Smudger, from designer Andrew Smith, is oriented toward a young generation who does not want to mind the rules. The font invites unconventional and playful use. The figures seem to be almost coincidentally shaped. Letters alternate between thin and thick strokes alternate and give the font the smudged look that inspired its name and gives the font its unmistakable character. Smudger is a font that just cannot settle down. It is best used for headlines and short texts in point sizes of 12 or larger.

Savage Garden - 3 Quirky Playful Fonts are a delightful trio of typefaces that exude a sense of whimsy and playfulness with their unique and irregular letterforms. This font family includes three distinct versions: clean/regular, decorative, and block/fill, allowing for creative versatility. The fun and playful vibe of this font makes it a perfect choice for child-related themes or baby-oriented designs. It's well-suited for logos, printing materials, branding, quotes, posters, greeting cards, birthday cards, invitations, children's books, and more, adding a touch of joy and creativity to your projects.

Nipon has an affiliation with the Far East. The first character I designed for this alphabet was the capital P. The stepped thin lines are linking to the Japanese characters and the circle shape is a classic Japanese element which means literally: the origin of the Sun, Nippon. So this is where the name comes from, I skipped one P in the name, so my Nipon gets his own identity. Next to this oriental look it also carries a light resemblance with a juwel box. Precious and elegant shapes for the gentle touch in writing.

DIN stands for Deutsche Industrienorm, German Industrial Standard. In 1936, the German Standard Committee settled upon DIN 1451 as the standard font for the areas of technology, traffic, administration, and business. The committee chose a sans serif font because of its legibility and easy-to-write forms. This font was not seen in advertisements and other artistically oriented uses, and there were disagreements about its aesthetic qualities. Nevertheless, this font was seen everywhere on German towns and traffic signs and hence made its way into advertisements because of its ease of recognition.

The inspiration source for Chaoxiang Monogram is another hand-drawn treasure from a vintage embroidery publication which plays on the anglo-version of chinese letters with stabbing strokes and the charm of the orient. While the original intent of this monogram style is uncertain, the possibilities of its use are up to your imagination. This is one of many monogram designs from the early 1900’s which fall into a two letter format bound within a framing element. Download and view the MFC Chaoxiang Guidebook if you would like to learn a little more.

Saturnight Regular is a proportional and kerned typeface. The name is a variation of Saturnight, which is itself the anagram of Unstraight. This is because vertical lines are Unstraight sticks. It's a consequence of the Design rule * Glyphs are built from segments on a triangular tessellation (cf. poster 1) Note 1: Unstraight lines depend from the chosen tesselation orientation (here the tesselation has horizontal lines and thus Unstraight verticals). Note 2: The encoding is Windows Latin 'ANSI', which includes Icelandic characters (as illustrated by poster 3).

Brody’s fonts borrow elements from both Art Deco and non-Western styles. His designs received international recognition for their innovative, computer-oriented style, reaching almost cult status. Four original Brody fonts are available from Linotype Library GmbH: Insignia, Industria-Solid, Industria Inline and Arcadia. For your convenience, we have gathered all four into one package. Insignia has the basic forms of constructed grotesque fonts and was influenced by the New Typography of the Bauhaus during the 1930s. Its image reflects the Zeitgeist of that age, suggesting technology and progress.

Fini. Done. You've just discovered an infinitely useful font that polishes things with youthful and stylish vigor. Fini provides playfulness with double letter ligatures with a twist of friendly sophistication. Fini Things, also designed by illustrator and font designer, Amy Dietrich, is a decorative collection of 26 loopy, spotty repeating border designs and kid oriented icons (like a pea coat, owl hat, hoodie, rubber duckie etc, plus a coffee cup - for mom and dad). Fini Things coordinates with Fini font, and in fact, works very nicely with Merci, and other Atlantic Fonts.

After exploring tessellations for several years, I decided to see how many ways I could tessellate puzzle pieces. I began with a square template and used the same asymmetrical shape for all four edges. By flips or rotation each edge could be fitted in four ways. Eventually I discovered that, given this way of forming tiles, there were 15 distinct shapes that tessellate and these shapes can take a total of 96 orientations. (A note in the November 2016 issue of Mathematical Gazette has the proof for the 15 shapes.) This typeface contains those 15 shapes and 96 orientations. A pdf note here shows some of the tilings possible using only one shape in a pattern. An unlimited number of patterns are possible if shapes are mixed. There are two members of the family, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns.)

The two fonts Andron Corpus Publix-General and Andron Corpus Publix-Transport offer a selection of most useful public orientation signs as occurring in public spaces as well as in digital and printed media. The unusual feature of these fonts is a thorough and fancyful typographical detailing, which makes the characters appear more sophisticated and less schematic. The ductus of these fonts matches the style of Andreas Stötzner’s Andron typeface family. Use these fonts for signage systems, marking, catalogues and brochures. Test the unusual high recognisability – with small sizes and at large distances – and compare to other, more template-like fonts!

Flawless Flygirl is a quirky sans-serif font inspired by the titling sequence from the 1964 film, "The World of Henry Orient". Fun and full of personality, it is one of those lettering styles that was a joy to flesh out and make into a typeface filled with double letter ligature alternates to keep the typesetting weird and wonderful. With a pseudo unicase character set, and offbeat letter weighting, Flawless Flygirl is fun to typeset, with ligature combinations that are pleasant surprises. You’ll find this Flawless Flygirl is ready to dance to the beat of your designs.

Linotype Nowe Ateny is part of the Take Type Library, which features the winners of Linotype’s International Digital Type Design Contest from 1994 to 1997. Designed by Dariusz Nowak-Nova, Nowe Ateny is a frantic handwriting font whose capital letters include technical-looking grid lines and end points. These seem to anchor the letters without reducing their volatility. The font consciously lacks elements which increase legibility, sacrificing them for the sake of more design oriented ideals. Nowe Ateny is thus good for headlines in larger point sizes, especially when the look of the text is as important as its content.

In the early days of PostScript fonts, I designed a font of leaves called XLeafMeAlone. In 2006 I decided to revisit this topic and the result was two sets of new leaf fonts: MapleOaks and MoreLeaves. MapleOaks contains almost 100 images of maple, oak, and sycamore leaves, and MoreLeaves has almost 100 images of leaves of various other species. There are four MapleOak fonts. They have identical images; only the orientation of the images is different. In MapleOaksUR the tips of the leaves point to the upper right, in MapleOaksDR the tips point down to the right, etc.

Isotonic started out as a spin-off with the idea of creating a text oriented version of Ciutadella, it has since taken on a life of its own. Building on a foundation that has proven to work very well, we decided to open the counters and increase the x height. Even though it is not strictly a text font, it works surprisingly well in body sizes and screens. The soft corners gives charm, closeness and an appropriate voice for sports, science, tech, economy etc. Learn more about the design process of Isotonic at the Emtype’s Blog.

Meguro Sans has a modern-styled boxy shape that achieves clean, industrial yet friendly style lends itself well to brand building. Its mono-line oriented and very high X-height ensure that it is extremely legible and creates a strong impression. Meguro Sans is Sans serif version of Meguro Serif. The Meguro sans font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Like many cities in the Midlands and North of England, Stoke-on-Trent has a rich history linked to making and industry. In Stoke’s case it was pottery. In the early 1900s bottle kilns could be seen covering the landscape of the six towns making up Stoke-on-Trent with hundreds of factories producing some of the best ceramics in the world. But by the 1990s most of these had gone. Torn down for development of housing or just left to rot. During the next few decades Stoke continued to change. The industry was in a decline and Stoke itself was seen as another poor midlands city with a dwindling industry. Then in 2008, Spode, one of the largest and most famousceramics factories in Stoke entered into administration. Pens cast aside, drawings left half finished, designs left in the turned-off kilns; Spode factory was abandoned. This was a real shock and the way everything was getting thrown into skips to be put on the tip was heartbreaking. Thankfully people salvaged some of the technical drawings, sketch design, old sample pieces and ceramics that people hard worked so hard on. Potbank has been in development over a number of years taking inspiration from the heritage and designs from the ceramics industry. It has a mixed Clarendon and Antiqua style structure with its main purpose to be used as a printed type.

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Variable Font The Variable font contains 2 axes: weight and oblique – all in just one file. Features: With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the static version of the Garino family here: https://www.myfonts.com/fonts/julien-fincker/garino/

About Garino: Garino is a modern sans-serif typeface family. It gains its expressive character from a dynamic sweep in the curves and high-contrast transitions. The thinner and thicker weights are particularly suitable for strong headlines, while the middle weights can be used for typographic challenges and body text. As a result, it can be used in a reserved as well as an expressive way. Thanks to an extensive character collection, it becomes a real workhorse. A versatile allrounder that is up to all challenges – for Corporate Identity, Editorial, Branding, Orientation and Guidance systems and much more. Features: The Garino family has a total of 20 styles, from thin to heavy with matching italics. With over 1165 characters, it covers over 200 Latin-based languages. It has an extended set of currency symbols and a whole range of Open Type Features. There are alternative characters as stylistic sets, small caps, automatic fractions – just to name a few. Arrows and numbers: In particular, the extensive range of arrows and numbers should be highlighted, which are perfectly suited for use in orientation and guidance systems. Thanks to Open Type Features and an easy system, the various designs of arrows and numbers can also be simply "written" without first having to select them in a glyph palette. Get the Variable Font here: https://www.myfonts.com/fonts/julien-fincker/garino-variable/

Swish is a contemporary geometric font with two 3D orientations that create an alienating effect. The direction is shifted around the center of the horizontal axis. The font is inspired by the change of perspective that the artist Escher used in his drawings. It is a complete Latin font in which all the accents are present. The unique thing about this font is that it is also a stencil letter. The Swish font is designed to work in any printed and on-screen contexts, including logo design, brand identities, websites, packaging, posters and headlines. Optimized for latin based languages. Leon Hulst for TypeFaith Fonts.

Blanket is a friendly, baby-soft typeface with a gentle slant. With the warmth of an italic but less of the speed, it is designed primarily for use on child oriented material. The ‘schoolbook’ a and g are default, but the more adult double storey versions are available through stylistic sets / stylistic alternates. Blanket is child friendly without being childish. Typographically sophisticated, it features a wealth of figure styles, automatic fractions, ligatures, alternates, case sensitive forms and a small spattering of swashes. Although the intent was to make a typeface fit for children’s books, the finished product works well anywhere a casual (but not sloppy) look is desired.

Groteska is a modern & minimal sans-serif typeface inspired from some popular swiss design typefaces, having traditional grotesque oriented type characteristics while being clean & minimalist by nature. The typeface comes with a total of 14 fonts spreading between 7 weights featuring 7 uprights and matching italics for each weights. Handcrafted and designed with powerful opentype features in mind, each weight includes extended language support including Western & Central European sets. Groteska is a perfect typeface for graphic design, web, print and any display use. The typeface could be perfect choice for logo / logotype design, branding, marketing graphics, banners, posters, signage, corporate identities as well as for editorial design.

Geogrotesque Sharp is a superfamily of seven widths and 99 styles, that puts together the work of a decade. Some design aspects has been simplified but without losing its soul, we have removed ink traps and rounded corners. This update lead Geogrotesque to another dimension, becoming more usable and less idiosyncratic. A Variable Font version is included with the family, or as a separate style. Despite being more web oriented, this new format has gained popularity in recent years, so we thought it was the right moment to launch a variable Geogrotesque. For more info visit emtype website or see the Geogrotesque Sharp PDF.

Linotype Sansara, from Swiss designer Grégoire Poget, is part of the TakeType Library, chosen from the entries of the Linotype-sponsored International Digital Type Design Contest 1999 for inclusion on the TakeType 3 CD. This fun font is a type experiment behind whose oriental facade hide Arabic letters, recognizable only at second glance. This font displays generous, pointed ascenders and descenders as well as a bar-like emphasis on the upper third of the figures which connects lines and words and gives them a decorative look. Linotype Sansara reveals an astounding variety of details which bring to mind 1001 Arabian Nights, flowing gowns and snake charmers. This font is best for display in point sizes of 14 or larger.

Gate A1 is a typeface inspired by the famous DIN, but it is more humane compared to the prototype. Thanks to its straightforward, roughly naive construction and slightly increased letter spacing, the font is quite legible, even under difficult conditions. It makes Gate A1 perfect for road signs and orientation, as well as for interfaces. The typeface supports all European languages, including Greek, and the extended Cyrillic covering all major languages. In addition, Gate A1 has a functional set of arrows and several alternate sets of figures and graphic elements. The typeface designed by Dmitry Kirsanov was released in 2012 under the name of DIN PT and re-released in 2022 with additions by Alexander Lubovenko.

Kismet has the look of a modern, ornamental alphabet, but looks are deceiving: the typeface was designed by John F. Cumming in 1879. The basic forms are strictly constructed, most based on the form of a circle, a shape which also appears again and again in the ornamentation. Cumming decorated his figures generously with spiral elements and tiny circles in the middle of the letters. Characteristics which suggest the beginning of the Jugendstil are the floral designs and some individual forms, for example, T, M or P. Small, pointed serifs add a sobering element to all the flowery, oriental decoration. Used sparingly in headlines, the extravagant Kismet will be sure to attract attention.

Potent, clean and classy. Meguro serif has a modern-styled boxy shape with small glyphic serifs emphasizing the edge of its vertical and horizontal strokes. Inspired by iconic fonts of the 1900s, Meguro serif incorporates the sophistication of the digital age to strike its own unique character. Its mono-line oriented, pointy serifs and very high X-height ensure that it is extremely legible and creates a strong impression. The Meguro serif font family is comprised of 10 styles with 5 different weights from light to black, along with matching italics offering possibilities for use in web, print, package and sign design, all with the goal of building an established look for brands in wide range of industries.

Created by German designer Jürgen Weltin, Linotype’s Agilita is a contemporary humanist sans serif family with a wide variety of weights, including both ultra thin hairline options and heavier, dark type. Agilita has rather classical proportions; its clear ascenders and descenders lend more distinct word shapes. Weltin’s design has a dynamic, yet strong and very functional appearance with a fine but clear emphasis on the horizontals. This traditional approach makes it a versatile typeface for large-scale text setting, but it can also be used in complex information design projects, and orientation systems, for example. Hence it was developed carefully into a wide range type family system consisting of 32 styles. This even covers the requirements for display and headline setting. Corresponding condensed weights are suitable where horizontal space is scarce, as in narrow columns and tables, for example. The Agilta Hairline and Agilta Ultra Thin styles were especially made for display use. These fonts should be set at a minimum size of 20 pt for printed project, and about 40 pt on output to laser printers, depending on the paper used. Agilita’s character sets include special symbols and signs that may be used in dictionaries; like arrows for lemmata and signs for cross references, idioms or colloquial language. There are two sets of arrows available in each weight for use in orientation systems. Each font in the Agilta family is built according to Linotype’s Extended European character set guidelines. These offer support for more than 48 Latin-based languages used in Western, Central, and Eastern Europe, including Baltics and Turkey.

The first design of Elensans consisted of 4 styles that are including two weights and their italics which I designed in my student years in 2002. It was designed with a little Art Nouveau style touch with inspired by classical geometric based fonts such as Friz Quadrata and Eras. It was updated with according to the orientations of the day in 2012 and eventually it took its final form with actual touches in 2020. The family has 18 weights, ranging from Thin to Black in normal styles and including their italics. It is ideally suited for advertising and packaging, editorial and publishing, logo, branding and creative industries, poster and billboards, small text, wayfinding and signage as well as web and screen design.

Sandokan is a brush script font with a character and morphology that nears Oriental calligraphy, Art Nouveau typefaces, psychedelic “flower power” fonts from the Sixties and Tuscan poster fonts from the 19th century. Its main features are the high contrast between thick and thin strokes and the extreme slanted angle in the typewriter imprints, creating inverse shadowing. The letter set is further accentuated by exotic decorative details and the often unusual connectors between small letters. The typeface supports all languages using the universal Latin character set. Sandokan is a slightly sweetened cultural cocktail. As such it looks best on everything that needs to come across as exotic and rather solid but unmistakeably eccentric - such as labels and packaging on exotic delicacies or circus posters.

I used to be a tour guide and I traveled to China numerous times. Usually, the itinerary mentioned going to a restaurant in Beijing and eating ‘Beijing Roast Duck’ (北京烤鸭), a famous dish that has been prepared since the Imperial era. Typically, the whole duck is sliced at your table. The skin is crisp, glazed and thin and you should eat it with thin pancakes and thinly sliced spring onion. Of course, if I had to guide several ‘China tours’ in a row, I would often eat something else (there is only so much Beijing Duck you can eat). Peking Duck is a nice, handmade, Chinese Ink font. Use it for your restaurant menu, your book covers or your posters, advertising oriental food!

In May of this year, I went to Japan with my (then 11 year old) son Sam. It was his dream to visit Japan, probably because of my tall tales, stemming from the time I was a tour guide! Sam really wanted to try all kinds of Japanese delicacies and one day, when walking around Tokyo, we came across a little stall selling Taiyaki. Taiyaki are fish-shaped waffle/cakes with a red bean or sweet potato filling. They are really delicious! This nice ‘oriental looking’ font was made with a broken popsicle stick and Chinese ink. You are now wondering why I always use Chinese ink and not Japanese ink. Well, I have a stash of the Chinese stuff and it’ll last me a lifetime!

Passiflora is a unicase display font with elegant shapes and swashes, imitating the handraw in a friendly and llamative aesthetic. This font inspires the facade inscriptions and rotulations of the buildings in the XX century of Santiago, as the fresh features of rounded brushes. Passiflora counts with 7 variants: Regular, Shadows, Outline, and Decorative version. Every variable contains more than 800 glyphs and a wide support of languages from Occidental, Central and Oriental Europe and Vietnamitese. This font is perfect to decorate book covers, showcases, packagings, posters, titles , among other uses. Passiflora counts with OpenType Alternates, Swashes, Titling alternatives, Stylistic sets, Discretionary Ligatures, Ornament sets and modern numbers, denominators and numerators, customized and become unique, allowing dinamism to the design.

FangsALot is a bizarre typeface family that was designed to alternate two character sets. These sets are alternated automatically in applications that support the OpenType feature Contextual Alternatives (calt). The template used to design characters is a distorted triangle that resembles a curved tooth or a fang. This shape can be flipped horizontally, vertically, and both horizontally and vertically to give four orientations. Two of these orientations are used in the regular style and two in what is called the italic style. I thought the fang motif did not come through clearly in the regular and italic styles. Rather the impression they give is more like graffiti lettering. To emphasize the fang motif I added two more members to the family by filling fang outlines with unadorned sans-serif characters. Then to allow more color in lettering, I added two more styles with letters on black. I then had six styles based on triangles skewed left and right. Why not fill the family out with three more styles based on an isosceles triangle? The end result is a family of nine. All members of the family are monospaced and are hard to read. The three graffiti-like styles have some alternative letters that can be accessed with the OpenType feature Stylistic Sets. Also, for each style it is possible to use only one set of characters by adding a space after each letter and then adjusting the character spacing. The graffiti-like styles can be useful in situations where the hard-to-read property is not important but where a menacing and vicious touch is needed, such as topics of sharks, teeth, biting, and vampires.

Valet is deco moderne the way it was meant to be: Big, bold, classy, flashy, and clean at the seams. Its message is rich, strong, confident and reliable. Valet tells you that it’s used to thorns being part of every rose, that it can handle sharp objects just fine, and that it'd much prefer buying the tuxedo rather than renting it. This font grew out of an uncredited early 1970s all-cap film type called Expression. An appropriate deco lowercase was added, along with small caps, zippy titling caps, and Pan-European language support. With over 9250 glyphs, we bow our heads with the admission that we kind of got carried away with it.