Quentin Schmerber’s Temeraire serif font family was not designed to be invisible. It is a typographic exploration meant to be seen — with its beauty, one could even say beheld. While some fonts aim to be as easily ignored as possible, Temeraire is offered as a gift to wide-eyed readers with its anything-but-boring character and its conspicuous inconsistency in styles. Most type families increase the weight of each character to expand the family. Instead, research into 17th century sources produced Temeraire’s wide range of letterforms, from the predictable to the odd and loosely related through time. Each style is designed to work alongside the others but are also standalone homages to specific parts of English lettering tradition: gravestone cutting, writing masters’ copperplates, Italiennes, and others. Temeraire’s Regular style is a contrast-loving Transitional Serif with vertical stress, making it great for period and classic works, ironic pieces, and modern throwbacks. The weight of the Bold squares off the ends of each glyph to give it stability, and the italic style rings true: flowing, contrasting, and purposefully inconsistent. Temeraire’s Display Black style is one salvaged from expressive gravestone artistry. The details most easily noticed are the ‘g’ with its descending bowl that has been pressed back up in the centre, and the additional serif on the ‘t’ crossbar that holds its neighbouring character at bay. (The ‘g’ and ‘Q’ have loopless alternates.) The final style is the Italienne, the horizontally stressed counterpoint to the family. By design its characters flow and bend in ways not in step with the rest of the family. All the weight has been pushed to either hemisphere within each glyph, resulting in a display style that demands space and peacefulness around it so its presence can impress. As with all TypeTogether families, Temeraire meets the current designer’s needs. Not only does its five styles shine in print work, it includes alternates for when the defaults are too boisterous and has been expertly crafted for screens. The Temeraire serif font family is resurrected from echoes in time and finds its family relation through impeccable taste.

American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades. The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q). The weights of the Metro family, Metromedium #2™ and Metrolite #2™, were each designed by Mergenthaler Linotype's design office under Dwiggins' supervision. In 2012 Toshi Omagari reworked the Metro family as "Metro Nova" with many weights into a modern type family that even contains the alternate characters from the origin Metro family from Dwiggins. Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity. Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype portfolio, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments.

DIN Stencil Pro on Behance. DIN Stencil Pro: Specimen Manual PDF. Despite the fact that over the years several designers have manually created stencil lettering based on DIN for various projects, there had never been a professional digital stencil version of a DIN-based typeface until 2010 when the original DIN Stencil was first released. The Pro version was released in 2014 and adds multiscript support for Cyrillic and Greek. DIN Stencil Pro was based on its original counterpart DIN Text Pro and was particularly designed to address contemporary projects, by incorporating elements and weights which are akin to industries such as fashion, music, video, architecture, sports and communications. Traditionally, stencils have been used extensively for military equipment, goods packaging, transportation, shop signs, seed sacks and prison uniforms. In the old days, stencilled markings of ownership were printed on personal possessions, while stencilled signatures on shirts were typical of 19th century stencilling. Two companies dominated the market in the mid-twentieth century: the Marsh Stencil Machine Company in the United States and the Sächsische Metall Schablonen Fabrik in Germany. Ever since the late 1930s, it was the German Sächsische Metall Schablonen Fabrik which used heavily the new DIN 1451 standard font (introduced in 1936), attempting to overthrow the reign of the Didot-style modern roman which was at the time the most common stencil letter in Germany. These letters were manufactured mainly as individual zinc stencils which could be ordered in sizes between 10 and 100mm. The DIN Stencil family manages to preserve several traditional stencil features, but introduces additional modernities which enhance its pleasing characteristics which make it an ideal choice for a large number of contemporary projects. Furthermore, the spacing attributes of the glyphs were redefined and legibility was improved by revising the shape of the letterforms. The DIN Stencil Pro family is an enhanced version of the popular DIN Stencil. It consists of 8 diverse weights from the elegant Hairline to the muscular Black and supports Latin, Cyrillic, Greek, Eastern European, Turkish and Baltic. The new version 3.0 includes several additions such the recently unicode encoded character of the German uppercase Eszett (ẞ), the Russian currency symbol for Rouble (₽), Ukrainian Hryvnia (₴), Azeri and Kazakh letterforms.

FF Infra™ is a fresh take on the robust sans serif typefaces of the early 20th century. Drawn by Gabriel Richter, it’s a friendly, inviting – and multi-talented family. Whether long blocks of editorial text, or snackable copy in web pages and blog posts, FF Infra’s 20 typefaces are easy on the eyes in both print and digital environments. The design also performs as well at petite sizes, as it does at supersized display settings. Pair FF Infra with an old style or Didone serif design and you’ll have powerful and distinctive typographic pages! FF Infra is available in 10 weights, ranging from a delicate light to a commanding black, each with an italic companion. OpenType® Pro fonts of FF infra have an extended character set supporting most Central European and many Eastern European languages, in addition to providing for the automatic insertion of ligatures and fractions. Each font also contains four sets of figures and a bevy of arrows that are ideal for wayfinding and similar info-graphic projects. A generous lowercase x-height, open counters and subtle graduations between family weights, make for a family that is at home in a wide range of sizes, and comfortable in everything from large signage, content for mobile apps, product manuals and full-scale branding projects. In addition, to provide design diversity, Richter drew alternate designs for the a, G and ß. Richter first became interested in fonts and the art of creating typefaces while studying communication design at Düsseldorf University of Applied Sciences. His first designs were experimental, but these lead a position at FontShop International in 2013, where he developed his typeface design skills. A strong background in font production, hinting and font marketing were also part of his FontShop experience. Richter worked as freelance graphic and type designer until he founded übertype in 2017. He also invests back into the type community through the type design courses he teaches at his alma mater. FF Infra is Richter’s first commercial design for Monotype. We’re sure that you’ll find it as versatile and powerful as we do.

SIAS opens a new chapter in Irish vernacular typography: the Andron-2-Irish font family. The genes of the insular typographic heritage have been blended with the timeless classical style of the versatile Andron series. Whereas most Irish-style fonts available more or less stick to ancient designs, Andron-2-EIR is different: it’s an entirely new design in which Irishness meets the beauty of a matured Venetian Roman text face. Envision a new horizon for setting Irish text in its own visual mode! Now you can utilize Italics, Semibold and Small capitals for Irish just as you have been doing in other languages for a long time. But the icing on the cake is the fifth font: Andron Irish Middlecase honours the rich medieval tradition of Ireland by a special uncial-style glyph set. It corresponds to the Andron MC series. Last but not least the Irish type connoisseur will relish this font package for it’s unique utilization of Opentype functionality. In Opentype-aware applications, by just ticking a box you can switch to the special insular forms of s and r. By ticking another box you can transform the text from modern-day orthography to the traditional spelling with lenited consonants. This built-in intelligence has never been implemented in any Irish font before. Briefly, the Opentype substitution features are: [Ligatures] – default basic f-ligatures; [Descretionary Ligatures] – more ligatures for typographic reason, mainly t- and long-s-combinations; [Style set 1] – turns all lowercase r and s into their insular glyph variants; [Style set 2] – replaces all consonant-h digraphs by dotted consonants (ḃċḋḟġṁṗṡẛṫ, ḂĊḊḞĠṀṖṠṪ), works for lowercase, uppercase and upper-lowercase alike; [Style set 3] – provides another range of additional special ligatures (for Regular and Italic only); [Oldstyle figures] – turns the default lining figures into proportional oldstyle figures. Andron Irish will also perfectly combine with every other Andron product in mixed settings. For an overview please go to the SIAS main page. For a quick reference go to Andron Latin, Andron Greek, Andron English or Andron MC. For more wonderful new Irish fonts look at Hibernica and Ardagh!

Cabo Soft is the 2.0 version of our original Cabo Rounded Typeface, created back in 2015. With this new version, Cabo Soft, we have brought multiple upgrades and updates compared with the original version. Some of those consist in the addition of more glyphs and accents, alternate designs for many of the glyphs (including an alternate for @, #, some of the numbers and more), and most importantly, we have done a slight update in the design of the letters, which we'll give more details in the following paragraphs. The main style and thought behind our Cabo fonts has always been the rounded corners and the soft and welcoming vibe that it gives. It's friendly and familiar, but also modern and slightly elegant, especially the Thin and Light styles. With Cabo Soft we have worked on adding an extra touch to the design of the letters by working on the termination edges of each letter. If Cabo Rounded had an exact round termination for each letter, with Cabo Soft we have developed a unique non-equally rounded shape that is applied to all types of terminations for each letter. This new design approach makes it have a more clean style, a more modern and unique look, but it also gives stylish, exclusivist and elegant vibes, while still being friendly and familiar. Thanks to it's variety in weights and styles, you can use Cabo Soft in almost any design project. It works well with headlines and paragraphs, it's a perfect match for logo design and branding, but can also do wonders in videos, signage and many other elements. The typeface covers most likely the entire Latin Alphabet, it comes with multiple design alternates for many of the letters, glyphs and numbers, with accents applied for all of the available alternates. As a finishing note, with the help of our Cabo Soft typeface you can create an friendly and welcoming designs, as well as stylish, elegant and exclusivist. It has all the necessary glyphs and accents for any Latin Alphabet projects, and you can play around with all of the alternates to create unique designs right from the start.

When Hal Taylor saw the 1930 logo for the Stetson Shoe Company of Weymouth, Massachusetts, he didn't run out and buy a pair of loafers. Instead, he seized on this striking example of an Art Deco logotype as the basis for a new typeface design. “I was impressed with the delicate and sophisticated letter forms,” Taylor recalls, “particularly the enlarged cap S -- in any other case it would have seemed unbalanced, but in the context of this logo, it worked perfectly.” All the letters in the original all-caps Stetson Shoe logo were rendered with condensed proportions except the O, which was a perfect circle. While the prominent O added visual interest to the logo, Taylor knew that such a character would limit his typeface to display applications. For versatility's sake, he drew his O for ITC Stepp with the same proportions as the rest of the alphabet. Taylor also gave the logotype's inverted S a more traditional design, but kept the original as an alternate character in the OpenType font. Taylor's toughest challenge during the design process was creating a lowercase. “A good type design tells you what it wants to be,” he says, “and after a little while the Stepp caps began to tell me what the lowercase should look like.” Taylor's lowercase is slightly more conventional than the caps. The jaunty g" and almost upside-down "s" add subtle charm, while the capital letters provide the broader gestures of Stepp's personality. Together, they create a versatile and distinctive typeface design. One of Hal Taylor's first jobs was as a photo-lettering typographer in Philadelphia, setting headlines and creating custom lettering. This was followed by a stint doing finished lettering for John Langdon, whose ambigrams appear in Dan Brown's best-selling novel, Angels & Demons. Today, Taylor works as a graphic designer in the publishing industry, but he still finds time to create an occasional hand-lettered book jacket, and draw handsome typeface designs. ITC Stepp is available in four weights, ranging from Light to Ultra Bold. All four weights have companion italics, and the lightest three weights also offer a suite of small caps."

Before the mid-to-late 1970s, when retailers started to embrace UPC (universal price code) technology on a grand scale, pricing merchandise took on many forms. One method especially popular with variety stores (such as Woolworth's, McCrory's, Kress, etc.) were pre-printed price tags that came in small pads and were inserted into metal holders. Shelf Tags JNL recreates a vintage price tag based on examples seen online, and allows the user different ways to create their own vintage-style price tags. You can either utilize the round pen nib style numbers and price marks to place on any size or type tag, or type out prices using the reversed characters (white on black) along with the two end caps provided to form a complete tag unit. For the more adventurous, a complete blank tag is also provided in case the desire is to print a solid color tag background and [using the regular numbers] crate prices in custom colors. Two sets of smaller number (for "floating" cents prices) are also provided in regular numbers and reverse panels. As an extra bonus, there is a set of 1 through zero, dollar sign, cents sign and decimal point individual black-on-white outlined panels for making individual pricing numbers. The keyboard layout for the various characters is as follows: asterisk key - regular cents sign (no panel) dollar sign key - regular dollar sign (no panel) period key - regular decimal point (no panel) left and right parenthesis keys - panel end caps (to form price tags) colon key - reverse decimal point on black panel 1 thru 0 keys - regular numbers (no panels) A through J keys - small regular numbers (no panels) K and L keys - truncated [shorter width] end caps M through Y keys - individual price numbers (black on white with black border a through j keys - reverse numbers on black panels k key - reverse dollar sign on black panel l key - reverse cents sign on black panel m through v keys - reverse small numbers on black panels w through z keys - blank rectangular panels of varying widths equal sign key - full black panel price tag hyphen key - blank rectangular black panel based on the width of most number panels

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Looking for a font that packs a punch? Look no further than Thump! This bold and beautiful sans-serif typeface is just what you need to add some oomph to your designs. Thump is a font that isn’t afraid to be itself. Its heavy letterforms demand attention and exude confidence. But don’t let its weight intimidate you—Thump is actually quite easygoing. Its relaxed letterforms create a friendly, approachable vibe that’s perfect for any project. One of the best things about Thump is its rich, thick strokes. They give your text a sense of depth and texture that’s hard to achieve with other fonts. It’s the perfect way to add a little fun and unfettered style to your message. But Thump isn’t just a pretty face—it’s also smart. Thanks to OpenType technology, common letter pairs are automatically swapped to create a more genuine, hand lettered impression. It’s the kind of attention to detail that sets Thump apart from the rest. So whether you’re creating a poster, a brochure, or a social media graphic, Thump is the perfect choice. It’s bold, it’s beautiful, and it’s ready to help you make a statement. Give it a try and see for yourself! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

In the realm of graphic design, where the power of typography can make or break a design, selecting the right font can be the difference between a masterpiece and mediocrity. And when it comes to grunge aesthetics, the stakes are even higher, as the right font can mean the difference between an edgy, rebellious message or one that falls flat. Enter Oxeran and Oxeran Z, two fonts that epitomize punk with their grungy, raw, and unabashedly filthy appearance. These fonts aren’t for the faint of heart—they demand attention and command respect with their jagged edges and rough textures. But don’t let their rough exterior fool you—these fonts are also highly functional. Their OpenType-savvy design allows for letter pair ligatures, which break up the monotony of repeating characters and add visual interest to your text. The result is a dynamic, energetic, and impatient message that grabs your audience by the collar and demands their attention. Whether you’re designing a punk album cover, a protest poster, or a rebellious t-shirt, Oxeran and Oxeran Z are the fonts that will take your message to the next level. So, embrace the filth, let your typography speak volumes, and let the world know that you’re not to be trifled with. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Looking back on my production to date, neither so little nor so large, it does not come as a surprise to find myself now introducing Lady René. A brief review of my career would read as follows: graphic designer graduated from Buenos Aires University, a 10-year professorship in Typography in the same institution, an illustrator in the making. For almost 15 years now my work has focused on the design of editorial pieces, predominantly books and CD sleeves. Typography proper has always been central to my research projects. All my obsessions eventually embodied as much the search for a perfect, spotless text as for a daring and provoking one. In my view, "how-to-say-something" ranks highest amongst a graphic designer’s responsibilities. It was in this vein that I called in the written word to illustrate, to draw, to narrate. Why not reverse the saying and proclaim that “a word is worth a thousand images”? If so, one single word could trigger endless meanings, associations, ideas, and memories in every reader’s mind. Language, we know, has a strong power and is a living expression of a culture. In my illustrations, letters and drawings reunite in one synergy said and unsaid, the finiteness of the message and the freedom of the free reading. And this is how and when, Lady René, my first born type font sees the light of day conceived out of a love of illustration and a reverence for the written word, recalling the whimsicality of the handmade drawing and reflecting its sensitive, warmth and spontaneity. Enabled by the characteristics of Open Type and the hard, outstanding work of designer Ale Paul, Lady René succeeds in composing texts in a simple, organic way by means of its contextual and stylistic alternates, swash characters, ligatures and connecting words. A bundle of decorative miscellanea completes the set of signs, enabling the user considerable freedom to create new typographic landscapes. Lady René is then prepared, very much like a character in a short story, to come to life in the reader’s mind. I expect you will enjoy her as much as I did creating her. Laura Varsky

Milan-based Leftloft studio has produced a third leg to its hit Etica font family: LFT Etica Mono. Meant to be a coder’s go-to font for everyday use as much as a designer’s way to invoke a certain genre, it is part of a broader and more versatile family that already contains almost 80 sans and serif fonts. LFT Etica Mono’s ten weights carry the same modern, recognisable DNA of the Etica family while hewing to the defined requirements of a coding typeface: space, density, distinct forms, and clarity. It uses the same instroke on the ‘c’ and open form of the ‘a’ for which the Etica family is famous, but adds something new in the form of an additional italic style. Monospaced fonts usually incorporate slanted letters as italics, as does LFT Etica Mono, but its default italics have warmer, cursive shapes while the alternate italics are simply slanted. The default ‘a’ is a simplified bowl and stem instead of a two storey shape; the ‘d, f, i, l, t, y’ and others gain an outstroke tail; the ‘e’ is one smooth stroke; and the default ‘k’ is looped. These characters have basic, slanted alternates if the cursive look isn’t desired, and includes a set of arrows and geometric shapes. The monospaced design, by nature, makes the typeface useful in coding and in low readability situations. And how does LFT Etica Mono work from the designer’s perspective? The starting point was the need for a monospaced Etica companion intended for technical applications: captions in graphic layouts, small text, confined or predefined space, and overall tone. Flat terminals and counters maintain the colour and versatility of the original typeface, but choosing between the organic cursive or blunt slanted alphabet will give every layout its own character. Of particular aesthetic interest may be the & and % symbols. Designed to be applied to the common visual environment, the new LFT Etica Mono font family completes a more complex system. One benefit is to give an expressive tone — less serious and more friendly — to something inherently technical, to bytes and bots, to encode the beautiful life.

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. Based on this, four main states with different moods have been composed: The original Bunaero™, the more conservative “Classic”, the elegant and curvy “Up” and the matching ”Italic”. All states offer weights from a considerably thin „Hair“ to a real fat „Heavy“, so the family consist of 34 Styles, all with rather narrow width and very good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. This Pro version of Bunaero also includes a lot of features for sophisticated users: Lining figures for headline setting; Intermediate linings and oldstyle figures for text setting; Tabular versions of all figures; Superiors, inferiors, numerators, denominators and automated fractions; Language specialities like a capital Eszett for the german language and extra characters with a polish kreska instead an acute; And many more. Further information: Bunaero™ Pro Specimen PDF Bunaero™ Pro OpenType® Quickguide Feature Summary*: -4 Moods: Normal, Classic, Up and Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european and vietnamese languages -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more -6 sets of figures: -Capital sized figures, oldstyle figures and intermediate figures, each in proportional and carefully adjusted tabular versions -Superiors, inferiors, numerators and denominators -Circled and negative circled figures -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -Extra characters with alternate minmalistic Cedille -Arrows -Automated feature for fractions as well as extended fraction character set -More than 1000 characters per font * Some features may only be available in OpenType®-savvy applications

Juan Bruce’s Noort is not a type family for wayfinding or mapmaking alone, but for clarifying information and engaging readers along their own journey. The information designer’s role is to bring clarity and style to overwhelming amounts of information, which fortunately is Noort’s purpose as well. Hierarchies submit to its will and layering colour only adds more presence to its active posture. Noort’s design uses the proven editorial text features of a large x-height, ample spacing, and low contrast to check all the boxes for paragraph text use. But it’s the long serifs, wide characters, and overall typographic presence that make it resilient and ease the task of reading in small point sizes. These details mean Noort is able to demonstrate importance not only with its five pitch-perfect weights, but with its brindled colour within a layout. Noort’s roman and italic styles play off each other by transplanting their design features. The roman style’s serifs are transferred in substance but expectedly increased in speed in the italic styles. And the italic’s inktraps and separated strokes are echoed amidst the roman’s upright structure. Where digitisation could have removed the influence of the hand, Noort retains the analogue nature of its creation. This antiphonal seeding of details creates a cohesive family that is as fascinating as it is functional. Noort’s axis and serifs have a slightly varying ductus — the directional flow that aids reading and character clarity. Its latent obviousness in text sizes immediately becomes its signature style when bumped up to subhead sizes. And since Noort’s counters are so wide and welcoming, its heavier weights can expand more within themselves than along their exterior edges. Noort’s ten total fonts cover the Latin A Extended glyph set to bring its unbordered, globetrotting sensibilities to your projects. OpenType features include ligatures, fractions, and several figure styles, along with mature-rather-than-overbearing swashes. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noort family can set digital and printed works with ease, capitalising on the dual needs of clear information and fascinating textual artistry.

“There is just something magical about type design,” says Sebastian Lester. “If you draw a successful typeface it can travel the world, taking a part of you with it.” If this is true, his Soho® Gothic family has taken him far and wide. Understated, modern and exceptionally versatile, the family has been put to good use in just about every application imaginable. A good choice for virtually any type of project, The Soho Gothic family performs equally well as the backbone of a global brand as it would in an edgy fashion magazine. Versatile, extensive, customizable, and multilingual – the Soho Gothic typeface family has it all.With the same proportions as Soho, its slab serif cousin, Soho Gothic ranges across seven weights, from a willowy hairline to a brawny ultra – each with a complementary italic.Lester took care to ensure that the Soho and Soho Gothic designs work in perfect harmony. According to him, “The typefaces were developed alongside each other so that I could consider every aspect of each design and be certain that they would be absolutely compatible.”Soho Gothic is a more understated and more subtle design than Soho. Features that give the design its distinctive tone are the flat, crisp apexes of the diagonal characters like the A and V, and the marked horizontal stress in the a, g and s. “I wanted the family as a whole to radiate effortless modernity,” recalls Lester, “to be a master communicator that works in all conditions and at all sizes.” A collection of alternate and “semi-slab” characters were also part of Lester’s plan. “I like to develop alternate characters for all my type designs,” he says. “I believe they give graphic designers greater flexibility and make a typeface more valuable.” Soho Gothic is available as OpenType® Pro fonts that have an extended character set which supports most Central European and many Eastern European languages. If you’re looking to complete your designs, consider pairing it with Bembo® Book,Joanna® Nova,Neue Frutiger®,PMN Caecilia®,or ITC Stone® Serif.

The clock struck 2am. In the Wixendorf Café, a dingy diner off Route 75, the waitress behind the bar took another swig of whiskey—it was one of those nights. Ask to get a cup of coffee and you’re never sure how much will end up in your cup and how much will end up on the bar top. But it is hot, and paired with a plate of cherry pie? Why, that place is a slice of heaven. Tipsy Waitress, with a few too many swigs of liquor, is full of character and ready for any task—if you don’t mind a bit of sloppiness! The font includes: - A complete set of uppercase and lowercase letters, basic punctuation, numerals and currency figures, and diacritics - Western Europe language support - A whole heck of a lot of fun Need an extended license? Simply email us at hello@sajatypeworks.com and we’ll be happy to help! A collaboration between Dave Savage of Savage Monsters and Aaron Bell of Saja Typeworks. Get in touch: We’re here to help! If you have any questions or need assistance, please DM or contact us via hello@sajatypeworks.com Languages supported: Abneki, Afaan Oromo, Afar, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Arrernte, Arvanitic (Latin), Asturian, Aymara, Basque, Bikol, Bislama, Breton, Cape Verdean Creole, Cebuano, Chamorro, Chavacano, Chickasaw, Cofán, Corsican, Dawan, Delaware, Dholuo, Drehu, English, Faroese, Fijian, Filipino, Folkspraak, French, Frisian, Friulian, Galician, Genoese, German, Gooniyandi, Guadeloupean Creole, Haitian Creole, Hän, Hiligaynon, Hopi, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Kagaw Ya, Kapampangan (Latin), Kaqchikel, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Latin, Lojban, Lombard, Makhuwa, Malay, Manx, Marquesan, Meriam Mir, Mohawk, Montagnais, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Norweigan, Novial, Occidental, Occitan, Oshiwambo, Palauan, Papiamento, Piedmontese, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romansh, Rotokas, Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Slovio (Latin), Somali, Sotho, Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tetum, Tok Pisin, Tokelauan, Tshiluba, Tsonga, Tswana, Tumbuka, Tzotzil, Uzbek (Latin), Volapük, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu.

Lilard - Elegant Serif Font Lilard - Elegant Serif Font is a beautiful typeface that exudes sophistication and grace. The font was designed with the idea of creating a classic and elegant look, while still maintaining a modern and clean feel. The result is a font that is versatile and can be used for a variety of projects such as branding, logos, packaging, photography, and more. The design of Lilard font is inspired by the timeless and elegant look of serif fonts, but with a contemporary twist. The designer wanted to create a font that would stand out and be memorable, while also being easy to read and understand. The elegant curves and sharp serifs make Lilard a perfect choice for projects that require a touch of elegance and sophistication. Lilard font is best used for projects that require an elegant and refined look. This font is perfect for use in wedding invitations, business cards, and other high-end print materials. The font works well when paired with other sans-serif fonts, which helps to create a modern and clean feel. Lilard font comes with a variety of features that make it stand out from other fonts. The font includes uppercase and lowercase letters, as well as opentype features such as alternates and ligatures. Additionally, the font includes numbers, punctuation, and symbols, making it a versatile choice for a variety of projects. The font also supports multiple languages, making it a great choice for international projects. If you're looking for a font that is elegant, sophisticated, and versatile, Lilard - Elegant Serif Font is the perfect choice. Its unique design and features make it an ideal choice for a variety of projects. Use this font to add a touch of elegance and refinement to your designs and make them stand out. In summary, Lilard - Elegant Serif Font is a beautiful and elegant font that is perfect for high-end projects. Its unique design, features, and versatility make it a great choice for a variety of projects, including branding, logos, packaging, photography, and more. With its opentype features, multiple language support, and easy-to-use formats, Lilard is sure to become a go-to font for designers looking for an elegant and refined look.

The Comic Sans® typeface, one of Microsoft's most popular designs, has received a makeover courtesy of Monotype Imaging. The company has introduced the four-font Comic Sans Pro family of typefaces. Featuring elements such as speech bubbles and cartoon dingbats, Comic Sans Pro extends the versatility of the original Comic Sans, designed by Vincent Connare for Microsoft in 1994. Hats off to Monotype Imaging for enlivening Comic Sans and getting it back to its roots as a comic book lettering face. Now everyone can write with more panache - and look even more like a pro using swashes, small caps and other typographic embellishments," said Connare. "Every day, millions of people rely on Comic Sans for countless applications ranging from scrapbooking to school projects," said Allan Haley, director of words and letters at Monotype Imaging. "Comic Sans is also a favorite in professional environments, used in medical information, instructions, ambulance signage, college exams, corporate mission statements and executive reprimands - even public letters from sports team owners to their fans. Breaking up with your spouse? Why not write a letter in Comic Sans Pro, embellished with a typographic whack!, pow! or bam! Comic Sans is everywhere, and now it's even better." The Comic Sans Pro family includes regular and bold fonts, in addition to two new italic and bold italic fonts drawn by Monotype Imaging's Terrance Weinzierl. "Our aim is to put the 'fun' back in 'functional.' We can't wait to see Comic Sans Pro used in everything from second wedding announcements to warning labels," said Weinzierl. "Long live Comic Sans!" Comic Sans Pro contains a versatile range of typographic features including swashes, small caps, ornaments, old style figures and stylistic alternates - all supported by the OpenType® font format. OpenType-savvy applications, such as Adobe® Creative Suite®, QuarkXPress® or Mellel™ software are required to access these features. Comic Sans Pro can also be used in new versions of Microsoft® Office including Microsoft Word 2010 and Microsoft Publisher 2010. In addition, Comic Sans Pro includes a set of ornaments and symbols, including speech bubbles, onomatopoeia and dingbats, pre-sized to work well as bullets."

Introducing Sofachrome—the epitome of the modern, the pinnacle of the sleek, and the embodiment of high-tech design. Its extended futuristic letterforms will take your project to the next level, while its streamlined, industrial contours will give your work a feeling of durability and strength. This typeface is not just any ordinary typeface. It has been specifically designed to evoke a sense of futuristic innovation, with its bold thick and thin stroke contrast that provides a striking impact. Its sleek and polished finish will leave an unforgettable impression on anyone who lays their eyes on it, making it perfect for designs that demand a high-speed and technical efficiency. With five sleek weights and italics, Sofachrome is versatile enough to use in a variety of projects. Whether you’re creating a high-tech ad campaign, designing a futuristic poster or even creating an eye-catching logo, this typeface will help you achieve the desired impact. Sofachrome is not just a font, it’s a statement—a statement of quality, precision, and sophistication. So why settle for anything less when you can elevate your designs to the next level with Sofachrome? Choose Sofachrome for your next design project and see the future of design unfold before your very eyes. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Touch Me is a Script hand-drawn style typeface—designed by Coto Mendoza—resulting from polyrhythmic exploration, sign deconstruction and altered calligraphic contrast plays with watercolour brush. Coto has been using these experimental calligraphy techniques when creating the catchwords for Macarons, the Boho Family, Bikini Season Script and Matcha Script and so forth. Touch Me was inspired by a character in a story written by Coto while attending a literary workshop with Ina Groovie in Santiago de Chile. The character is a tribal girl who lives on an island in the Caribbean. She is heir of ancestral knowledge and possesses wild beauty, very passionate and sensual: intense, strong and free. These features are reflected in the polyrhythm of the typeface's curves: an irregular baseline, variable x-height, different lengths of initial and terminal strokes (that sometimes expand and sometimes shrink) and amount of brush pressure that generates changes in contrast within the characters. This way, when composing, signs with stroke contrast randomly alternate with monolinear ones and with signs of altered contrast, thanks to the typeface's OpenType programming. The family, with more than 3,000 glyphs, provides a number of alternative characters, swashes, ligatures, initial and terminal forms, in short, a vast ocean of choices! Touch Me is a spontaneous typeface with a fresh and unique personality. It is the perfect choice for short text in both print and digital formats. The family comes with a Script Regular version and a seductive Script Drop that you will enjoy a lot! The Extras set includes some catchwords, dingbats and ornaments that allows for endless composition options. The family also comes with a Caps version —designed by Luciano Vergara—in 2 styles: a funny and big-headed condensed Sans Grotesk display of inverted vertical proportion plus a Grotesk, neutral and slightly expressive Petite. Both versions, available in 6 weights, have been especially designed to create hierarchies when composing. This allows for balance between strokes of different weight when it comes to the Sans and Script fonts. Come and dare yourself! Touch Me! Thanks Alisa for sharing your amazing and beautiful picture with us.

For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet Portada by Veronika Burian and José Scaglione. Sans serifs are commonly used on small screens to save space and carry a modern tone. Serifs may appear fickle and unsteady, pixel grids change from one product to another, and space is at a premium. Portada now provides a serif option for these restrictive digital environments, putting that old trope to rest. The screen has met its serif match. Portada was created from and for the digital world — from e-ink or harsh grids to Retina capability — making it one of the few serifs of its kind. Portada’s text and titling styles were engineered for superlative performance, making great use of sturdy serifs, wide proportions, ample x-height, clear interior negative space, and its subservient personality. After all, words always take priority in text. It’s not all business, though. Portada’s italics contain an artefact of calligraphy in which the directionality of the instrokes and the returning curves of the outstrokes give the family a little unexpected brio. Yet even the terminals are stopped short of flourished self-absorption to retain their digital clarity. When printed these details are downright comforting. Portada’s titling styles enact slight changes while reducing the individual width of each character and keeping the internal space clear. Titling italics have increased expressiveness across a few characters rather than maxing out the personality in each individual glyph. Digital magazines, newspapers, your favourite novel, and all forms of continuous screen reading benefit from Portada’s features. This family can also cover many of the needs developers have: user interface, showing data intensive apps on screen, even one-word directives and dialogs. And, as a free download, an exhaustive set of dark and light icons is included to maintain Portada’s consistent presence, whether as a word or an image. The complete Portada family (eight text styles, ten titling styles, and one icon set) is designed for extensive, clear screen use — a rare serif on equal footing with a sans.

Introducing Electric—a typeface that’s as distinctive as the legendary Gibson custom electric guitars of the 1960s. This unique typeface was sparked by the custom nameplates that were used to cover the bolt holes left behind when dealers swapped out standard stoptails for the Bigsby vibrato tailpiece. Crafted using an oddball zig-zag pattern font and engraved with a pantograph router, the original nameplates featured a pair of starburst symbols that were as striking as the guitars they adorned. Now, you can recreate these iconic symbols using the lozenge symbol ◊ and add a touch of vintage cool to your designs. Whether you’re creating an album cover, a concert poster, or a logo for your band, Electric is the perfect way to convey your message in a bold and distinctive manner. So why settle for a bland, generic font when you can have one that’s inspired by the most iconic guitars in music history? Plug into the Electric typeface today and take your designs to the next level. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Oita might be a carefully crafted typeface family, created by a meat-bag human. Or, it might have been made by a supremely clever sentient robot. Found in the dark recesses of a top secret spy agency’s quantum computer, this font came with this somewhat unusual description, which is presented without comment. "To conquer, we cannot simply overcome. Success is found in supremacy--in the dominance of Oita. While looking for the right tool for this success, our research has led us to the finely executed forms found of military domination throughout history. In our labs, we've used our specialized machines to harness these forms' power and refined their impact through elements of contemporary and computer design. The structure proves to be robotic and squared on its edges. However, the chutzpah of this technical face still allows it to pass as if created by human hands. Our resulting payload, Oita, is modern and sturdy. While based on a practical, octagonal structure, make no mistake; this new instrument will drive forward the energy you want to push through your projects. Oita has 42 cuts certain to encompass your designs on world domination. Each font contains the glyphs to support over 52 languages. The font also includes tabular and lining figures, numerous ligatures, and selected advanced Opentype options, including stencil and experimental options to bring out the dynamic characteristics that have already been crafted into Oita. Early tests have found that the new instrument is easily scalable to smaller dimensions without reducing its impact. The font remains highly readable across a variety of applications. We speculate from our findings that it will be successful for sporting and technical applications. So for you who venture to use Oita, use it boldly. Don't just overcome. Dominate. Go and conquer mightily with Oita. We'll be watching." We may never know whether Oita hails from mind or mechanism. What we do know is that, should you choose to take on Oita, you'll be acquiring a dynamic poster and packaging face, a minigun-toting bad robot of a font that exudes pace and power.

Protipo helps information designers work smarter. Veronika Burian and José Scaglione’s Protipo type family is an information designer’s toolbox: a low-contrast sans of three text widths with a separate headline family, accompanied by an impressive two-weight icon set, and working with the advanced variable (VAR) font format. From annual reports and wayfinding to front page infographics and poster use, designers consistently turn to the simplicity and starkness of grotesque sans fonts to get their point across. Protipo is made for such environments. When designing information you may start with the headline, which in the case of this family is called Protipo Compact and comes in eight weights. From Hairline to Black, set it large, overlap it, or let it run off the page. Protipo Compact was made to hit hard and attract attention with a different character set and different proportions than the three text fonts. It sets the stage for what’s to come. Great information designers are aces at melding form and function, so we’ve stacked the Protipo family with Narrow, Regular, and Wide versions as a way of organising your information and directing the reader. Each width has seven distinct weights (light to bold) and italics, while maintaining the round-rect shapes of its DNA. Subtle details amplify its place in the typographic universe, like an ‘a’ and ‘e’ that go from solid to supple when italicising, an ‘f’ that gains an italic descender, two versions of the lowercase ‘r’ and ‘l’, and clipped corners on diagonals to keep the tight fit inherent to this kind of design work. Protipo is not meant to be loudmouthed, but stakes its claim through refinement, breadth, and impact. Some changes at first don’t seem substantial, but the Protipo family doesn’t handle text like most in its category. Protipo helps readers find and process data in a clear and unequivocal way and accounts for the complexity involved in rendering large amounts of information while still appealing to aesthetics. Protipo is ideal in all informative situations: apps, infographics, UI, wayfinding, transport, posters, display, and even internet memes. Add to all this the icon sets and upcoming variable font capability, and you’re assured a level of creativity, productivity, and impact on a much greater scale.

Welcome to the gritty, raw world of Ceroxa. This rugged stencil typeface is not for the faint of heart. With its spattered spray-paint look and hardcore letterforms, Ceroxa is the ultimate tool for delivering your message with an assertive, in-your-face voice. Inspired by the urban street art of stencils, Ceroxa is a font that doesn’t shy away from making a statement. Its bold, aggressive letterforms will grab your audience’s attention and demand to be heard. And with bespoke letter pairings in OpenType-aware programs, your message will be delivered with a realistic, filthy tone that will leave a lasting impression. But Ceroxa isn’t just a typeface—it’s a statement. It’s a declaration of your raw, unapologetic voice. It’s a nod to the rebellious, DIY spirit of street stencils. And it’s a call to action for those who refuse to be silenced. So if you’re ready to make a statement, if you’re ready to deliver your message with an uncompromising voice, then Ceroxa is the typeface for you. Embrace the hardcore, raw energy of this stencil typeface and watch as your words become a force to be reckoned with. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Operina is based on a 16th-century lettering model of the scribe Ludovico degli Arrighi (Vicentino Ludovico degli Arrighi) used in his 1522 instructional lettering book, "La Operina da Imparare di scrivere littera Cancellarescha." This book contains what is considered to be the earliest printed examples of Chancery Cursive. Rather than try to reproduce a perfect, smooth, type-like version of Ludovico's hand, which has been attempted in the past, the designer opted to leave in some rough edges and, thereby, create a look that mimics the endearing artifacts of quill and ink lettering on parchment. When reviving an old style, a designer is faced with many challenging decisions, such as whether to aim for ultimate authenticity or to modify the alphabet for modern use. The decision here was to create a font that resembles the 16th-century Italian hand-lettering master's, but is also useful to the contemporary user. Because the letters U u W w J j and our modern Arabic numerals were not in use during the advent of these original letterforms, these had to be interpolated. To make a complete and useable font set, we also had to fashion many of the extra and diacritical characters to match the look of the alphabet. There are three fonts in this set: Romano(simple), Corsivo(more complex), and Fiore(swash). Romano is the most subdued, it contains Roman looking caps and has lining figures. Corsivo is more elaborate, it has more decorative capital letters and an alternate version of the lowercase with longer ascenders and descenders, and old style figures. Fiore, the swash font, is the most elaborate with the longest ascenders and descenders. You may not wish to use the Fiore version on its own, especially as all caps; it is meant to enhance the other two alphabets because it contains the most elaborate capitals and has many extra ligatures. P22 Operina Pro is an OpenType version that contains over 1200 characters. It features Small Caps, Old Style Figures, full European, Cyrillic and Greek character sets and a new OpenType first with automatic Roman Numerals. Just type any number and with the feature, it will convert to Roman Numerals!

The Scriptuale family, which contains eight styles, is a contemporary upright calligraphic face. Designed by German designer Renate Weise in 2003, this family of typefaces speaks to the present, while at the same time reflecting on a lyrical past. The letterforms of the Scriptuale family are romanticized, they reference German calligraphic styles from the 19th and early 20th Centuries. For instance the design of Scriptuale's uppercase strays from the canon of classical proportion into romantic idealism. While the C and O are drawn according to the ancient quadratic proportions - almost twice as wide, optically, as the E or the L - the letter A is wider than would be expected, and the D narrower. These subtle differences introduce a different rhythm into text set in Scriptuale than Italic styles of calligraphy may offer. Scriptuale's Gs merit special notice: both the upper and lower case G lunge slightly forward, further enhancing the dynamic quality of the text. Also unique in Scriptuale's design is the lowercase width: the letterforms appear slightly condensed; they have large x-heights to compensate for this. In a delightful twist, the number 2's beak has been closed by drawing it full-circle, back into the stem: this references a style of letter design that was practiced, among other places, by artists from the old Klingspor foundry in Offenbach Germany. Typefaces constructed there easily captured the zeitgeist of the romantic period, but are less calligraphic than Scriptuale (e.g., Rudolf Koch's Koch Antiqua). A semi-serif face (like Prof. Hermann Zapf's Optima or Otl Aicher's Rotis Semi), some of Scriptuale's letters have serifs (D), and some do not (A). And although both the B and the E normally have the same "structure" on their left side, Weise has drawn them differently in Scriptuale. These strengthen the calligraphic-like quality of the family. Traces of the pen are easy to see in Scriptuale's design; it is a thoroughly calligraphic face. The eight typefaces in the Scriptuale family include Light, Regular, Semi Bold, and Bold weights. Each weight has a companion italic. Scriptuale is similar to one other contemporary calligraphic family in the Linotype portfolio, Anasdair , from British designer

Step right up folks and feast your eyes on the most authentic and pure font to ever grace the pages of your ad campaign. Bristles is the name, and it’s a font that speaks volumes of homegrown authenticity with every brushstroke. As you gaze upon this sun-bleached and weathered sans-serif, you’ll notice how the paint barely holds onto the substrate. It’s as if the letters themselves are just barely hanging on, like they were painted decades ago and left to weather the storm. But that’s what makes Bristles so special. Its wispy, textured lettering gives your message a voice of purity that simply can’t be replicated by other fonts. Each letter has its own unique character, telling a story that only a sign painter’s hand could convey. And with its letter pair ligatures, Bristles breaks up the monotony of blatantly repeating characters in OpenType-savvy apps. It’s a font that’s as versatile as it is beautiful, perfect for any project that needs a touch of old-school authenticity. So what are you waiting for? Give your message the voice it deserves with Bristles, the font that speaks volumes of homegrown authenticity. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Oktah Neue is an extended version of a more limited Oktah family. Since its release in 2019, Oktah Neue received two major updates, the most recent in June 2022. The latest version of Oktah Neue is comes in 22 styles as well as one variable font. Oktah Neue inherits the best traits of Oktah—great legibility, simple geometric letters shapes, low contrast across all styles—but also introduces what Oktah fell short of: extensive language support and enhanced OpenType features. While working on Oktah Neue, we strove to create a neutral typeface that would be a workhorse for designers, typographers and other font users alike. Building onto the familiar shapes of Oktah, we tried to make them more neutral, at the same time preserving the unique character of the typeface. Certain characters remained the same, others have undergone a complete transformation, which left them better tailored for the wide implementation range of Oktah Neue. Over the past years the size of the character set in Oktah Neue was significantly expanded (currently standing at 2500+ characters). In addition to Extended Latin, new language systems (Extended Cyrillic, Greek — both Basic and Polytonic — and Hebrew) were introduced. The already vast Cyrillic set also includes localised forms for such languages as Bulgarian, Serbian and many others. Oktah Neue is OpenType friendly: it knows how to do alternatives, contextual alternatives, switch various between stylistic sets and adjust the height of punctuation and symbols as you type. Small Caps include all listed languages as well as numerals and symbols. Oktah Neue comes equipped with various styles of numerals — from standard Proportional Lining figures to Oldstyle, Tabular Oldstyle. Sub- and Superscript, Fractions and two sets of circled numbers. Oktah Neue is well-kerned with more than 3000 kerning pairs and automatically hinted. Oktah Neue comes in 22 styles (11 uprights and 11 italics), two of which — Ultra Light and Black Italic — can be downloaded free of charge to get a firsthand experience of what Oktah Neue is ready to offer. The latest update of Oktah Neue introduced a fully variable option: now, both axes (Slant and Weight) can be accessed in the same file for utmost convenience.

Many typefaces are distinctive or attractive at the expense of legibility and versatility. Not so the Optima® family. Simultaneously standing out and fitting in, there are few projects or imaging environments outside of its range. Although Optima is almost always grouped with sans serif typefaces, it should be considered a serifless roman. True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals. Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs, the cap S in Optima appears slightly top-heavy with a slight tilt to the right. The M is splayed, and the N, like a serif design, has light vertical strokes. The lowercase a and g in Optima are high-legibility two-storied designs. Optima can be set within a wide choice of line spacing values – from very tight to very open. In fact, there are few limits to the amount of white space that can be added between lines of text. Optima also benefits from a wide range of letter spacing capability. It can be set quite tight, or even slightly open – especially the capitals. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected that much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray typographic color created by the face are disrupted when letters are set too tight. Optima is also about as gregarious as a typeface can be. It mixes well with virtually any serif design and a surprisingly large number of sans serif faces. The Optima family is available in six weights, from roman to extra black, each with an italic counterpart. In addition, the family is available as a suite of OpenType® Pro fonts, providing for the automatic insertion of small caps, ligatures and alternate characters, in addition to offering an extended character set supporting most Central European and many Eastern European languages. When you’re ready to find its perfect pairing, browse these fantastic matches: Monotype Century Old Style™, Dante®, Frutiger® Serif, Joanna® Nova, Malabar™ and Soho®.

“A picture is worth a thousand words” and here, that’s more than true. Take a look at Erotica’s Booklet; Erotica’s Poster Design and Erotica’s User’s Guide before reading below. THE STYLES The difference between Pro and Std styles is the quantity of glyphs. Therefore, Pro styles include all the decorative alternates and ligatures while Std styles are a reduced version of Pro ones. Big and Small styles were thought for better printing results. While Big is recommended to be printed in big sizes, Small may be printed in tiny sizes and will still show its hairlines well. INTRODUCTION I have always wondered if the circle could ever be considered as an imperfect shape. Thousands of years have passed and we still consider circles as synonyms of infinite beauty. Some believe that there is something intrinsically “divine” that could be found in them. Sensuality is many times related to perfectly shaped strong curves, exuberant forms and a big contrasts. Erotica is a font created with this in mind. THE PROCESS This story begins one fine day of March in 2012. I was looking for something new. Something which would express the deep love I feel regarding calligraphy in a new way. At that time, I was practicing a lot of roundhand, testing and feeling different kinds of nibs; hearing the sometimes sharp, sometimes soft, sound of them sliding on the paper. This kind of calligraphy has some really strict rules: An even pattern of repetition is required, so you have to be absolutely aware of the pressure of the flexible pen; and of the distance between characters. Also, learning copperplate can be really useful to understand about proportion in letters and how a minimum change of it can drastically affect the look of the word and text. Many times I would forget about type-design and I would let myself go(1): Nothing like making the pen dance when adding some accolades above and below the written word. Once something is mastered, you are able to break some rules. At least, that’s my philosophy. (2) After some research, I found that the world was in need of a really sexy yet formal copperplate. (3) I started Erotica with the idea of taking some rules of this style to the extreme. Some characters were drawn with a pencil first because what I had in mind was impossible to be made with a pen. (4) Finding a graceful way to combine really thick thicks with really thin hairlines with satisfactory results demanded months of tough work: The embryo of Erotica was a lot more bolder than now and had a shorter x-height. Changing proportions of Erotica was crucial for its final look. The taller it became the sexier it looked. Like women again? The result is a font filled with tons of alternates which can make the user think he/she is the actual designer of the word/phrase due to the huge amount of possibilities when choosing glyphs. To make Erotica work well in small sizes too, I designed Erotica Small which can be printed in tiny sizes without any problems. For a more elegant purpose, I designed Erotica Inline, with exactly the same features you can find in the other styles. After finishing these styles, I needed a partner for Erotica. Inspired again in some old calligraphic books I found that Bickham used to accompany his wonderful scripts with some ornated roman caps. Erotica Capitals follows the essentials of those capitals and can be used with or without its alternates to accompany Erotica. In 2013, Erotica received a Certificate of Excellence in Type Design in the 59th TDC Type Directors Club Typeface Design Competition. Meet Erotica, beauty and elegance guaranteed. Notes (1) It is supossed that I'm a typographer rather than a calligrapher, but the truth is that I'm in the middle. Being a graphic designer makes me a little stubborn sometimes. But, I found that the more you don't think of type rules, the more graceful and lively pieces of calligraphy can be done. (2) “Know the forms well before you attempt to make them” used to say E. A. Lupfer, a master of this kind of script a century ago. And I would add “And once you know them, it’s time to fly...” (3) Some script fonts by my compatriots Sabrina Lopez, Ramiro Espinoza and Alejandro Paul deserve a mention here because of their undeniable beauty. The fact that many great copperplate fonts come from Argentina makes me feel really proud. Take a look at: Parfumerie, Medusa, Burgues, Poem and Bellisima. (4) Some calligraphers, graphic and type designer experimented in this field in the mid-to-late 20th century and made a really playful style out of it: Letters show a lot of personality and sometimes they seem drawn rather than written. I want to express my sincere admiration to the fantastic Herb Lubalin, and his friends Tony DiSpigna, Tom Carnase, and of course my fellow countryman Ricardo Rousselot. All of them, amazing.

Rian Hughes’ 15th collection of fonts, “112 Hours”, is entirely dedicated to numbers. Culled from a myriad of sources – clock faces, tickets, watches house numbers – it is an eclectic and wide-ranging set. Each font contains only numerals and related punctuation – no letters. A new book has been designed by Hughes to show the collection, and includes sample settings, complete character sets, source material and an introduction. This is available print-to-order on Blurb in paperback and hardback: http://www.blurb.com/b/5539073-112-hours-hardback http://www.blurb.com/b/5539045-112-hours-paperback From the introduction: The idea for this, the fifteenth Device Fonts collection, began when I came across an online auction site dedicated to antique clocks. I was mesmerized by the inventive and bizarre numerals on their faces. Shorn of the need to extend the internal logic of a typeface through the entire alphabet, the designers of these treasures were free to explore interesting forms and shapes that would otherwise be denied them. Given this horological starting point, I decided to produce 12 fonts, each featuring just the numbers from 1 to 12 and, where appropriate, a small set of supporting characters — in most cases, the international currency symbols, a colon, full stop, hyphen, slash and the number sign. 10, 11 and 12 I opted to place in the capital A, B and C slots. Each font is shown in its entirety here. I soon passed 12, so the next logical finish line was 24. Like a typographic Jack Bauer, I soon passed that too -— the more I researched, the more I came across interesting and unique examples that insisted on digitization, or that inspired me to explore some new design direction. The sources broadened to include tickets, numbering machines, ecclesiastical brass plates and more. Though not derived from clock faces, I opted to keep the 1-12 conceit for consistency, which allowed me to design what are effectively numerical ligatures. I finally concluded one hundred fonts over my original estimate at 112. Even though it’s not strictly divisible by 12, the number has a certain symmetry, I reasoned, and was as good a place as any to round off the project. An overview reveals a broad range that nonetheless fall into several loose categories. There are fairly faithful revivals, only diverging from their source material to even out inconsistencies and regularize weighting or shape to make them more functional in a modern context; designs taken directly from the source material, preserving all the inky grit and character of the original; designs that are loosely based on a couple of numbers from the source material but diverge dramatically for reasons of improved aesthetics or mere whim; and entirely new designs with no historical precedent. As projects like this evolve (and, to be frank, get out of hand), they can take you in directions and to places you didn’t envisage when you first set out. Along the way, I corresponded with experts in railway livery, and now know about the history of cab side and smokebox plates; I travelled to the Musée de l’imprimerie in Nantes, France, to examine their numbering machines; I photographed house numbers in Paris, Florence, Venice, Amsterdam and here in the UK; I delved into my collection of tickets, passes and printed ephemera; I visited the Science Museum in London, the Royal Signals Museum in Dorset, and the Museum of London to source early adding machines, war-time telegraphs and post-war ration books. I photographed watches at Worthing Museum, weighing scales large enough to stand on in a Brick Lane pub, and digital station clocks at Baker Street tube station. I went to the London Under-ground archive at Acton Depot, where you can see all manner of vintage enamel signs and woodblock type; I photographed grocer’s stalls in East End street markets; I dug out old clocks I recalled from childhood at my parents’ place, examined old manual typewriters and cash tills, and crouched down with a torch to look at my electricity meter. I found out that Jane Fonda kicked a policeman, and unusually for someone with a lifelong aversion to sport, picked up some horse-racing jargon. I share some of that research here. In many cases I have not been slavish about staying close to the source material if I didn’t think it warranted it, so a close comparison will reveal differences. These changes could be made for aesthetic reasons, functional reasons (the originals didn’t need to be set in any combination, for example), or just reasons of personal taste. Where reference for the additional characters were not available — which was always the case with fonts derived from clock faces — I have endeavored to design them in a sympathetic style. I may even extend some of these to the full alphabet in the future. If I do, these number-only fonts could be considered as experimental design exercises: forays into form to probe interesting new graphic possibilities.