both regular and oblique versions.

Taka is a font that can be used in all situations, be it Articles, News, Titles and so on. We will be adding variants of the font in the coming weeks which will make this font even more complete. This font is only sold by Monotype and its subsidiaries, make sure you get the original only here!

Introduction of our new collection of playful doodle font styles. The Hypercrack Handwritten all-caps Font with scribbles styles font. Also, Hypercrack has a unique stylistic alternates character. So you can create a combination of whatever you want! This font is perfect for your display project for headlines, quotes, editorial design, print posters, and much more.

Introducing our new font "Hideas", a gorgeous hand brushed font and modern script that is made to create stunning logos, quotes, wedding invites, blog posts, Instagram, signatures, poster, postcard, and more! This font includes ligatures and swashes to make everything look perfectly natural, handwritten, smooth and dynamic. Hideas also contains Numbers and Punctuation and International language support.

Proudly present a new font that fresh from the oven Creative Thinking font, an elegant font family that has 4 weight styles regular, italic, bold, and bold-italic. It's so perfect to combining and mixing the weight styles to make outstanding and beautiful design project. Don't worry this font already with multilingual support more than 30 languages.

A new romantic serif typeface with Baroque initial caps that can be incorporated to complement the standard set or be set together. Inspired by European architecture of the seventeenth century, the decorative initials fit comfortably with today’s illustrative typographic trends. The standard set offers classic tradition with contemporary touches that can stand alone in display or text sizes.

Bommer project started in January of 2014 and I am happy to announce the first family - Bommer Slab - is now ready for release. This family includes 14 weights - being seven uprights and seven italics. This font has a strong personality, that makes it perfect for use in headline sizes but means it also works gracefully within text blocks.

Neon is an experimental, retro display typeface designed by Superfried. Neon features two styles which can be toggled via shift. As the name suggests styling for the typeface started with classic neon signage, but quickly took a new direction of its own leading to a very distinct and versatile display face. Neon has been featured in Computer Arts magazine.

PT MEDIEVIL is a new display font inspired by artefacts of the dark middle-ages with a contemporary twist. It contains 195+ meticulously crafted glyphs characterized by: -Upper part indented inward to be true to imperfect handwritten medieval typography -Smooth curve shapes -Rounded intersections between shape sections -Rounded serif Easily create headlines, display titles, subheadings, body copy.

WIP Macho Man depicts the handwriting of man with a strong need for independence combined with spontaneity and high potential. The (lower case) characters are joined as it is usual in German speaking countries. Originally designed in 1995 the font has been extended by a lot of new characters such as accented characters, punctuation, symbols and currency symbols.

Presenting a condensed Art Deco sans serif font with rounded corners and squared inner lines, based on the hand lettered title on the cover of the sheet music for 1944’s “Just A Little Fond Affection”. Allerton JNL is available in both regular and oblique versions, and was named after a neighborhood in the Bronx, New York.

Milkyway, a bubbly-bold font that is perfect for making your project looks even more fun! It’s rounded and curvy shape makes it more unique. Milkyway is very ideal for variety design projects, such as posters, Invitations, greeting cards, logo, and many more. Milkyway will jolly up you and your audiences! Get this font now to magnify your design!

Spandau is one of the 12 boroughs of Berlin and, if you add Ballet, a New Romantic British band. It is also a very nice all caps art deco font. Not too soft, not too angular, just about right! Some upper case letters differ from their lower case kin. Comes with all the diacritics you'll need.

Wolfriend is a refined and graceful calligraphy typeface with characters that dance along the baseline. It can be used for various purposes such as logos, wedding invitations, headings, t-shirts, letterhead, signage, labels, news, posters, badges and so much more. Wolfriend is PUA encoded which means you can access all of the glyphs and swashes with ease!

Introducing our new modern handwriting signature font Scarlett Mackenzie. A sophisticated signature-style handwriting script with an uppercase swash alternatives for each letter and 7 sets of alternate for each lowercase letter. Scarlett Mackenzie handwriting font was created to look as close to a natural handwritten script as possible by including over 35 natural-looking opentype ligatures

This engaging headline face is based on a rather pudgy typeface named “Bullion Shadow”, which was originally released somewhere on the cusp between the hippie and disco eras, and was equally at home in both. Now available in shaded and plain. Both versions of this font support the Latin 1252, Central European 1250, Turkish 1254 and Baltic 1257 codepages.