As you can see, Nefertiti is a font based on ancient Egyptian hieroglyphs and could be classified as a fun-font. I've always been really interested in Egyptology and a couple of years ago I thought it would be great to be able to write in hieroglyphs. I started to study them but soon realized it would take me a long time to be able to do this. Still, I was determined to find a way around this problem. At some point I came up with the idea of rearranging and reforming the hieroglyphs so as to resemble the English alphabet. During this process I tried as much as possible to preserve their ethos and appearance. However, since they are designed to write in English with, it's obvious that they are not always going to look like the real thing. Despite this, I'm really happy with the final result and I think many Pharaohphiles who just want to have some fun will be also. The only difference in this font between lower and upper case characters, is that the latter are set between two parallel, horizontal lines. These are for use with brackets (motif ends) to form cartouches - elongated ovals for names and/or titles. Try typing the following using the upper case in the sample text box. e.g. (JOHN} The zigzagged vertical lines at each end, separate the motifs from the hieroglyphs. Note the three types of ends/brackets. These lines are also used to separated words from one another and to give a more authentic appearance. So pressing the space bar gives a zigzagged line - not a space. They can also be used at any point within a cartouche to separate first and last names or titles. e.g. ; (JOHN;BROWN} walked straight home after work. Notice the eye glyph (period/full stop) at the end of the sentence. This is the only punctuation mark which can be used within a cartouche, e.g. after Mr. or to add a more Egyptian appearance to a name or title. e.g. (MR>;JOHN;BROWN} Parallel lines dividing hieroglyphical inscriptions and writing into rows or columns are very common. To incorporate these in a body of text, simple use the underline U. e.g. (OSIRUS) and {ISIS} were important gods of the ancient Egyptians. (HORUS) {HATHOR} and [RA],the sun god, were also highly revered deities. The punctuation marks available are shown below. . , " " ' ! ? "where is the king?" The font also includes the numbers 0-9, the following mathematical symbols and the hash sign(Scarab beetle). Once again, I've tried to make them look as Egyptian as possible; whether I've succeeded or not is open to debate. e.g. + - x / = # This font is named after Akhenaten's beautiful wife, Nefertiti, who's image can be seen in the graphic on this page.

Remora is an extensive new humanist sans serif which comes in 2 style variations, the effervescent Remora Sans and its corporate business partner Remora Corp. Both styles include 5 individual width sets ranging from the condensed W1 to the extra-wide W5. Furthermore, with an impressive 7 weights (Thin to Ultra) and true matching italics in each pack Remora is an ultra versatile super family comprising 140 individual fonts, perfect for any typographic assignment or design brief. Remora was designed by G-Type founder Nick Cooke. Both the Sans and Corp families share the same proportions, with the exception of certain key characters that change the overall appearance. Remora Sans is an exuberant and characterful typeface while Remora Corp, as its name suggests, is a businesslike typeface more suited to corporate typography. Quite early on in the design process Nick decided to give Remora Corp equal billing instead of incorporating these glyphs as alternates or a stylistic set that may get overlooked. “I created two separate families after learning a valuable lesson with one of my earlier typefaces, Houschka”, says Nick. “Houschka contained distinctive rounded A’s W’s and w’s, with ‘straight’ styles as character alternates. Even though style sets and alternates are easy to activate they are rarely used, so after many requests for customised versions of the fonts with the straight characters as defaults it was decided to create the separate ‘Alt’ family. So I cut straight to the chase with the two Remora variants and created two complementary families.” Both sets contain many shared letterforms, but it is the alternate characters that significantly alter the appearance of each font. Remora has been carefully designed for optimum legibility at large and very small sizes. Although fairly monolinear in appearance, especially in the lighter weights, particular attention has been paid to optical correction like the overshoots of the curved characters. Open counters and painstaking attention to detail (e.g. weight contrast between horizontal and vertical strokes, junctions of shoulders and stems etc) all boost readability and make Remora a great choice across all media. Remora Sans and Corp are ‘humanist’ rather than ‘geometric’ in style, meaning they’re not strictly based on rectangles and circles, resulting in a warm and friendlier feel. The slightly ’super-elliptical’ rounded forms create generously attractive curves. Remora has very distinctive italics in that they are only inclined by 8 degrees, but are not just based on slanted uprights. The italic styles are very alluring when used for display at large sizes and the good news is they come bundled free with their respective uprights. Each family also contains many OpenType features including proportional and tabular numbers, small caps, discretionary ligatures, plus five stylistic sets for ultra versatile typography.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Introducing Sun Type, a delightful and versatile serif logo font that exudes creativity and charm. With over 150 ligature glyphs and alternate characters, this font offers a wide range of design possibilities, allowing you to craft unique and visually stunning logos and brand identities. Sun Type goes above and beyond with its extensive collection of 52 swashes, offering you the opportunity to add elegant and decorative elements to your text. These swashes effortlessly elevate your designs, giving them a touch of sophistication and individuality. Not only does Sun Type excel in its aesthetic appeal, but it also showcases its practicality by supporting a staggering 87 languages. No matter where your audience is located or what language they speak, you can confidently communicate your message with this font. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu LigaturesAB,AC,AD,AF,AG,AI,AK,AL,AM,AN,AP,AR,AT,AU,AV,AW,AY,BA,BE,BI,BL,BO,BU,CA,CC,CE,CH,CI,CK,CL,CO, CR,CT,CU,DA,DD,DE,DI,DO,DS,DY,EA,EC,ED,EE,EF,EG,EI,EL,EM,EN,EP,ER,ES,ET,EV,EW,EX,EY,FA,FE,FF,FI, FO,FR,GA,GE,GH,GO,GS,HA,HE,HI,HO,HT,IK,IL,IM,IN,IT,IH,KE,KI,KN,KO,LA,LE,LF,LI,LK,LL,LO,LT,LY,MA,ME, MM,MO,MP,MS,MU,NC,ND,NE,NG,NK,NL,NN,NO,NS,NT,OA,OB,OC,OD,OF,OG,OI,OK,OL,OM,ON,OO,OP, OR,OS,OT,OU,OV,OW,PE,RA,RE,RF,RK,RM,RN,RO,RR,RS,SA,SC,SE,SH,SK,SS,ST,TC,TE,TH,TI,TL,TO,ST,TT,TU, TW,TY,UC,UE,UL,UM,UN,UR,US,UT,VA,VE,VO,WA,WE,WH,WN,WO,YE,YO,YS,MEN,FRO,RON,ROM,THE, AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,TER,WAS,YOU,ITH,VER,ALL,THI,OUL,GHT,AVE,HAV,HIN,ATI, EVE,HING,WERE,FROM,THAT,THER,HAVE,THIS,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Before Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso’s La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville pioneered. The typeface Didot used for this work was of Didot’s own creation and is considered by both G. Dowding and P. Meggs to be the first modern face. Three years later, Bodoni of Parma is using a very similar face. Just as Bodoni’s typeface evolved over time, so did that of the Didot family. The eldest son of Francois Ambroise Didot, Pierre, ran the printing office; and Firmin ran the typefoundry. Pierre used the flattened, wove paper, again pioneered by Baskerville, to permit a more accurate impression and allow the use of more delicate letterforms. Firmin took full advantage of the improved paper by further refining the typeface introduced by his father. The printing of Racine’s Oeuvres in 1801 (seen in our gallery image #2) shows the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one reason Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more fragile when cast in metal type and thus more expensive for printers to use than Bodoni. This ceased to be a problem with the advent of phototypesetting, opening the door for a renewed interest in the work of the Didot family and especially that of Firmin Didot. Although further refinements in the Didot typeface were to come (notably the lower case ‘g’ shown in 1819), we have chosen 1801 as the nominal basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that replaced the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the unusual coat-hanger cedilla. We like the organic, leaf-like tail of the ‘Q.’ We like the strange, little number ‘2’ and the wonderfully assertive ‘4.’ And we like the distinctive and delightful awkwardness of the double-v (w). Please note that we have provided alternative versions of the upper and lower case w that are slightly more conventional than the original designs. Personally, I find the moderns (often called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clarity. They represent the Age of Reason and the power of man’s intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare beauty of a winter landscape. That appeals to a New Englander like myself. Another aspect that appeals to me is setting a page in HiH Firmin Didot and watching people try to figure out what typeface it is. It looks a lot like Bodoni, but it isn't!

A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

In 1931, The Times of London commissioned a new text type design from Stanley Morison and the Monotype Corporation, after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. The new design was supervised by Stanley Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions for legibility and economy of space (always important concerns for newspapers). As the old type used by the newspaper had been called Times Old Roman," Morison's revision became "Times New Roman." The Times of London debuted the new typeface in October 1932, and after one year the design was released for commercial sale. The Linotype version, called simply "Times," was optimized for line-casting technology, though the differences in the basic design are subtle. The typeface was very successful for the Times of London, which used a higher grade of newsprint than most newspapers. The better, whiter paper enhanced the new typeface's high degree of contrast and sharp serifs, and created a sparkling, modern look. In 1972, Walter Tracy designed Times Europa for The Times of London. This was a sturdier version, and it was needed to hold up to the newest demands of newspaper printing: faster presses and cheaper paper. In the United States, the Times font family has enjoyed popularity as a magazine and book type since the 1940s. Times continues to be very popular around the world because of its versatility and readability. And because it is a standard font on most computers and digital printers, it has become universally familiar as the office workhorse. Times™, Times™ Europa, and Times New Roman™ are sure bets for proposals, annual reports, office correspondence, magazines, and newspapers. Linotype offers many versions of this font: Times™ is the universal version of Times, used formerly as the matrices for the Linotype hot metal line-casting machines. The basic four weights of roman, italic, bold and bold italic are standard fonts on most printers. There are also small caps, Old style Figures, phonetic characters, and Central European characters. Times™ Ten is the version specially designed for smaller text (12 point and below); its characters are wider and the hairlines are a little stronger. Times Ten has many weights for Latin typography, as well as several weights for Central European, Cyrillic, and Greek typesetting. Times™ Eighteen is the headline version, ideal for point sizes of 18 and larger. The characters are subtly condensed and the hairlines are finer. Times™ Europa is the Walter Tracy re-design of 1972, its sturdier characters and open counterspaces maintain readability in rougher printing conditions. Times New Roman™ is the historic font version first drawn by Victor Lardent and Stanley Morison for the Monotype hot metal caster."

Fashion style meets typography in 9 styles The Ysans designed by Jean François Porchez is a sanserif influenced by Cassandre lettering pieces and the geometric sanserif style from the inter-war period. Since Chanel logo, the geometric sanserif style is the favorite typographic thing in fashion. Ysans asserts this reference. Not only Haute-Couture houses use these categories of typefaces for their visual identity, but fashion magazines usually strength their layout with these geometric sanserif when a Didot isn’t used. Details of Ysans drawings Nevertheless, Ysans takes its sources in certain details imagined by the graphic designer Adolphe Mouron Cassandre for the monogram then logotype Yves Saint Laurent (1961 …). One thing keeps coming in again and again in Cassandre’s post-war graphic work: the pointed finish and endings, the references to the Roman capitals engraved and unique features such as the open R or other details influenced by Antiqua and calligraphic forms or ductus (you should have in mind that an earlier typeface by Cassandre is the Peignot, a modern uncial based on researches of the palaeographer Jean Mallon.) Certain letters from the Ysans are directly an homage to the Yves Saint Laurent logo, the R, the narrow U, the apex of the N, and all the details of such pointed endings on the f and t lowercases. The Ysans, a typeface between diversity and synthesis There are several ways to approach the design of a new geometric sanserif. The first approach is to follow the Bauhaus philosophy by designing in the most rational way, typographic forms based on simple geometric elements: square, round, triangle. Another approach is to start a revival based on an historical geometric typeface and optimize the original ideas, in order to adapt certain details to the contemporary needs. For Ysans, the approach is somewhat different because this project started in 2011 at ZeCraft as a typeface designed specifically for Yves Saint Laurent Beauty, still in use by the brand under its original name Singulier. The Singulier-Ysans has been conceptualized by ZeCraft, both drawing its sources from Cassandre and various historical geometric typefaces. Some will spot specific traits as in Futura, others in Metro or Kabel. By closely observing the Ysans, the result can also recall the way Eric Gill draw the curves and endings of his typefaces, of which Jean François Porchez is a fervent admirer. In the end, Ysans is like fashion as envisioned by Yves Saint Laurent who constantly revealed multiple references in his new collections, without being recognisable any other than with his unique style. “Fashions pass, style is eternal. Fashion is futile, not style.” Cherry on the cake: Ysans Mondrian Ysans Mondrian, named in reference to the Mondrian dress created by Yves Saint Laurent, is the multi-layer version of the family. Ysans, fashion style meets typography Club des directeurs artistiques, 49e palmarès

Johann Michael Fleischmann was born June 15th, 1707 in Wöhrd near Nuremberg. After attending Latinschool he started an apprenticeship as punchcutter in the crafts enterprise of Konstantin Hartwig in Nuremberg, which ought to last six years. For his extraordinary talent Fleischmann completed his apprenticeship after four and a half years, which was very unusual. 1727 his years of travel (very common in these days) began, during which he perfected his handcraft by working in different enterprises as journeyman. First location was Frankfurt/Main where he worked for nearly a year at the renowned type foundery of Luther and Egenolff. Passing Mainz he continued to Holland, where he arrived in November 1728 and stayed till he died in 1768. In Amsterdam he worked for several type founderies, among others some weeks for Izaak van der Putte; in The Hague for Hermanus Uytwerf. Between 1729 and 1732 he created several exquisite alphabets for Uytwerf, which were published under his own name (after his move to Holland Fleischmann abandoned the second n in his name), apparently following the stream of the time. After the two years with Uytwerf, Fleischmann returned to Amsterdam, where he established his own buiseness as punchcutter; following an advice of the bookkeeper and printer from Basel Rudolf Wetstein he opened his own type foundery 1732, which he sold in 1735 to Wetstein for financial reasons. In the following Fleischmann created several types and matrices exclusively for Wetstein. In 1743 after the type foundery was sold by Wetstein’s son Hendrik Floris to the upcoming enterprise of Izaak and Johannes Enschedé, Fleischmann worked as independent punchcutter mostly for this house in Haarlem. Recognizing his exceptional skills soon Fleischmann was consigned to cutting the difficult small-sized font types. The corresponding titling alphabets were mostly done by Jaques-Francois Rosart, who also cut the main part of the ornaments and borders used in the font examples of Enschedé. Fleischmann created for Enschedé numerous fonts. The font example published 1768 by Enschedé contains 3 titling alphabets, 16 antiquacuts, 14 italic cuts, 13 textura- and 2 scriptcuts, 2 greek typesets (upper cases and ligatures), 1 arabic, 1 malayan and 7 armenian font systems, 5 sets of musicnotes and the poliphonian musicnotesystem by Fleischmann. In total he brought into being about 100 alphabets - the fruits of fourty years of creative work as a punchcutter. Fleischmann died May 27th, 1768 at the age of 61. For a long time he was thought one of the leading punchcutters in Europe. A tragedy, that his creating fell into the turning of baroque to classicism. The following generations could not take much pleasure in his imaginative fonts, which were more connected to the sensuous baroque than to the bare rationalism of the upcoming industrialisation. Unfortunately therefore his masterpieces did not survive the 19th century and person and work of Fleischmann sank into oblivion. The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history. Therefore we want to place strong emphasis on this beautiful font. Fleischman Gotisch The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequat quality for modern systems. Same applies the "Fleischman Gotisch", which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the german type foundery Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font" and his "Abstract about the Et-character" Jan Tschichold refered to it as "Duyts" again. To honour the genious of Johann Michael Fleischmann we decided to name the writing "Fleischmann Gotisch PT" (unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct german black letter necessary longs and other ligatures were generated. Through the according integration into the feature-code about 85% of all ligatures in the type can be generated automatically. Problematic combinations (Fl, Fk, Fh, ll, lh, lk, lb) were created as ligatures and are likewise constructed automatically. A historically interesting letter is the "round r", which was already designated by Fleischmann; it is used after preceding round letters. Likewise interesting is the inventive form of the &-character, which is mentioned by Tschichold in his corresponding abstract. Nevertheless despite all interpretation it was very important to me to maintain the utmost fidelity to the original. With this digital version of a phantastic texturfont of the late baroque I hope to contribute to a blossoming of interest for this genious master of his kind: Johann Michel Fleischmann. OpenType features: - Unicode (ISO 10646-2) - contains 520 glyphes - Basic Latin - Latin-1 Supplement - Latin Extended-A - Latin Extended-B - Central European Glyhps - Ornaments - Fractions - Standard ligatures - Discretionary ligatures - Historical ligatures - Kerning-Table

Geometric sans fonts in the Bauhaus tradition were the inspiration for the design of FF Mark®, for example the Universal font by Herbert Bayer, Erbar® Grotesk, Kabel®, Neuzeit Grotesk and of course Paul Renner's Futura®. From an aesthetic point of view, FF Mark is a descendant of these classics of German typeface design that intends to meet the needs of modern communication. Hannes von Döhren and Christoph Koeberlin had the support of the entire FontFont Type Department in the design of FF Mark, including Erik Spiekermann, who took over the artistic direction of the project. The teamwork resulted in carefully planned, balanced forms, which are responsible for the harmonious overall impression of the font. The capitals are not based on Roman square capitals; rather, they have a uniformly wide letter form in a comfortable ratio to the x-height. Thanks to the x-height, which is significantly larger compared to the historical models, FF Mark is also very legible in small sizes. This makes it a very flexible font in terms of its range of applications. A contrast in the stroke width is barely noticeable. At the same time, light modulation supports readability, especially in the bold styles in small sizes. The uniform line ends are obvious for a contemporary sans family nowadays (unlike some of the historical precedents, which evolved over years). Other details from the predecessors are consciously maintained and provide for added individuality in FF Mark. For example, the limbs in the uppercase "K" and "R" are offset slightly from the stem. Alternative characters with crossbars are available for the numbers "0", "1", "7" and the uppercase "Z" and the lowercase "a" also has an alternative with an open form. German typesetters have the option of uppercase umlauts with points that are set lower, as well as a long "s" from the Fraktur. And last but not least, FF Mark has the very characteristic ft-ligature of Futura. FF Mark is available in ten finely tuned weights ranging from Hairline to Black. A Book style for text setting further emphasizes the well-rounded features of this contemporary typeface. When the font was published, it also included ten carefully designed cursives for all weights. Users also have the option of various numeral sets with old-style and uppercase numbers as well as small capitals. FF Mark also has some geometric shapes and arrows based on the features of Futura. FF Mark is a modern, full-featured, geometric sans serif that you can use without hesitation for large projects in headlines as well as in texts. FF Mark's design is a nod to the historical models and transports their charm, elegance and in some cases unusual design applications into a modern font family equipped with the most current typographical features. NEW: the new FF Mark W1G versions features a pan-European character set for international communications. The W1G character set supports almost all the popular languages/writing systems in western, eastern, and central Europe based on the Latin alphabet and also several based on Cyrillic and Greek alphabets.

In a not-too-distant future, humanity was ruled by a powerful, technologically advanced empire known as the Synod. The Synod controlled all forms of communication, and through this, they controlled the minds of the people. But a small group of rebels, known as the Resistance, had managed to evade the Synod's surveillance and formed a secret underground movement. They were determined to overthrow the Synod and restore freedom to the people. One of the Resistance's key members was a young artist named Trystån. He had a unique talent for creating powerful, visually striking posters that captured the spirit of the Resistance's message and spread it to the masses. Trystån had just completed a new poster, one that would be critical to the Resistance's plans. It depicted a single, outstretched hand holding a traditional Kimarii laser staff, with the words "Libertat!" emblazoned across the top. The poster featured a striking and powerful font that perfectly captured the spirit of the Resistance's message. The font was a combination of bold lines, elegant confident curves, and strong angles, giving it a sense of strength and determination. The lettering was large and prominent, filling up much of the poster, making it hard to miss. The letters seemed to be almost carved into the surface, giving the impression of something that was permanent and unshakable. The font was colored in dark shades, and was a sans serif typeface, that gives the message a very modern and current feel yet also feels vintage and retro, connecting the present with the struggles of the past. And with multilingual support, the typeface ensured that the message of the Resistance could be disseminated in every language on the planet. The background was minimalistic and in contrast, with a neutral palette, with just a hint of a sand-like color, representing the harsh conditions of the land that the people were fighting for their rights. The focus was all on the lettering, and how it conveyed the message. The poster was indeed a moving piece of graphic design, with its strong, striking font, and powerful imagery. It was clear that Trystån had put a lot of thought and care into its design. The poster, he hoped, would connect with people on an emotional level and inspire them to rise up against the oppression of the Synod Empire. The poster was set to be distributed at a major rally in the capital, where the Resistance was hoping to gain the support of thousands of citizens. But the Synod was not about to let this happen. They had long suspected the existence of the Resistance and had been working to infiltrate their ranks and discover their plans. The night before the rally, the Synod launched a surprise raid on the Resistance's hideout, capturing Trystån and several other members of the Resistance. Trystån was thrown into sand pits and interrogated by the Synod's top agents. They wanted to know everything about the Resistance's plans, including the details of the poster and the rally. Trystån, knowing the importance of the poster, refused to give in, even under the harshest of conditions. Meanwhile, the rally was drawing near, and the Resistance was desperate to get the poster out to the public. They knew that it was their only hope of gaining the support they needed to overthrow the Synod. They came up with a plan to smuggle the poster out of the hideout, but it would be a risky endeavor. As the rally began, the Resistance made their move, slipping the poster into the hands of the crowd. Trystån's poster had made a big impact in the rallies, and soon it became the symbol of hope for the resistance, and the visual representation of their struggle for freedom. The poster had become the catalyst for the revolution, and it would be remembered for many years to come as the symbol of the fight for freedom and democracy. The image of the outstretched hand holding the Kimarii laser staff struck a chord with the people, and they began to rise up against the Synod's oppression. Trystån, still locked away in the sand pits behind a stasis feild, could only imagine the scene unfolding outside. But he knew that his work had helped to spark a revolution, and he felt a sense of pride and accomplishment. The Resistance, with the help of the rally, was able to overthrow the empire, and Trystån was released, celebrated as a hero and hailed as the artist who helped to bring about the new era of freedom and democracy. The poster Trystån had designed had become the symbol of a new era, and it would hang in museums and public places as a reminder of the power of resistance and art, in the face of oppression. Features: regular and light weights numbers and punctuation multilingual characters

If you want to write something sincere and genuine but not too formal then this is the font for you. It is based on real handwriting, not some artificial calligraphy made to be either too haphazard or spiky or have loads of elegant flourishes but an ordinary person's writing, and designed to look as natural and as close to the original lettering as possible. Like any person's writing it is individual and distinctive, but so easy going on the eye those differences sit comfortably with you. It is friendly and open with easy to read glyphs both as lowercase and uppercase. The letters are relatively wide with clearly shaped distinct outlines. This font may be ideal for projects where you expect a wide readership with different reading abilities from young to old. When you are using this font a slightly bigger point size usually gives a better result so for a standard letter or similar you should size up to 15 points or more. Maree has been individually crafted to the smallest detail. To create a realistic handwriting font that looks relatively simple but works in a wide variety of languages requires a complexity and attention to detail most fonts will never require. This font in any ordinary business environment would never have been made, the effort required to make it too great, the length of time too long. There have been no shortcuts in this font, no automatic scanning or tracing, no automatic generation, no class kerning. Not only is each glyph individual but the width of letters, the height, the accents and the positions of the accents are all different. Even the line weight of the letters is designed to have natural variation but yet similar enough that the font appears as though it were written effortlessly in the same pen. And in order to keep the spacing consistent even though the letters have different widths, heights, lengths of descenders and so on, there are a vast number of kerning pairs, letter to letter, number to number, letter to number... All kerning has been individually assessed with an eye to proportionality taking in character shape, size and weight. For instance if you write a telephone number the numbers all sit close together but if you write a number before a letter such as in a UK post code or before a unit of measurement an extra little bit of space has been added which makes the number more distinct and therefore readable. That space is so natural to the eye that you don’t even know it is there. However even in the spacing allowance has been made for the fact it can’t be too perfect because when you write by hand the spacing is inconsistent. There have to be some letters which are too close or far apart otherwise the font would look artificial. For similar reasons if you are going to print out this font for a letter, etc, check the print version before you make any letter spacing changes because with the zoom functions in modern applications that uneven spacing and lettering can seem more pronounced than it actually is. When this font is printed out you will find it is surprisingly neat. This font is what it is, simple clear handwriting. You will not go wow. But if you want something unique and different and looks good on the page you won’t be disappointed. This font is not a work of art but it is a work of love. This font has a soul. How many fonts can you say that about?

FF Fago Thanks to his many years of involvement in major corporate type projects, Ole Schäfer had the necessary resources from which to construct his FF Fago™. The result is an extended family that provides comprehensive typographic support and whose qualities come to the fore in all relevant contexts ? from print to office through internet and wayfinding systems. FF Fago The sizable x-height together with the generous and open design of the characters ensure that the sans serif Fago remains clearly legible even in small point sizes or in potentially difficult situations, such as on wayfinding systems. A subtle contrast in line weight and letter forms that are reminiscent of those of an antiqua typeface provide the font with a restrained yet friendly and lively tone. Available in five weights, each with three different kerning widths and matching genuine italic variants, FF Fago is equipped for practically every situation. There are also small caps, oldstyle and lining figures, a selection of ligatures and geometric symbols. The range of potential applications of this universal font is almost inexhaustible ? it can be used in packaging design, on signs, posters and even for setting longer text sections. Fago is the ideal partner for those working on major corporate projects! FF Fago Correspondence Sans und Correspondence SerifThe Correspondence versions of Fago have been optimized for use in the business environment and in office communication. The carefully modified characters have a particularly robust feel, so that the clear, easily differentiated glyphs allow for straightforward communication even on screen. With these aims in mind, Schäfer has not only adjusted the x-height, but has provided certain letters in the sans variant ? such as the lowercase "i", the "r" and the uppercase "I" ? with serifs. Correspondence Serif, on the other hand, has been conceived as a slab serif throughout and in appearance has the look of the letters produced by the old office typewriting machines. An individual note has been added by providing a few unusual serif forms, as for example in the case of the "m", the "v" and the "y". Both Correspondence Sans and Serif are available in two weights with complementary italic versions and thus are ideally suited for use with standard office programs. This is all rounded off with a selection of office symbols. FF Fago Monospaced The use of a few typographic tricks is necessary to ensure that the letters of the alphabet appear to have the same width. Narrow letters such as "r" and "i" have been made to seem more expansive by using prominent serifs while the broader letters ? a good example is the "m" ? have the forms seen in a condensed font. And it is thanks to this design strategy that Fago Monospaced has the character of old typewriter text. What was once unavoidable because of the technology of the time is now a welcome alternative that can be used for the purposes of emphasis. As an additional supplement to the Fago superfamily, Fago Monospaced can be used, for example, to set short notes or draw attention to special text passages. There are three weights, in their original form without italic variants or small caps, but offering an alternative, technical form of the "0" with a crossbar.

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

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

Presentation QuarterBraille (Abbreviated as "QB" thereafter) is a decorative, steganographic and lattice font. Its core design concept is that Braille dots are represented as "quarters of a square"[1]. This is illustrated by posters 1 and 2 (NB: these glyph parts will be called "QB dots" thereafter). The other glyph parts (see poster 3) are purely decorative and meaningless in terms of Braille dots encoding[2]. All glyph parts are meant to generate a wide variety of patterns from horizontal and vertical combinations of glyphs. There is also a graphic convention to differentiate uppercase from lowercase letters with the presence or absence of shape subparts (in the "endings", "quarter of a circle with a ring" and "quarter of a diamond with a small square in the middle") like shown by poster 4. This font is suitable for very short texts (e.g. logos, acronyms, quotes, ambigrams, pangrams, palindromes, etc...) but on the other hand it may be used for steganographic purpose like geocaching as well as fictive alphabets (e.g. Alien/SciFi/Fantasy/Antique civilizations). Posters 1. Font Logo: the displayed text is " Quarter " followed by " Braille". There's a rainbow layer above the text to highlight the "QB dots", this is achieved by A..Z glyphs with "only QB dots" (codes 230..255) 2. Anatomy of a Glyph (L) and "QB Dots" (quarters of a square) 3. Glyphs Parts: Square and Cross (Inverted square), Circle and Inverted Circle (with or without the small circle in the middle), Diamond (with or without the small square in the middle), Inverted Square and Circle, Shape combos, Ending 4. Uppercase vs Lowercase (tiny shape subparts are shown in red) 5. Sample 1: Bathroom sink with QB tiles on the credence 6. Sample 2: Hands knuckle tatoos: "LOVE/HATE"[4] 7. Sample 3: Poker Hand: pocket Aces. It's an Ace of Hearts (Ah) on the left and an Ace of Spades (As) on the right. Like in regular cards, the card value (e.g. Ah) is displayed twice: at the top and rotated by 180 degrees at the bottom. This poster also illustrates that QB could be used to print embossed playing cards with tactile and visual display of card values. 8. Sample 4: Pangram: "Adept quick jog over frozen blue whisky mix" 9. Sample 5: Latin Magic Square: "SATOR AREPO TENET OPERA ROTAS" (NB: for compensation of the 2/3 glyph ratio, letters on each line are separated by a space: "S A T O R", ...). 10. Sample 6: Quote of Mahatma Gandhi: "Learn as if you will live forever, live like you will die tomorrow.". This is also a demonstration of border glyphs combinations. 11. Sample 7: Steganography use case: the text is a sequence of 64 aminoacids (1 Letter notation), this protein was described in a research paper "The complete Aminoacid sequence of an amyloid fibril protein AA of unusual size (64 residues) 1975". 12. Sample 8: Border Glyphs with the provided styles and mixed styles. The words are the same than in poster 9 ("SATOR AREPO TENET OPERA ROTAS"). Despite the 2/3 glyph ratio, the "TENET cross" was achieved by both inserting spaces in horizontally ("T ENE T") and by using the "thin borders glyphs". Notes a. Border glyphs[3] are meant to enhance the esthetics of text samples displayed with QB b. Special characters (e.g. *$()[].,;:&@# ...) are provided and follow the NABCC (North American Braille Computer Code) convention. c. A..Z Glyphs with only the "QB dots" are provided as demonstrated by posters 1 and 2 (A/N: this was very useful to create them). d. Glyph Map: 32..64: Special characters - 161..187: "Thin variant" of Border glyphs, 192..229: Border glyphs, 230..255: A..Z with only the "QB dots" - Codes 176 an 181 are "regular SPACE" (empty glyph). Footnotes 1. There is indeed two shapes which represent the braille dot: the "quarter of a square" and the "quarter of a cross". It's because a cross may be considered as an "inverted square" because the square corners are merged in the center. 2. That's why the SPACE glyph is only made of decorative/meaningless glyph parts (i.e. no "QB dots"). 3. For other fonts with border glyphs, please take a look at my other "decorative Braille fonts" (GoBraille, HexBraille, KernigBraille, StackBraille, MaBraille, DiamondBraille, LorraineBraille). 4. LOVE/HATE knuckle tatoos are inspired by the anthology scene from "The Night of the Hunter" movie (Charles Laughton 1955), it also appearead in "Do The Right Thing" movie (Spike Lee 1989). Disclaimer This font is not appropriate and not meant to print text documents in Braille for the blind readers audience.

“Hand Sketch Rough Pos­ter” is a hand­made, rough and dirty sans-serif dis­play font for deco­ra­tive head­line sizes. Hand drawn. A–Z (× 2), a–z (× 2) and 0–9 (× 4) are each many dif­fe­rent forms. Con­text­ual alter­na­tes. Is inten­ded to show the hand-made cha­rac­ter and the vibrancy of the dis­play font. The dif­fe­rent forms of rough­ness crea­tes a live­li­ness in the typeface. Stan­dard liga­tures like ae, oe, AE, OE, ff, fl, fi, fj, ffl, ffi, ffj and more deco­ra­tive liga­tures like CT, LC, LE, LH, LI, LO, LU, LY, TOO, TC, TE, TH, TU, TZ and ch, cl, ck, ct, sh, sk, st, sp, addi­tio­nal logo­ty­pes like BPM, fff, ppp, sfz and many more … plus Ver­sal Eszett (Capi­tal Let­ter Dou­ble S) give the font more life and shows that des­pite their retro-looks works with modern Open­Type tech­no­logy (type the word note for the sym­bol ♫ and the word love for the ding­bat ❤ … ). Sym­bols like play, stop, eject, for­ward, back­ward, skip, pause and so on. The topic for the dis­cre­tio­nary liga­tures and the sym­bols are music. Have fun with this font – turn up the volume! How To Use – awe­some magic OpenType-Features in your lay­out application ■ In Adobe Pho­to­shop and Adobe InDe­sign, font fea­ture con­trols are wit­hin the Cha­rac­ter panel sub-menu → Open­Type → Dis­cre­tio­nary Liga­tures … Che­cked fea­tures are applied/on. Unche­cked fea­tures are off. ■ In Adobe Illus­tra­tor, font fea­ture con­trols are wit­hin the Open­Type panel. Icons at the bot­tom of the panel are but­ton con­trols. Dar­ker ‘pres­sed’ but­tons are applied/on. ■ Addi­tio­nally in Adobe InDe­sign and Adobe Illus­tra­tor, alter­nate gly­phs can manu­ally be ins­er­ted into a text frame by using the gly­phs panel. The panel can be opened by selec­ting Win­dow from the menu bar → Type → Gly­phs. Or use sign-overview of your ope­ra­ting sys­tem. ■ For a over­view of OpenType-Feature com­pa­ti­bi­lity for com­mon app­li­ca­ti­ons, fol­low the myfonts-help http://www.myfonts.com/help/#looks-different ■ It may pro­cess a little bit slowly in some app­li­ca­ti­ons, because the font has a lot of lovely rough details (anchor points). TECHNICAL SPECIFICATIONS ■ Font Name: Hand Sketch Rough Pos­ter ■ Font Weights: Regu­lar ■ Fonts Cate­gory: Dis­play for Head­line Size ■ Desktop-Font For­mat: OTF (Open­Type Font for Mac + Win) + TTF (True­Type Font) ■ Web-Font For­mat: SVG + EOT + TTF + WOF ■ Font License: Desk­top license, Web license, App license, eBook license, Ser­ver license ■ Glyph cover­age: 715 ■ Lan­guage Sup­port: Afri­kaans, Alba­nian, Alsa­tian, Ara­go­nese, Ara­paho, Aro­ma­nian, Arr­ernte, Astu­rian, Aymara, Bas­que, Bela­rusian (Lac­inka), Bis­lama, Bos­nian, Bre­ton, Cata­lan, Cebuano, Cha­morro, Che­yenne, Chi­chewa (Nyanja), Cim­brian, Cor­si­can, Croa­tian, Czech, Danish, Dutch, English, Espe­ranto, Esto­nian, Fijian, Fin­nish, French, French Creole (Saint Lucia), Fri­sian, Fri­ulian, Gali­cian, Genoese, Ger­man, Gil­ber­tese (Kiri­bati), Green­lan­dic, Hai­tian Creole, Hawaiian, Hili­gaynon, Hmong, Hopi, Hun­ga­rian, Iba­nag, Iloko (Ilo­kano), Indo­ne­sian, Inter­g­lossa (Glosa), Inter­lin­gua, Irish (Gae­lic), Istro-Romanian, Ita­lian, Jèr­riais, Kas­hubian, Kur­dish (Kur­manji), Ladin, Lat­vian, Lithua­nian, Loj­ban, Lom­bard, Low Saxon, Luxem­bour­gian, Malag­asy, Malay (Lati­ni­zed), Mal­tese, Manx, Maori, Megleno-Romanian, Mohawk, Nahuatl, Norfolk/Pitcairnese, Nort­hern Sotho (Pedi), Nor­we­gian, Occi­tan, Oromo, Pan­gasinan, Papia­mento, Pied­mon­tese, Polish, Por­tu­guese, Pota­wa­tomi, Que­chua, Rhaeto-Romance, Roma­nian, Romansh (Rumantsch), Roto­kas, Sami (Inari), Sami (Lule), Samoan, Sar­di­nian (Sardu), Scots (Gae­lic), Sey­chel­lois Creole (Seselwa), Shona, Sici­lian, Slovak, Slove­nian (Slovene), Somali, Sou­thern Nde­bele, Sou­thern Sotho (Seso­tho), Spa­nish, Swa­hili, Swati/Swazi, Swe­dish, Taga­log (Filipino/Pilipino), Tahi­tian, Tau­sug, Tetum (Tetun), Tok Pisin, Ton­gan (Faka-Tonga), Tswana, Tur­kish, Turk­men, Turk­men (Lati­ni­zed), Tuva­luan, Uyghur (Lati­ni­zed), Veps, Vola­pük, Votic (Lati­ni­zed), Wal­loon, Warl­piri, Welsh, Xhosa, Yapese, Zulu ■ Spe­cials: Alter­na­tive let­ters, logo­ty­pes, ding­bats & sym­bols, accents & €. OpenType-Features like Access All Alter­na­tes (aalt), Con­text­ual Alter­na­tes (calt), Glyph Composition/Decomposition (ccmp), Dis­cre­tio­nary Liga­tures (dlig) Deno­mi­na­tors (dnom), Frac­tions (frac), Kerning (kern), Stan­dard Liga­tures (liga), Lining Figu­res (lnum), Nume­ra­tors (numr), Old Style Figu­res (onum) Ordi­nals (ordn), Pro­por­tio­nal Figu­res (pnum), Sty­listic Alter­na­tes (salt), Sty­listic Set 01 (ss01), Sty­listic Set 02 (ss02), Sty­listic Set 03 (ss03), Sty­listic Set 04 (ss04), Super­script (sups), Tabu­lar Figu­res (tnum) ■ Design Date: 2015 ■ Type Desi­gner: Manuel Viergutz

Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 160 variant combinations. Built around 10 different widths, ranging from ultra-compressed to ultra-wide, and eight weights from thin to heavy, Heading Now provides a full spectrum of sans serif type solutions to your design problems. Born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. In these widths Heading Now excels in titles and subheadings, timetables, infographics and in situations of exuberant and excessive copywriting. On the other side of the width spectrum, you can find extended width variants, ready to be used for titling where style and energy matter more than pixel or paper economy. Heading family is not only made of extreme widths: you can use the medium width range to design body text. Matching italics provide versatility in text use, as well as a dynamic display alternate to the bolder weights. Heading Now keeps the original design of Heading, but extends the width and weight range while keeping its (post) modernist attention to readability and details. Each Heading Now font includes over 1100 characters with coverage for 200+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight featuring also stylistic alternates, small caps, old-style and tabular numerals and positional figures. • Suggested uses: born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. Perfect for contemporary branding, web design, packaging and countless other projects; • 162 styles: 8 weights + 8 italics x 10 different widths + 2 variable fonts; • 1100 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Standard Ligatures, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Subscript, Superscript, Tabular Figures, Slashed Zero; • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

Zebramatic - A Lettering Safari Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades. Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type. Texture In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles. Design Concept Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters. Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project. Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves. Flip and stack To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery. The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator). International Specs Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.

Quill-formed roman/gothic with an olde-worlde flavor. Some background in the designer's own words: "A series of fonts came to mind which would be rooted in the medieval era -for me, a period of intense interest. Prior to Gutenberg's development of commercial printing with type on paper in the mid-1400s, books were still being written out by hand, on vellum. At that time, a Bible cost more than a common workman could hope to earn in his entire lifetime. Men like William Tyndale devoted their energies to translating the Scriptures for the benefit of ordinary people in their own language, and were burned to death at the stake for doing so. Those in authority correctly recognized a terminal threat to the fabric of feudal society, which revolved around the church. "This religious metamorphosis was reflected in letterforms: which, like buildings, reflect the mood of the period in which they take shape. The medieval era produced the Gothic cathedrals; their strong vertical emphasis was expressive of the vertical relationship then existing between man and God. The rich tracery to be seen in the interstices and vaulted ceilings typified the complex social dynamics of feudalism. Parallels could be clearly seen in Gothic type, with its vertical strokes and decorated capitals. Taken as a whole, Gothicism represented a mystical approach to life, filled with symbolism and imagery. To the common man, letters and words were like other sacred icons: too high for his own understanding, but belonging to God, and worthy of respect. "Roman type, soon adopted in preference to Gothic by contemporary printer-publishers (whose primary market was the scholarly class) represented a more democratic, urbane approach to life, where the words were merely the vehicle for the idea, and letters merely a necessary convenience for making words. The common man could read, consider and debate what was printed, without having the least reverence for the image. In fact, the less the medium interfered with the message, the better. The most successful typefaces were like the Roman legions of old; machine-like in their ordered functionality and anonymity. Meanwhile, Gutenberg's Gothic letterform, in which the greatest technological revolution of history had first been clothed, soon became relegated to a Germanic anachronism, limited to a declining sphere of influence. "An interesting Bible in my possession dating from 1610 perfectly illustrates this duality of function and form. The text is set in Gothic black-letter type, while the side-notes appear in Roman. Thus the complex pattern of the text retains the mystical, sacred quality of the hand-scripted manuscript (often rendered in Latin, which a cleric would read aloud to others), while the clear, open side-notes are designed to supplement a personal Bible study. "Tyndale is one of a series of fonts in process which explore the transition between Gothic and Roman forms. The hybrid letters have more of the idiosyncrasies of the pen (and thus, the human hand) about them, rather than the anonymity imbued by the engraving machine. They are an attempt to achieve the mystery and wonder of the Gothic era while retaining the legibility and clarity best revealed in the Roman form. "Reformers such as Tyndale were consumed with a passion to make the gospel available and understood to the masses of pilgrims who, in search of a religious experience, thronged into the soaring, gilded cathedrals. Centuries later, our need for communion with God remains the same, in spite of all our technology and sophistication. How can our finite minds, our human logic, comprehend the transcendent mystery of God's great sacrifice, his love beyond understanding? Tyndale suffered martyrdom that the Bible, through the medium of printing, might be brought to our hands, our hearts and our minds. It is a privilege for me to dedicate my typeface in his memory."

Agmena™ has no historical precursor; it was designed from scratch by Jovica Veljovi? whose aim was to create a new book typeface. Although it generally has certain similarities with the group of Renaissance Antiqua fonts, it is not clearly derived from any of these. Clear and open forms, large counters and a relatively generous x-height ensure that the characters that make up Agmena are readily legible even in small point sizes. The slightly tapering serifs with their curved attachments to letter stems soften the rigidity of the typeface, bringing Agmena to life. This non-formal quality is further enhanced by numerous tiny variations to the letter shapes. For example, there are slight differences to the terminals of the b", the "d" and the "h" and minor dissimilarities in the forms and lengths of serifs of many of the letters. The tittles over the "i" and "j" and those of the German umlauts are almost circular, while the diamond shape that is more characteristic of a calligraphic script is used for the punctuation marks. Although many of these variations are only apparent on closer inspection, they are enough to give Agmena the feeling of a hand-made typeface. It is in the larger point sizes that this feature of Agmena comes particularly into play, and individual characters gain an almost sculptural quality. The italic variants of Agmena are actually real cursives. The narrower and thus markedly dynamically formed lowercase letters have a wider range of contrast in terms of line thickness and have the appearance of having been manually produced with a quill thanks to the variations in their terminals. The lowercase "a" assumes a closed form and the "f" has a descender. The italic capitals, on the other hand, have been consciously conceived to act as a stabilising element, although the way they have been inclined does not produce a simply mechanical effect. This visual convergence with the upright characters actually means that it is possible to use letters from both styles in combination. Agmena is available in four weights: Book, Regular, Semibold and Bold, and each has its matching italic variant. Veljovi? designed Book and Regular not only to provide an optical balance between various point sizes, such as between that used for the text and that used in footnotes, but also to take account of different paper forms: Regular for lined paper and Book for publishing paper. Agmena's range of characters leaves nothing to be desired. All variants include small caps and various numeral sets with oldstyle and lining figures for setting proportional text and table columns. Thanks to its pan-European language support, Agmena can be used to set texts not only in languages that use the Latin alphabet as it also features Cyrillic and Greek characters. The set of standard ligatures has been extended to include special combinations for setting Greek and Serbian. Agmena also has some initial letters, alternative glyphs and ornaments. Agmena is a poetic text font with forms and spacing that have been optimised over years of work to provide a typeface that is ideal for setting books. But its letters also cut a good figure in the larger font sizes thanks to their individual, vibrant and, in some cases, sculptural effects. Its robust forms are not merely suited to a printed environment, but are also at home among the complex conditions on terminal screens. You can thus also use Agmena as a web font when designing your internet page."Agmena has received the Certificate of Excellence in Type Design at the Type Directors Club of New York TDC2 competition in 2013.

Coming Together contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X. Nearly 400 designers contributed to “Coming Together”: Adam Humphries, Aditi Dilip, Adrien Midzic, Afraa Gutub, Al Insan Lashley, Alan Lima Coutinho, Alaric Garnier, Alejandro Cabrera Avila, Alejandro Lo Celso, Alejandro Paul, Alessandro Segalini, Alex Cameron, Alex Coblentz, Alexander Trubin, Alexandre Freitas, Alexey Murashko, Alicia Jabin, Aline Horta, Allison Dominguez, Amanda Postle, Amy Brown, Amy Papaelias, Anderson Maschio, Andrea Emery, Andres Perez, Andrew Boardman, Andrew Jesernig, Andrey Furlan, Andrij Shevchenko, Ann Tripepi, Antonio Gutierrez, Antony Kitson, Anushree Kapoor, Anya Cam, AP303 Estudio Design, Becky Krohe, Beejay, Ben Mitchell, Benjamin K. Shown, Benjamin Varin, Brad McNally, Brad Nelson, Bradley Trinnaman, Brady Baltezore, Brandon Horne, Breck Campbell, Brian J. Bonislawsky, Brian Jaramillo, Brian Jongseong Park, Brian Mueller, Brock French, Bruce Rodgers, Bruno Pugens, Bryan Angelo Lim, Buro Reng, Caitlin Martin-Frost, Calou, Carlos Fabián Camargo Guerrero, Carlos Vidal, Cayo Navarro, Cesar Puertas, Chank Diesel, Charles Williams, Chris Lozos, Chris Trude, Christophe Badani, Christy Lai, Claes Källarsson, Claire Coullon, Claudio Piccinini, Colby Cook, Craig Eliason, Cristina Pegnataro, Curve Doctor, Dan DiSorbo, Dan Liggins, Dan Rubin, Daniel Justi, Daniele Capo, Dav(id Hubner), Dave Bailey, Dave Cohen, David Jonathan Ross, David Sudweeks, David Thometz, Dawn Mercurio, Delve Withrington, Diana van de Blaak, Didier Mazellier, Diederik Corvers, Dino Santos, Dmytro Pobiedash, Donald Beekman, Dries Wiewauters, Duncan Bancroft, Ed Hoskin, Eddy Ymeri, Edineide Oliveira, Eduardo Manso, Eduardo Rodríguez Tunni, Eero Antturi, Eli Castellanos, Elias Bitencourt, Elias Stenalt Werner, Elman Padilla, Emery Miller, Emily Leong, Emily Maher, Enrico Limcaco, Eric Frisino, Eric Stine, Erik Brandt, Espen, Evan Moss, Evangeline Rupert, Fabiane Lima, Fabio Foncati, Fabrizio Schiavi, Farbod Kokabi, Felipe Lekich, Francisco Martin, Frank Riccio, Frans van Bellen, Gary Holmes, Gautam Rao, Gayle Hendricks, Gene Buban, Georg Herold-Wildfellner, George Aytoun, Gerd Wiescher, Giles Edwards, Gist Studio, Glen Barry, Glenn Parsons, Goro Mihok, Grace Engels, Grant Alexander, Grant Hutchinson, Greg Smith, Gunnar Swanson, Gustavo Machado, Hans Nieuwstraten, Harold Lohner, Hilary Salmon, Hillary Fayle, Hrant H Papazian, Hugo Gallipoli, Ian Drolet, Ian Lynam, Ilona Kincses, Isac Corrêa Rodrigues, Ivette Chacon, Ivo Federspiel, Jacques Le Bailly, Jae-hyoung Choi, Jaime Vasquez, James Edmondson, James Grieshaber, James L. Stirling, James Lukens-Gable, James Martin, James Ockelford, James Puckett, Jarbas Gomes, Jarett Knuth, Jason Adam, Jason Robinson, Javier Suzuki, Jay Chu, Jayson Zaleski, Jean Francois Porchez, Jeff Fisher, Jeff Jarvis, Jeffrey Vanlerberghe, Jelmar Geertsma, Jennifer Clarke, Jennifer Rutherford, Jens Kutilek, Jerry Allen Rose, Jess Latham, Jesse Ragan, Jessica Page, Jesvin Yeo Puay Hwa, Jim Ford, Jim Lyles, Jim Rimmer, Jin Ping, Jo De Baerdemaeker, Joachim Muller-Lance, Joanna Abbott Moss, Joe Francis, Joe VanDerBos, Joel Vilas Boas (J85), John Downer, John Flanagan, John Foley, John Langdon, John Lopez, John Lyttle, John Skelton, Johnny Dib, Jonathan Hughes, Jonathan Pierini, Jos Buivenga, Jose Luis Coyotl Mixcoatl, Juan Acosta, Judd Crush, Judith Lee, Julie Johnson, Julie Oakley, Julie Thomas, Juliet Shen, Jumin Lee, Jurgen Weltin, Justin Callahan, Justin Chodzko, Karel Piska, Karen MacKay, Karin Eberhardt, Karin van Soest, Karla Perez, Katie Parry, Katie Snape, Katri Haycock, Katy Brooks, Kelley Garrard, Kelly Redling, Kent Lew, Kevin D’Souza, Kevin J. Boynton, Kevin McDermott, Kim Arispe, Kokin, Kristen Caston, Kristen Hartman, Kristian Möller, Kristians Šics, Kyle Jones, L Bollinger, Lan Huang, Larry Van Dyke, Laura Ricker, Laura Worthington, Laurel Wilson, LeAndrea James, Lijklema Design, Linda McNeil, Lise Barreto, Louie Crumbley, Louis Duchesne, Luke Dorny, Luke Stouffer, Madison Cramer, Måns Björkman, Marc Salinas Claret, Marcus Leis Allion, Marcus Parker, Marcus Sterz, Marie-Anne Verougstraete, Mark Simonson, Martin Majoor, Matheus Barbosa, Mathias Forslund, Matt Desmond, Matt McInerney, Matt Millette, Matthew Jerauld, Max Kisman, Michael Browers, Michael Bundscherer, Michael Cina, Michael Doret, Michael G. Adkins, Michael Hernan, Michael Paul Young, Michael Wallner, Miguel Catopodis, Mikael Engblom, Mike Jarboe, Mike Petschek, Miriam Martincic, Moira Sheehan, Monica Pedrique, Nacho Gallego, Naomi Atkinson, Natanael Gama, Nathanael Ng, Neil Fox, Neil Patel, Neil Summerour, Neil Woodyatt, Ngoc Ngo, Nguyen Pham, Nicholas Curtis, Nicole Hudson, Nicole Sowinski, Nicolien van der Keur, Nina Stössinger, Noah Scalin, Ojasvi Mohanty, Oleg Macujev, Olivia Choi, Ong Fang Zheng, Pata Macedo, Patrick Gallagher, Patrycja Zywert, Paul Hunt, Paul Langman, Pedro Moura, Pedro Paz, Per Ohlsson, PJ Onori, Premm Design Ltd, Rae Kaiser, Rafael Carozzi, Rafael Cordeiro, Rafael Neder, Randy Jones, Ray Larabie, Raymond Forbes, Ressa McCray, Ricardo Esteves, Ricardo Martins, Riccardo Sartori, Richard Kegler, Richard Miller, Rob Keller, Roballo, Rose Coplon, Roy Rub, Rudo van der Velden, Russell McGorman, Ryan Rushing, Ryan Thorpe, Sander Neijnens, Sara Cross, Scott Boms, Scott Fisk, Sergio Jimenez, Shi-Min Chin, Sílvio Gabriel Spannenberg, Soohyen Park, Sorin Bechira, Stanley Friesesk, Stefan Hattenbach, Stefan Kjartansson, Stephen Lay, Steve Harrison, Steve Marsh, Steve Matteson, Steve Mehallo, Steve Zelle, Steven Bonner, Steven Wulf, Stuart Brown, Stuart Ford, Stuart Sandler, Sue Zafarana, Sulekha Rajkumar, Susan Surface, Tanya T Stroh, Taylor Loman, Ted Ullrich, Teja Ideja, Tena Letica, Terrance Weinzierl, Theo França, Thiago Martins, Tiffany Wardle, Tim Whalen, Titus Nemeth, Tom Plate, Tom Rickner, Tomato Košir, Tomi Haaparanta, Travis Kochel, Troy Leinster, Tyler Heron, Type Mafia, Vanessa Robertson, Veronika Burian, Victor Esteves, Victor Zuniga, Viktor Nübel, Viviana G, Wellinton Reis, Wilson Thomas, Wolfgang Homola, Xavier Dupre, Xerxes Irani, Zvika Rosenberg These designers represented the following countries: Argentina, Australia, Austria, Belgium, Brazil, Canada, Columbia, Croatia, Czech Republic, El Salvador, England, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Lebanon, Mexico, New Zealand, Peru, Poland, Portugal, Scotland, Siberia, Singapore, Slovenia, Spain, Sweden, Switzerland, The Netherlands, Ukraine, United States, Venezuela, Vietnam

Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aesthetic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark. The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and XLarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and XSmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use. Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide. • Suggested uses: perfect for modern branding and logo design, editorial design, web design, packaging and countless other projects; • 62 styles: 6 weights + 6 italics x 5 different x-heights + 2 variable fonts; • 2011 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Subscript, Superscript, Tabular Figures, Slashed Zero • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

TT Ramillas useful links: Specimen | Graphic presentation | Customization options TT Ramillas in numbers: • 28 styles: 7weights, 7 true italics, 4 decorative styles, 7 initials styles, and 3 variable fonts • 900 glyphs in each style (except decorative & initials styles) • Support for more than 180+ languages: extended Latin, Cyrillic • 25 OpenType features in each style (except outline styles): small capitals, ligatures, old-style figures, arrows and other useful features • Amazing Manual TrueType Hinting TT Ramillas is a fully reconsidered high contrast transitional serif, which is perfectly adapted to modern realities and requirements. When starting this project, we wanted to try to draw a modern serif with the precisely verified shapes, high contrast and detailed elaboration of each character. The visual features of TT Ramillas are high contrast, small flared serifs, variable slope of ovals, open aperture of signs, contrasting thin nodules and no drops. In addition, TT Ramillas has a characteristic flame-like element in the lowercase Cyrillic letter ? and a bright "tongue" in the letters ??, ductile legs in ??, ??, and ??, as well as a very interesting upper terminal in the letter a. TT Ramillas is perfect for use in magazines, in the fashion industry, in the branding of premium goods and services. TT Ramillas is quite versatile and suitable for use both in headings and in text arrays. In addition, we have done manual hinting in the typeface, and now it can be used with a clear conscience in the web and applications. In the process of working on TT Ramillas, we wanted to expand the functionality of the typeface a little more, and thus, after a few experiments, two pairs of decorative fonts were born: Outline, Decor and their oblique versions. These decorative fonts work great for headlines and bold accent lettering. We thought that in these decorative fonts, small caps and some specific features would not be needed, otherwise the composition of decorative fonts is identical to the basic ones. The TT Ramillas typeface consists of 28 styles: 7 weights and 7 corresponding italics, 4 decorative ones, 7 initials styles and 3 variable fonts. Each typeface style consists of 900 glyphs (except for the decoratives). TT Ramillas supports over 180+ languages, including Cyrillic support and Extended Latin support. When creating the typeface, we did not forget to add small caps, ligatures, old style figures, arrows, hands, card suits and many other useful characters and OpenType features. For the most demanding users, we have prepared a variable version of basic styles. Using the variability slider, you can adjust and select the individual thickness, without reference to the existing weight distribution. An important clarification — not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. TT Ramillas OpenType features list: aalt, kern, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, c2sc, smcp, liga, dlig, case. TT Ramillas language support: Acehnese, Afar, Albanian, Aleut (lat), Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), 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, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Valencian, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh, Wolof, Xhosa, Zaza, Zulu.

Type Ultimate is an exquisite serif font that combines elegance and sophistication. It comes in regular and italic versions, each containing a stunning collection of 383 ligature glyphs and alternate glyphs, as well as 26 swashes for both regular and italic versions. With its extensive character set, Type Ultimate supports a wide range of languages, making it a versatile choice for various projects. This font is perfect for creating a memorable logo, establishing a strong brand identity, and making headlines that stand out. Its timeless and refined design also makes it an excellent choice for elegant wedding invitations and other formal occasions. Overall, Type Ultimate is a font that exudes beauty and refinement, adding a touch of sophistication to any project it's used in. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures Uppercase - AB,AC,AD,AG,AK,AL,AM,AN,AP,AR,AS,AT,AV,AY,BE,BL,BO,BU,CE,CH,CK,CO,CT,DE,DI,DO,EA,ED, EE,EF,EI,EL,EM,EN,EP,ER,ES,ET,EV,EX,EY,FA,FE,FF,FI,FO,FR,FT,FU,GA,GE,GH,GO,GR,HA,HE,HI, HO,HT,KE,KI,KN,LA,LD,LE,LF,LI,LL,LO,MA,ME,MI,MM,MO,MP,MU,NA,NC,ND,NE,NG,NK,NO,NS,NT, NY,OA,OD,OK,OL,OM,ON,OO,OP,OR,OS,OT,OU,OW,PA,PE,PL,PO,PP,PR,RA,RD,RE,RI,RO,RR,RS,RT, RY,SA,SE,SH,SO,ST,SU,TA,TE,TH,TI,TL,TO,TR,TS,TT,TU,UG,UL,UN,UR,US,UT,VE,VI,WE,WH,WI,WO,YO, YS,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH, VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER, TION,OULD,IGHT,HAVE,THIS,THIN,THEY, ATIO,EVER,MENT Lowercase - ab,ad,ag,ai,ak,al,am,an,ap,as,at,av,ay,ba,be,bl,bo,bu,ca,ce,ch,ck,co,ct,de,di,do,ea,ec,ed,ee,ef,eg,ei,ej,el,en,ep,es,et,ev,ew,ey,fa,fe,fi,fo,fr,fu,ga,ge,gh,gi,gr,ha,he,hi,ho,ht,ic,id,ie,ik,il,im,in,io,ir,is,it,iv,ke,ki,kn,la,ld,le,lf,li,lo,ly,ma,me,mi,na,nc,nd,ne,ng,ni,nk,nl,no,nt,ny,oa,oc,od,of,oi,ok,ol,om,on,oo,op,ot,ou,ov, ow,pa,pe,pi,pl,po,pp,qu,ra,rd,re,ri,rm,rn,ro,rr,rs,rt,ru,ry,sa,se,sh,si,so,sp,ss,st,su,ta,te,th,ti,tl,to,ts,tt, tu,uc,ug,um,un,up,ur,us,ut,va,ve,wa,we,wo,xp,ye,yo,ys,men,wer,fro,rom,ron,the,and,ing,her,hat,tha, ere,for,ent,ion,ter,you,ver,thi,ght,ave,hey How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

A slab serif Mr Palker and grotesque Mr Palkerson build one superfamily together.  These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are  intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkers family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 1 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. The design of Arsenica takes its inspiration from Italian poster design at the beginning of the century, a time where typography, lettering and illustration where closely interwoven. Dawning nationalist movements, rather than using the modernist language, pushed on traditional Old Style letterforms often imbued with Art Nouveau and Deco sensibility. Artists like Giorgio Muggiani not only illustrated posters for Cinzano, Pirelli and Rinascente, but also provided logo design for newspapers, like "Il Popolo d'Italia". Starting from this mix of eclectic influences, Canovaro first developed the Arsenica Antiqua family, designed as display typeface that keeps the original Old Style low-contrast, wide proportions and quirky stylistic inventions. These where then distilled in a high contrast, Arsenica Display family, expanding the weight range to include both poster, ultra-bold weights and lighter weights that give the design a distinct calligraphic flavour. Bringing the letterforms into contemporary taste meant also developing alternate letterforms that were included in the Arsenica Alternate family, that drops the art nouveau details in favour of a more controlled modern serif aesthetic. Finally, Arsenica Text was developed by expanding the design space in the optical size axis, creating a low contrast, strongly readable old style typeface family, with a reduced weight set, oriented for long body copy typesetting. The final result is a superfamily of 41 weights, covering the design space with an expanded charset of over 900 glyphs, with full coverage of over 200 languages using latin and Cyrillic alphabets. All the weights of Arsenica come with a full set of open type features allowing to explore its vintage-inspired visual inventions thanks to stylistic sets, discretionary ligatures, contextual alternates and positional numbers. Two variable typefaces are included in the full family, allowing you to explore the design space and precisely control not only the weight but also the optical size design variations. • Suggested uses: perfect for elegant modern branding and logo design, fascinating editorial design, expressive packaging and countless other projects. • 43 styles: 7 weights + 7 italics, 4 different styles + 2 variable fonts. • 942 glyphs in each weight. • Useful OpenType features: Access All Alternates, Contextual Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Discretionary Ligatures, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Oldstyle Figures, Ordinals, Stylistic Alternates, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Slashed Zero. • 216 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük.

A grotesque Mr Palkerson and slab serif Mr Palker build one superfamily together. These are blank types. In a way even the display ones. Typefaces for newspapers, announcements, cheap advertising and police posters.  Mr Palker and Mr Palkerson will turn every language into a fence. And due to six types of faces one can choose what material should the fence be made from — from Thin steel rods to   the Black stone blocks. In their simplest appearance Mrs P&P are intended for the solid blank composition in victorian or industrial style. They are quite decent, a bit old-fashioned slab serif and grotesque with closed aperture. All my types have layers. Walker and Palkerson also do. Besides the standard set of symbols, they have 4 add-ons. 1. Alternate glyphs, including unicase ones. 2. Ligatures with A letter. 3. Extra tall small caps. 4. Two-storey ligatures. All this options are intended for the complex composition. The additional letters are rather eccentric as their main function here is to imitate the victorian oddities. Imitate, parody, just not repeat. There are lower-case As and Es in the set in height of small caps and uppercases. They can turn every writing into the unicase.    The lower-case A (as well as uppercase and small caps version of it) has deliberately by my taste grown a ludicrous tail. To compensate it I’ve built all the possible ligatures - ад, ал, ая. There are 35 of this ligatures all together. Take a closer look at the Russian letters D, L, K, Ya from the main set as well as their alternates. The additional glyphs are one more comic than the other — on purpose to imitate (not to repeat!) the victorian set. This sets have lowercase numbers. And small caps numbers as well. What a modern typeface without them. They also have an У-letter with a generously curvy tail. As if before the WWI. The Latin of course has alternates as well. It has letters to make the perfect French sound more like the russian provincial version of it. The tails of Js and Ts can be made a little bit more open — or a little bit closed. My favorite feature here, an invention of a kind - extra tall small caps. It allows to compose logos with the small caped uppercases directly from the keyboard. The small caps of this typefaces are usually much taller than the customary ones. This is the kind of small caps that Palker and Palkerson have. More to that, the strokes’ weight and the letters width are corresponded to the uppercases. Just a ready set for making a logo a la 1913 style. With a unicase, one has to mind! One more trick with the tall small caps is a possibility to make them work like lower uppercases. Their height is just in between of lower- and uppercases. Isn’t it great to have an additional set of uppercase working ponies in stock for the case of emergency. And finally — the trademark of Palkerson family, two-storey ligatures. They are made in the height of uppercases and turn every writing into an ornament or a puzzle of a kind, while at the same time making them much shorter. Each face has 90 of them. Mainly those are twins: CC, BB, DD and so on. ll this things are for the unhasty compositing, even for lettering. Which means that for the things which are not there you always should have Command+Option+O and some patience. Also — among the two storey ligatures one also can find some belvedere villas. All my types are glasses from the one kaleidoscope. The P&Ps family was preliminary part of the victorian set, which already has 21 Cents and Clarendorf - optionally one can add Costro, Gordoni, Handy, Guardy, Surplus, Red Ring, Red Square, Babaev to the list. And also Sklad, Odessa, Dreamland, Romb, Platinum - here, at Letterhead’s, every second one is victorian. All together our typefaces can allow one to set advertisement of any kind, even the trickiest one, and compose everything, from the coffee place’s menu to the antiquarian magazine.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Introducing Type Prodigy, a timeless serif logo font that combines classic elegance with modern versatility. This font is a designer's dream, boasting over 310 crafted ligatures and alternate glyphs that add flair and sophistication to any project. With support for 87 languages, Type Prodigy is truly a global font that caters to diverse design needs. Type Prodigy is a font that exudes professionalism, making it perfect for creating logos, branding, editorial designs, and more. Its refined serifs and clean lines convey a sense of authority, while its generous ligatures and alternate glyphs allow for creative customization, making each design truly unique. Whether you're designing for a luxury brand, a boutique business, or a creative agency, Type Prodigy delivers exceptional results. Its extensive character set and language support make it ideal for international clients, enabling you to communicate effectively in multiple languages and markets. With Type Prodigy, you'll have access to a versatile font that combines classic beauty with modern functionality. Its exquisite design and extensive features make it a profitable choice for professional designers who demand the best. Unlock your creative potential with Type Prodigy, and elevate your designs to new heights of excellence. Language Support : Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Chiga, Colognian, Cornish, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusi,i Hungarian, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian, Bokmål, Norwegian, Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish, Gaelic, Sena, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss, German, Taita, Teso, Turkish, Upper, Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu Ligatures : AB,AC,AD,AE,AF,AG,AH,AI,AK,AM,AN,AO,AP,AR,AS,AT,AU,AV,AW,AY,AZ,BA,BE,BF,BG,BH,BM,BO,BU,CA,CB,CC,CE,CF,CG,CH,CI,CK,CL,CO,CQ,CR,CT,CU,DA,DE,DG,DI,DK,DM,DN,DO,DR,DU,EA,EB,ED,EE,EF,EG,EH,EI,EK,EL,EM,EN,EP,ER,ES,ET,EU,EV,EW,EX,EY,FA,FE,FF,FG,FI,FL,FO,FP,FR,FS,FT,FU,FY,GA,GE,GH,GL,GR,HA,HB,HD,HE,HF,HI,HK,HL,HO,HT,IB,IC,ID,IE,IF,IG,IK,IL,IM,IN,IO,IR,IS,IT,IU,KA,KC,KE,KF,KG,KI,KO,KP,KQ,KR,KS,LA,LC,LD,LE,LF,LI,LK,LL,LM,LN,LO,LP,LT,LU,MA,MB,ME,MF,ML,MM,MO,MP,MS,MU,NA,NB,NC,ND,NE,NF,NG,NH,NI,NK,NL,NM,NN,NO,NQ,NT,NU,OA,OB,OC,OD,OE,OF,OG,OH,OI,OK,OL,OM,ON,OO,OP,OR,OT,OU,OV,OW,OX,OY,PA,PC,PE,PF,PG,PM,PN,PO,QA,QE,QU,RA,RB,RC,RD,RE,RF,RG,RH,RI,RK,RL,RM,RN,RO,RP,RR,RS,RT,RU,RY,SA,SD,SG,SS,ST,SU,TC,TD,TE,TF,TH,TI,TK,TL,TM,TN,TO,TP,TR,TT,TU,TW,TY,UH,UK,UL,UM,UN,UO,VA,VE,WA,WD,WE,WF,WO,XA,XC,XE,XT,YE,YO,YT,ZE,MEN,WER,FRO,RON,ROM,THE,AND,ING,HER,HAT,HIS,THA,ERE,FOR,ENT,ION,TER,WAS,YOU,ITH,VER,ALL,THI,TIO,OUL,ULD,IGH,GHT,AVE,HAV,ICH,HIC,HIS,HIN,HEY,ATI,EVE,HING,WERE,FROM,THAT,THER,TION,HERE,OULD,IGHT,HAVE,HICH,THIS,THIN,THEY,ATIO,EVER,MENT How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Mock ups and backgrounds used are not included. Thank you! Enjoy!

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

TT Ricordi useful links: Specimen | Graphic presentation | Customization options The TT Ricordi font family is a collection of three display heading serifs designed to significantly diversify the traditional font palette. Each font from the TT Ricordi family was drawn by a separate designer and has its own story. With that, all three fonts are close in thickness and similar in their character compositions and are featured in the uppercase set and the small capitals set, which replaces lowercase characters. The fonts have the broad support of Latin languages and support basic Cyrillic. The project originates from the pre-coronavirus tourist trips to Italy, during which our art director Yulia Gonina has accumulated many photographs of historical inscriptions and tablets. Many of these inscriptions had interesting character or unusual character shapes. We wanted to work with them, to try to reinterpret them, and, if possible, make them ultramodern and accessible to the modern font user. The fonts from the TT Ricordi typeface turned out to be quite display and contemporary, but at the same time, they retained subtle references to historic inscriptions. The fonts fit perfectly both on the covers of book classics and in glossy magazine layouts. They can also be used in posters and packaging, or as the main expressive element of company branding. In addition, all three serifs from the TT Ricordi font family go well with functional sans-serifs such as TT Norms Pro or TT Commons. TT Ricordi Nobili is a display serif with a rich Roman ancestry and contemporary world views. It stands out from the crowd with its subtlety and elegance. The font was drawn by Anna Tikhonova and was inspired by an inscription carved into the stone floor of a cathedral in Florence. Because people walked over the inscription, some of the letters got thinner and worn out over time. It is this feeling of disappearing or flickering elements that we wanted to capture and implement in the project. The TT Ricordi Nobili has high contrast, even though the font itself is quite thin. The serifs in the font are not massive at all, but at the same time, they are display serifs. There is a certain tension in TT Ricordi Nobili, and the viewer perceives this tension. We can say that behind the external classic facade lies a rather modern plot. The font has a large set of discrete ligatures which allow to create interesting combinations and expand the capabilities of the font. There are 709 glyphs in the TT Ricordi Nobili font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Todi is a wide serif with a classic base and a contemporary nature. The font turned out to be refined yet sharp, and in places even pushy and aggressive. The font was drawn by Yulia Gonina, and the project was based on plaques with engraved street names from the small Italian town of Todi. The main challenge was to decipher the characteristic features of the signs and emphasize them in a modern way. In addition, it was necessary to draw a Cyrillic alphabet that would not be inferior to the Latin alphabet in its expressiveness. The TT Ricordi Todi has fairly wide character proportions, and there is practically no contrast in them. The main feature of the font is the combination of smooth round shapes with deliberately squared shapes. In addition, the font is characterized by crisp and sharp character details, exaggerated ascenders and descenders, and muted contrast. Among the interesting font peculiarities, you can choose between the characteristic long descenders and ascenders and their more tempered versions, you can find a stylistic set with triangular dots, alternative versions of the EF characters and two letter ? shapes, round and squared. There are 876 glyphs in the TT Ricordi Todi font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi Fulmini is a fashionable contemporary serif firmly holding on to its historic roots. The font turned out to be like a thistle flower: bright and catchy, but still subtle and delicate. TT Ricordi Fulmini was drawn by Marina Khodak, and the initial inspiration for the project was the inscription on the altar from the National Gallery of Umbria in Perugia. As the font was pulled into “contemporaneity”, it was completely transformed and revealed its new side. The main catchy detail in the TT Ricordi Fulmini is the aggressive and rather sharp diagonal serifs. In addition, in the process of working on the font, several graphic solutions emerged, for example, the mono-serifs and the very calligraphic connections of diagonal strokes with their historic spirit. We wanted to keep them, and thus 4 thematic stylistic sets appeared in the font, thanks to which we can greatly change the perception of TT Ricordi Fulmini. In addition, the font has a set of interesting discrete ligatures. There are 793 glyphs in the TT Ricordi Fulmini font, and a whole set of useful features, such as: aalt, ccmp, locl, numr, ordn, tnum, pnum, case, dlig, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, calt. TT Ricordi supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani +, Banjar, Basque +, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican +, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitianm, Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German +, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana +, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (cyr), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian+, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian.

The idea of a brand-new grotesk is certainly rather foolish – there are already lots of these typefaces in the world and, quite simply, nothing is more beautiful than the original Gill. The sans-serif chapter of typography is now closed by hundreds of technically perfect imitations of Syntax and Frutiger, which are, however, for the most part based on the cool din-aesthetics. The only chance, when looking for inspiration, is to go very far... A grotesk does not afford such a variety as a serif typeface, it is dull and can soon tire the eye. This is why books are not set in sans serif faces. A grotesk is, however, always welcome for expressing different degrees of emphasis, for headings, marginal notes, captions, registers, in short for any service accompaniment of a book, including its titlings. We also often come across a text in which we want to distinguish the individual speaking or writing persons by the use of different typefaces. The condition is that such grotesk should blend in perfectly with the proportions, colour and above all with the expression of the basic, serif typeface. In the area of non-fiction typography, what we appreciate in sans-serif typefaces is that they are clamorous in inscriptions and economic in the setting. John Sans is to be a modest servant and at the same time an original loudspeaker; it wishes to inhabit libraries of educated persons and to shout from billboards. A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands out vividly in our memory. Baskerville cleverly incorporated certain constructional elements in the design of the individual letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface varies and they do not look monotonous when they are read. We attempted to use these tricks also in the creation of a sans-serif typeface. Except that, if we wished to create a genuine “Baroque grotesk”, all the decorativeness of the original would have to be repeated, which would result in a parody. On the contrary, to achieve a mere contrast with the soft Baskerville it is sufficient to choose any other hard grotesk and not to take a great deal of time over designing a new one. Between these two extremes, we chose a path starting with the construction of an almost monolinear skeleton, to which the elements of Baskerville were carefully attached. After many tests of the text, however, some of the flourishes had to be removed again. Anything that is superfluous or ornamental is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those places where any consistency would become a burden. The fine shading and softening is for the benefit of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic feature of this typeface, especially in the bold designs. The colour of the Text, Medium and Bold designs is commensurate with their serif counterparts. The White and X-Black designs already exceed the framework of book graphics and are suitable for use in advertisements and magazines. The original concept of the italics copying faithfully Baskerville’s morphology turned out to be a blind alley. This design would restrict the independent use of the grotesk typeface. We, therefore, began to model the new italics only after the completion of the upright designs. The features which these new italics and Baskerville have in common are the angle of the slope and the softened sloped strokes of the lower case letters. There are also certain reminiscences in the details (K, k). More complicated are the signs & and @, in the case of which regard is paid to distinguishing, in the design, the upright, sloped @ small caps forms. The one-storey lower-case g and the absence of a descender in the lower-case f contributes to the open and simple expression of the design. Also the inclusion of non-aligning figures in the basic designs and of aligning figures in small caps serves the purpose of harmonization of the sans-serif families with the serif families. Non-aligning figures link up better with lower-case letters in the text. If John Sans looks like many other modern typefaces, it is just as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if different typographers in different places of the world arrive in different ways at a similar result.

Supernett was originally created in 2013. Now we decided to upgrade it: more styles, more glyphs, more features, more everything. Have fun with Supernett 2019! Supernett 2019 super revised version Supernett is a versatile handmade text- and display-family and is perfect for space-saving headlines. All letters and numerics are available in three variants which alternate randomly with OpenType Contextual Alternates activated. One of Supernetts key features is Wiggling & jumping letters: letters jump around the baseline or tilt forward and backwards without a plan. Combine this with OpenType Contextual Alternates and let Supernett look truly hand-drawn with a maximum effect when applied to big typesetting. Further features include small caps, glyph alternates, case-sensitive forms, fractions, symbols and many more. Supernett is a hand-drawn / handmade / handdrawn Sans-Serif font-family. Supernett is available in three weights, two widths, Uprights and Italics. The handmade family is tailored for large font sizes but also impresses with seamless legibility in small type sizes. Due to its display origin and slightly condensed appearance, make sure to increase the spacing a little when used in text setting. The extensive character set supports 209 Central and Eastern European as well as Western European languages (for details, please see below). Supernett Font and Feature Guide Download it | View it online Supernett OpenType Features Alternating Letters Letters and numerics are available in three variants which alternate randomly → OpenType Contextual Alternates Small Caps Supernetts Small Caps mixes Upper- and Lowercase letter forms. Choose between »Small Caps« or »OpenType All Small Caps«. The latter replaces lower- AND uppercase letters, as well as the dotted i and activates punctuation to match the small caps’ height. Wiggling letters All glyphs tilt slightly and randomly forward and backwards → OpenType Swashes (or OpenType Stylistic Set 06) Jumping letters Each single glyph moves individually up or down → OpenType Titling Alternates (or OpenType Stylistic Set 07) → for a stronger effect, add OpenType Stylistic Set 08 (Jumping Baseline MORE) Case-Sensitive Forms This feature shifts various punctuation marks to a position that works better with all caps typography. → activated when an app’s all-caps styling is applied Slashed Zero Make clear what you’re talking about and work with a slashed zero → OpenType Zero with a Slash Fractions Figures separated by a slash are substituted by proper fraction glyphs. A date however, written like 10/12/2019 will remain unchanged. → OpenType Fractions Alternate Glyph Set 1 → OpenType Stylistic Set 01 Alternate Glyph Set 2 → OpenType Stylistic Set 02 Alternate Glyph Set 3 The default glyph set. Activate it to disable Alternating Letters within OpenType Contextual Alternates. → OpenType Stylistic Set 03 Y Alternate Choose between two different styles of Y → OpenType Stylistic Set 04 Underlined Uppercase O & ordinals → OpenType Stylistic Set 05 → activate OpenType Ordinals to substitute No. by № Uppercase I Alternate There’s an alternate for the isolated ›I‹ (I love you) → included in OpenType Contextual Alternates → or activate OpenType Positional Forms: Automatic Form → substitute every single ›I‹ with OpenType Stylistic Set 09 Bullet Alternate Choose between two different styles of bullet (•) → OpenType Stylistic Set 11 Squares and Circles Type a – z and out pop squares and circles. All symbols are PUA-encoded for easy copy and paste between different applications. → OpenType Stylistic Set 10 → or open your apps’ glyphs panel and double-click the desired symbols Supernett is an organic and decorative hand-drawn / handmade Sans Serif display-family for packaging, posters, book-covers, kids- (children-), food- and logo-design and will best stand out in huge grades. Its handmade / hand-drawn origin is subtle yet visible. Supernett supports 209 languages Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic, Asturian, Atayal, Aymara, Bashkir, Basque, Belarusian, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofan, Corsican, Creek, Crimean Tatar, Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz, Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic, Guadeloupean, Gwichin, Haitian Creole, Han, Hawaiian, Hiligaynon, Hopi, Hotcak, Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istroromanian, Italian, Jamaican, Javanese, Jerriais, Kala Lagaw Ya, Kapampangan, Kaqchikel, Karakalpak, Karelian, Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino Sine, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Maori, Marquesan, Meglenoromanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinhpatha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian, Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Qeqchi, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami Inari, Sami Lule, Sami Northern, Sami Southern, Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Seri, Seychellois, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio, Somali, Sorbian Lower, Sorbian Upper, Sotho Northern, Sotho Southern, Spanish, Sranan, Sundanese, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvaluan, Tzotzil, Ukrainian, Uzbek, Venetian, Vepsian, Volapuk, Voro, Wallisian, Walloon, Waraywaray, Warlpiri, Wayuu, Welsh, Wikmungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni View other fonts from Georg Herold-Wildfellner Sofa Serif | Sofa Sans | Mila Script Pro | Pinto | Supernett | Mr Moustache | Aeronaut | Ivory | Weingut

A typeface with lightly-worn futurism, Sagittarius is equally at home among the beauty and wellness aisles, or the coils of the warp core. The Sagittarius typeface was designed by Jonathan Hoefler in 2021. A decorative adaptation of Hoefler’s Peristyle typeface (2017), Sagittarius’s rounded corners and streamlined shapes recall the digital aesthetic of the first alphabets designed for machine reading, a style that survives as a cheeky Space Age invocation of futurism. Sagittarius was created for The Historical Dictionary of Science Fiction, where it first appeared in 2021. From the desk of the designer: Typeface designers spend a lot of time chasing down strange valences. We try to figure out what’s producing that whiff of Art Deco, or that vaguely militaristic air, or what’s making a once solemn typeface suddenly feel tongue-in-cheek. If we can identify the source of these qualities, we can cultivate them, and change the direction of the design; more often, we just extinguish them without mercy. Sometimes, we get the chance to follow a third path, which is how we arrived at Sagittarius. During the development of Peristyle, our family of compact, high-contrast sans serifs, I often found myself unwittingly humming space-age pop songs. Nothing about Peristyle’s chic and elegant letterforms suggested the deadpan romp of “The Planet Plan” by United Future Organization, let alone “Music To Watch Space Girls By” from the ill-advised (but delicious) Leonard Nimoy Presents Mr. Spock’s Music from Outer Space, but there they were. Something in the fonts was provoking an afterimage of the otherworldly, as if the typeface was sliding in and out of a parallel universe of high-tech spycraft and low-tech brawls with rubber-masked aliens. It might have had something to do with a new eyeglass prescription. But I liked the effect, and started thinking about creating an alternate, space-age version of the typeface, one with a little more funk, and a lot more fun. I wondered if softer edges, a measured dose of seventies retrofuturism, and some proper draftsmanship might produce a typeface not only suitable for sci-fi potboilers, but for more serious projects, too: why not a line of skin care products, a fitness system, a high-end digital camera, or a music festival? I put a pin in the idea, wondering if there’d ever be a project that called for equal parts sobriety and fantasy. And almost immediately, exactly such a project appeared. The Historical Dictionary of Science Fiction Jesse Sheidlower is a lexicographer, a former Editor at Large for the Oxford English Dictionary, and a longtime friend. He’s someone who takes equal pleasure in the words ‘usufructuary’ and ‘megaboss,’ and therefore a welcome collaborator for the typeface designer whose love of the Flemish baroque is matched by a fondness for alphabets made of logs. Jesse was preparing to launch The Historical Dictionary of Science Fiction, a comprehensive online resource dedicated to the terminology of the genre, whose combination of scholarship and joy was a perfect fit for the typeface I imagined. For linguists, there’d be well-researched citations to explain how the hitherto uninvented ‘force field’ and ‘warp speed’ came to enter the lexicon. For science fiction fans, there’d be definitive (and sometimes surprising) histories of the argot of Stars both Trek and Wars. And for everyone, there’d be the pleasure of discovering science fiction’s less enduring contributions, from ‘saucerman’ to ‘braintape,’ each ripe for a comeback. A moderated, crowdsourced project, the dictionary is now online and growing every day. You’ll find it dressed in three font families from H&Co: Whitney ScreenSmart for its text, Decimal for its navigational icons, and Sagittarius for its headlines — with some of the font’s more fantastical alternate characters turned on. The New Typeface Sagittarius is a typeface whose rounded corners and streamlined forms give it a romantically scientific voice. In the interest of versatility, its letterforms make only oblique references to specific technologies, helping the typeface remain open to interpretation. But for projects that need the full-throated voice of science fiction, a few sets of digital accessories are included, which designers can introduce at their own discretion. There are alternate letters with futuristic pedigrees, from the barless A popularized by Danne & Blackburn’s 1975 ‘worm’ logo for NASA, to a disconnected K recalling the 1968 RCA logo by Lippincott & Margulies. A collection of digitally-inspired symbols are included for decorative use, from the evocative MICR symbols of electronic banking, to the obligatory barcodes that forever haunt human–machine interactions. More widely applicable are the font’s arrows and manicules, and the automatic substitutions that resolve thirty-four awkward combinations of letters with streamlined ligatures. About the Name Sagittarius is one of thirteen constellations of the zodiac, and home to some of astronomy’s most inspiring discoveries. In 1977, a powerful radio signal originating in the Sagittarius constellation was considered by many to be the most compelling recorded evidence of extraterrestrial life. Thanks to an astronomer’s enthusiastically penned comment, the 72-second transmission became known as the Wow! signal, and it galvanized support for one of science’s most affecting projects, the Search for Extraterrestrial Intelligence (SETI). More recently, Sagittarius has been identified as the location of a staggering celestial discovery: a supermassive black hole, some 44 million kilometers in diameter, in the Galactic Center of the Milky Way. <

Hey! See Reina Neue in action here! INTRODUCTION When I designed the first Reina¹ circa 2010, I was at the dawn of my career as a type designer. The S{o}TA, short for the Society of Typographic Aficionados, described it as complex display typeface incorporating hairline flourishes to a nicely heavy romantic letterform². And it was like that; that’s what I was pursuing at that time since I was very passionate about ornaments and accolades of Calligraphy. Why? I felt that Typography, in general, needed more of them. These subtle flourishes could breathe life into letters. Maybe, I thought it was the only way I could propose something new into the field of type. However, after some years, I came across a very interesting quote: –Beautiful things don’t ask for attention– Wow! What did this mean? How could something be attractive if it’s not actually showing it. Could this be applied to my work? Sure. I think every type-designer goes through this process (aka crisis) regarding his or her career. At the beginning we love everything. We are kind of blind, we only see the big picture of a project. And that’s not because we are lazy. We actually can’t see the small mistakes nor the subtleties that make something simpler beautiful. We are not able. But, the small subtleties… They are actually everything: With experience, one puts more attention into the details and learns that every single decision in type has to be first meticulously planned. Here I am now, introducing a new Reina, because I felt there was a lot of it that could be improved, also the novelty of Variable Fonts caught my attention and I had to take that to my type library. THE FONT A thing of beauty is a joy forever Now, a decade later, I’m presenting Reina Neue. This font is not just an update of its predecessor: –A thing of beauty is a joy forever– is the first line of the poem ‘Endymion’ by John Keats, and despite the meaning of “beauty” may vary from person to person, and even from time to time (as read in the last paragraph), with Reina I always wanted to bring joy to the eye. In 2010, and now, in 2020. I believe the font is today much better in every aspect. It was entirely re-designed: Its shapes and morphology in general are much more clean and pure. The range of uses for it is now wider: While the old Reina consisted in just one weight, Reina Neue was converted into a big family of many weights, even with italics, smallcaps and layered styles. The idea behind the font, this kind of enveloping atmosphere made out of flourishes, is still here in the new Reina. This time easier to get amazing results due to the big amount of available alternates per glyph and also more loyal from a systemic point of view. However, and as read in the introduction -Beautiful things don’t ask for attention-, if none of the flourishes are activated the font will look very attractive anyway. Reina Neue is ready to be used in book covers, magazines, wedding cards, dazzling posters, storefronts, clothing, perfumes, wine labels and logos of all kind. Like it happened with the previous Reina, I hope this new font satisfies every design project around the world if used, and can be a joy forever. SOME INSTRUCTIONS Before choosing the right style for your project, hear my advice: -Reina Neue Display was meant to be used at big sizes. If you plan to print the font smaller than 72pt, I suggest using Reina Neue, not Display. Otherwise, if the font will be BIG or used on a digital platform, Reina Neue Display should be your choice. For even smaller sizes, use Reina Neue Small. This style was tested and printed in 12pt with nice results. (Note for variable fonts: Print them in outlines) -Reina Italic is not a slanted version of the roman, and this means some flourishes are different between each other. The Italic version has other kind of swirls. More conservative, in general. -All the styles of Reina Capitals have Small Capitals inside. -Reina Capitals Shine should be used/paired ONLY with Reina Capitals Black. The engraved feeling can be achieved if Reina Capitals Black and Reina Capitals Shine are used as layers, with the same word. Variable fonts instructions: -For more playful versions, choose Reina Neue VF, Reina Neue Italic VF or Reina Neue Capitals VF: With them you can adjust between 3 axes: Weight (will change the weight of the font) – Optic Size (will thicken/lighten the thin strokes and open/close the tracking) – Accolades (will modify the weight of the active flourishes). SOME VIDEOS OF REINA NEUE VF https://youtu.be/8cImmT5bpQM https://youtu.be/1icWfPmKAkg https://youtu.be/YC9GkJDL1a8 NOTES 1. The original Reina, from a decade ago: https://www.myfonts.com/fonts/argentina-lian-types/reina/ 2. In 2011, Reina received an honourable mention by S{o}TA. “Great skill is shown in the detailing, and an excellent feel for the correct flow of curves and displacement of stroke weight.” https://www.typesociety.org/catalyst/2011/ Reina was featured in the “Most Popular Fonts of the year” in MyFonts in 2011 https://www.myfonts.com/newsletters/sp/201201.html In 2012, the font was also selected in Tipos Latinos, the most prestigious competition of type in Latinoamerica. https://www.tiposlatinos.com/bienales/quinta-bienal-tl2012/resultados Also, chose as a “Favorite font of the year” in Typographica. https://typographica.org/typeface-reviews/reina/