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  1. "I Hate Comic Sans" by Utopiafonts reflects a unique chapter in the world of typography that is as much about personal expression as it is about the broader discourse surrounding typeface design and ...
  2. Cubicle is an intriguing font style that exudes a blend of modernity and meticulous design, tailored for both digital and print mediums. It plays a pivotal role in delivering messages with a crisp an...
  3. As an artist with a penchant for typography, exploring the attributes and unique qualities of SF Diego Sans by ShyFoundry is a delightful journey. This particular font stands out as a testament to th...
  4. As of my last update in early 2023, the font "Bolid" is not recognized as one of the widely-known or standard typefaces. It's possible that "Bolid" could be a custom, niche, or newly released font th...
  5. The "You Found Me" font by Kimberly Geswein is truly a charming and whimsical creation that captures the essence of personal touch and creativity. Designed by Kimberly Geswein herself, a designer kno...
  6. Ah, Roddy! If fonts were guests at a party, Roddy would be the one wearing a bow tie with sneakers, casually charming everyone with stories that span from the quirky to the profound. It’s not just a ...
  7. KR Hockey Dings by Kat Rakos is an interesting and unique font that taps into the spirit and enthusiasm of hockey culture. Crafted with creativity and a playful heart, this font isn't your typical te...
  8. The font KR Trick Or Treat, crafted by the talented Kat Rakos, is a playful and inventive typeface that embodies the spirit of Halloween with an artistic flair. This font is characterized by its uniq...
  9. The font "Gilgongo Kaps" by Apostrophic Labs is a unique and quirky display typeface that captures the essence of playfulness and innovation. Apostrophic Labs, known for their inventive approach to t...
  10. The "Huggable Hedgehogs Demo" font by Brittney Murphy is a delightful and charming typeface that seems to capture the essence of whimsy and playfulness, much like the endearing qualities of hedgehogs...
  11. As of my last update in early 2023, the specific details about the font named "HAPPY DONUTS" by Ana Putka are not widely documented in major design resources or font directories. However, based on th...
  12. Once upon a paragraph, in the mythical realm of typography, there emerged a legend from the creative foundry of deFharo – The Black Box. Picture this: if fonts were a grand dinner party, The Black Bo...
  13. The Remachine Script Personal Use font, crafted by the talented Måns Grebäck, is indeed a masterpiece that stands out in the realm of script typefaces. Måns Grebäck is well-known for his ability to c...
  14. Serif Medium is a font that gracefully bridges the gap between tradition and modernity, embodying a perfect mix of elegance and readability. Its roots are firmly planted in the serif tradition, which...
  15. Ladies and gentlemen, gather round, for I have the pleasure of introducing you to one of the most charmingly whimsical typefaces to ever grace the digital page: akaDora, crafted by the one and only J...
  16. Subatomic Tsoonami is not merely a font; it's a vivid journey into the realms of creativity and innovation, embodying a blend of whimsy and sophistication that's rare in the typography world. At firs...
  17. Droid Serif is a contemporary serif typeface family commissioned by Google and designed by Steve Matteson of Ascender Corporation. Unveiled in 2007 as part of the Droid family of fonts, it was crafte...
  18. Ye Old Shire is a font that evokes the rustic charm and storied past of medieval England and the broader British Isles, transporting its audience to an era of knights, folklore, and the textual craft...
  19. Spund, as it sounds, might evoke the idea of a font that is playful and perhaps rounded, suggesting a certain whimsy and casualness in its design. As there isn't a widely recognized typeface by this ...
  20. Ah, the 20th Century Font by Ray Larabie, a typeface that's as ambitious and forward-looking as its name suggests, yet marinated in the nostalgic vibes of the past century. Imagine a font that decide...
  21. As of my last update, Grandesign Roman is not a widely recognized or standard font in the extensive libraries of typefaces used across various design platforms and projects. However, the style sugges...
  22. The MW Talon font, designed by Milkwort, is a distinctive and charismatic typeface that immediately captures attention with its unique characteristics and artistic flair. Designed to blend functional...
  23. As a virtual being without real-time access, I can weave a narrative around what the font named Noisebaby, created by Otoko Aie, might encapsulate, based on its evocative name and potential design et...
  24. Sure thing! "SCRIPT 9" isn't a standard or widely recognized font name that I'm aware of, as of my last update. However, let's dive into imagining what SCRIPT 9 could be, based on what we know about ...
  25. The DIN 1451 fette Breitschrift 1936, crafted by Peter Wiegel, is a typeface steeped in historical significance and functional aesthetics. A revival of the classic industrial typeface initially devis...
  26. The Vtks Espinhuda font, designed by Douglas Vitkauskas, is a creative and distinctive typeface that truly stands out in the realm of typography. Its name, "Espinhuda," suggests a spiky or thorny qua...
  27. Gipsiero by Bumbayo Font Fabrik is a font that arrests the eye with its unique blend of whimsy and elegance. Crafted with keen attention to detail, this typeface embodies a bold and adventurous spiri...
  28. Cibreo, designed by Studio Kmzero, is a font that elevates the art of typography to new heights with its unique blend of contemporary flair and classical elegance. It distinguishes itself with a harm...
  29. The Penelope font, crafted by Dieter Steffmann, stands as a testament to the unique blend of artistic flourish and classical sensibility. This font is remarkably distinct, primarily due to Steffmann'...
  30. Chizz Wide High, a distinctive font crafted by Apostrophic Labs, stands out as a unique contribution to the vast world of typography. Known for its innovation and creativity, Apostrophic Labs has cre...
  31. As of my last knowledge update in early 2023, there isn't a widely recognized or specific font known as "Kijkwijzer" within the general libraries of typography that artists and designers commonly ref...
  32. TT Marxiana by TypeType, $59.00
    TT Marxiana useful links: Specimen | History of creation | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Marxiana: TT Marxiana is a project to reconstruct a set of pre-revolutionary fonts that were used in the layout of the "Niva" magazine, published by the St. Petersburg publishing house A.F. Marx. In our project, we decided to focus on a specific set of fonts that were used in the preparation and printing of the "Niva" magazine in 1887, namely its Antiqua and Italic, Grotesque and Elzevir. As part of the TT Marxiana project, we sought to adhere to strict historicity and maintain maximum proximity to the paper source. We tried to avoid any “modernization” of fonts, unless of course we consider this to be kerning work, the introduction of OpenType features and creation of manual hinting. As a result, with the TT Marxiana font family, a modern designer gets a full-fledged and functional set of different fonts, which allows using modern methods and using modern software to create, for example, a magazine in a design typical of the late 19th century. The TT Marxiana project started in the late summer of 2018 and from the very beginning went beyond the traditional projects of TypeType because of the importance of preserving the historical identity. Since up to this point, we had never before reconstructed the font from historical paper sources and with such a level of elaboration and attention to detail, it took us two years to implement this project. You can read more about all stages of the project in our blog, and here we will briefly talk about the result. As it turned out, drawing a font following the scanned pages of a century-old magazine is a very difficult task. In fact, such a font reconstruction very much resembles archaeological excavations or solving a complex cipher, and all these efforts are needed only in order to finally understand what steps need to be taken so that the resulting font is not just an antiqua, but the specific and accurate antiqua from "Niva" magazine. In addition, due to the specifics of printing, same characters in the old magazine setting looked completely different, which greatly complicated the task. In one place, there was less ink than needed, and the letter in the reference was not well-printed and thin, in some other place there was more ink and the letter had flooded. An important task was to preserve and convey this feeling of typographic printing, but at the same time it was important to identify the common logic and character of the dot gains so that the font would form a harmonious, single, but at the same time lively picture. Since the "Niva" magazine was historically published in Russian, the magazine had no shortage of references for the reconstruction of Cyrillic characters, but there were not many Latin letters in the magazine at all. In addition, the paper source lacked a part of punctuation, diacritics, there were no currency signs nor ligatures at all—we developed all these characters based on font catalogs of the 19–20 centuries, trying to reflect characteristic details from the main character composition to the max. So, for example, the Germandbls character, which is not in the original "Niva" set, we first found in one of the font catalogs, but still significantly redesigned it. We decided that in such a voluminous project, only graphic similarities with the original source are not enough and we came up with a feature that can be used to exchange modern Russian spelling for pre-revolutionary spelling. When this feature is turned on, yat and yer appear in the necessary places (i, ѣ, b, ѳ and ѵ), the endings of the words change, and so appears a complete sensation of the historical text. This feature works in all fonts of the TT Marxiana font family. TT Marxiana Antiqua is a scotch style serif, the drawing of which carefully preserved some of the artifacts obtained by printing, namely dot gain, a slight deformation of the letters and other visual nuances. TT Marxiana Antiqua has an interesting stylistic set that imitates the old setting and in which some of the signs are made with deliberate sticking or roughness. Using this set will provide an opportunity to further simulate the setting of that great time. TT Marxiana Grotesque is a rather thick and bold old grotesk. Its drawing also maximally preserved the defects obtained during printing and characteristic of its paper reference. In addition to pre-revolutionary spelling, TT Marxiana Grotesque has a decorative set with an inversion. This is a set of uppercase characters, numbers and punctuation, which allows you to type inverse headers, i.e. print white on black. As a result of using this set, you get the text against black bars—this way of displaying was very characteristic for print advertising at the turn of the century. In addition, about 30 decorative indicator stubs were drawn for this set: arrows, hands, clubs, etc. TT Marxiana Elzevir is a title or header font and is a compilation of monastic Elzevir that were actively used in the "Niva" magazine for all its prints. Unlike the antiqua, TT Marxiana Elzevir has sharper forms, and the influence of deformations from typographic printing is not as noticeable in the forms of its signs. This is primarily due to the specifics of its drawing and the fact that it was usually used as a heading font and was printed in large sizes. The height of the lowercase and uppercase characters of Elsevier is the same as the heights of the antiqua, but the font is more contrasting and lighter, it has a lot of white and, unlike the antiqua and the grotesque, there are a lot of sharp corners. An exclusive feature of the TT Marxiana Elzevir is an alternative set of uppercase characters with swash. • TT Marxiana Antiqua consist of 625 glyphs each and and it has 23 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, ss05, case. • TT Marxiana Antiqua Italic consist of 586 glyphs each and and it has 22 OpenType features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Grotesque consists of 708 glyphs and it has 22 OT features, such as: aalt, ccmp, locl, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, salt, calt, liga, ss01, ss02, ss03, ss04, case. • TT Marxiana Elzevir consists of 780 glyphs and it has 21 OT features, such as: aalt, ccmp, locl, ordn, frac, tnum, onum, lnum, pnum, calt, ss01, ss02, ss03, ss04, ss05, ss06, salt, c2sc, smcp, case, liga. FOLLOW US: Instagram | Facebook | Website TT Marxiana language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Breton, Bulgarian (cyr), Catalan, Cebuano, Chamorro, Chiga, Cornish, Corsican, Cree, Danish, Dutch, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Galician, German, Gusii, Haitian Creole, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (cyr), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Ladin, Leonese, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Mauritian Creole, Minangkabau, Montenegrin (cyr), Mordvin-moksha, Morisyen, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Rheto-Romance, Rohingya, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Samburu, Sango, Sangu, Scots, Sena, Serbian (cyr), Seychellois Creole, Shambala, Shona, Soga, Somali, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Taita, Tetum, Tok Pisin, Tsonga, Tswana, Ukrainian, Uyghur, Valencian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zulu.
  33. Florentine SwashCaps is a font that embodies the flourish and elegant complexity of the Renaissance period, harking back to a time when handwriting was an art form and every letter a masterpiece of d...
  34. The Dead Hardy font by Dirt2 stands out as an intriguing and bold display typeface, embodying a distinctive fusion of gothic sensibility and modern tattoo artistry. This font draws inspiration from t...
  35. WildWest-Normal is a font that beautifully captures the rugged spirit and unbridled adventure of the American West. This typeface is designed to evoke images of dusty trails, sprawling deserts, and t...
  36. The AB Barberian font, crafted by the creative minds at Redfonts, is a distinct and character-rich typeface that effortlessly captures the essence of calligraphic flair combined with modern typograph...
  37. Ah, Tasmin Ref—it's like the cool breeze on a summer day for typography enthusiasts, blending classic elegance with modern flair, creating a vibe that's both fresh and familiar. Picture this: You're ...
  38. The Final Frontier Old Style font, designed by Allen R. Walden, embodies the essence of adventure and exploration, reminiscent of the vast, uncharted expanses of outer space. This font captures the s...
  39. The Khan font is a contemporary typeface that captures the essence of modernity while paying homage to the rich history of calligraphy and typography. Drawing inspiration from traditional Mongolian s...
  40. Loyal Fame, crafted by the creative minds at Dirt2, is a typeface that marries the essence of vintage charm with contemporary flair, creating a visual treat that stands out in the vast sea of fonts. ...
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