Tiqqun appeared as a font for a monumental, but at the same time futuristic design. During the creation process, many variations for each glyph came to mind. Therefore, it was decided to create an entire system of alternative options. As a result, we have more than 130 alternative characters and as many as two full-fledged alternative sets. The font contains monumentality, brutality, futurism, rigor and uniqueness of some forms. As a result, Tiqqun has become a font system that can cover a large range of your design needs: Prints on clothes, logo, packaging, banner, title, text, poster, merchandising, identity, branding or product design. - 360+ Glyphs - 130+ Alternative Glyphs - Supports 80+ Languages - Special Symbols and Features - 2 Full Alternative Set - OT Features: aalt, case, kern, ordn, salt, sups, ss01-09

Lumien – Display Serif: All-Caps Elegance Introduction to Lumien Meet Lumien, a captivating all-caps display serif font that exudes elegance and sophistication. Its timeless design makes it a versatile choice for various applications. Design and Style Lumien boasts a classic serif design with all-capital letters. Its clean lines and sharp edges give it a modern yet timeless appeal, making it suitable for a wide range of display projects. Versatility and Usage This font shines in display settings, making headlines, titles, and logos stand out. It’s an excellent choice for branding, editorial design, and high-impact graphics that demand attention. Distinctive Features Lumien’s all-caps characters ensure clarity and legibility, even at smaller sizes. Its versatility extends to both digital and print media, enhancing the visual impact of any project.

Franko Luin, Odense's designer, on this typeface: With Odense I entered the field where Optima reigns in royal majesty. The first question I received was, in fact, why I designed another Optima. Look closely: Odense has as much in common with Optima as Garamond with Baskerville. Am I right? Odense Neon is a special variant that can be used for logos or single words. I had the idea for it when I noticed that the neon tubes in a sign over a store only partially followed the characters. The name comes from the Danish town Odense, the town of the famous storyteller Hans Christian Andersen, author of, e.g., 'The Little Mermaid.' Odense is also the place where the first book in the Nordic countries was printed, the 'Breviarium Ottoniense', in 1482.

Introducing Wonder Pleasure, a new display font collection. The Wonder Pleasure font comes in a hand-drawn vintage style with rounded corners. Adding a vintage touch to your project is easy using Wonder Pleasure Font. Ensuring carefully crafted styles result from the use of this font. You can use the alternates from this font to add more fun to your projects. Its imperfections keep it casual but allow it to still be legible. There is an incredibly wide range of uses for it, so give it a try and see how it inspires your creativity! It's ideal for headlines, flyers, posters, greeting cards, product packaging, book covers, printed quotes, logotype, and album covers, among other applications. Features: - Total 210 Glyph - Uppercase & Lowercase - Numerals & Punctuation - Multilanguage Supports 60+ Latin based languages - Alternates

JUST BE is a playful brush script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). Character set contains Eastern and Western European Latin accented letters. For additional customisations (for logotypes for example) please email me at contact@rolandhuse.com You MAY NOT sell this font or claim them as your own. You MAY NOT edit or rename this font. You MAY NOT redistribute this font. Thank you I hope you like this font & good luck with your project! Roland Instagram: @rolandhusedesign Background images of "Just Be" main poster by Annie Spratt from unsplash https://unsplash.com/@anniespratt "Your best moments in life are ahead" by Helena Hertz https://unsplash.com/@imperiumnordique paper bag mock up by Graphic Burger https://graphicburger.com"

Poster artist A.M. Cassandre designed one of the most evocative typefaces of the Art Deco era, Bifur. This type was unusual in many ways, but one of the most distinct features was that besides a regular one-color font, it was also available as a two-part font for a chromatic treatment which was highly unusual for metal typefaces. This "bifurcated" type is almost impossible to find in print shops or even in specimen form. It has however become recognizable as a true icon of the Art Deco genre. The IHOF version of P22 Bifur features the addition of a lower case alphabet as well as multiple options for the shading layer, allowing for a wide range of design applications from straight-forward Deco headlines, to abstracted and de-constructed experimental design.

Silver Shield is a bold and unique display font! This font was masterfully designed to bring each of your creative ideas to the highest levels! The racing style makes this font look stronger!!! Silver Shield Perfect for for many creative products such as logos, tattoo design, t-shirt prints, street wear, headlines, tattoo lettering, calligraphy, clothing brands, music, sports, labels and much more. What's Included : Web Fonts Standard glyphs Ligature Works on PC & Mac Simple installations Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. PUA Encoded Characters - Fully accessible without additional design software. Fonts include multilingual support for; ä ö ü Ä Ö Ü ß ¿ ¡ Image used : All photographs/pictures/vector used in the preview are not included, they are intended for illustration purpose only.

Mesca is a distinctive multi-language font with characters (Latin, Greek, Cyrillic) for industry and digital, with elegant, high-quality typographic responses to the complex technological needs for different media and digital uniforms: TV screens, computers, and mobile phones, smartwatches also editorial fields such as print or digital magazines, books. Furthermore, its multifunctional character goes far beyond editorial and digital use. It promises great performance in terms of branding, advertising, signage, mobile app, etc. Mesca is a contemporary humanist sans-serif font with a generous x-height and slightly condensed proportions. Which offers a combination of good readability and space-saving. Built on rational lines of pure geometry, which presents a notable inclination in the terminals of the letters with external and internal acute angles that create a strong contrast.

Meringue, a transitional serif face, is designed specially for modern glossy magazines. It is ideal for fashion photography, fashion publications and mag covers, and can be used for headings and captions, as well as for body copy. The italic version, with its wave-like vertical strokes, creates yet more stylishly expressive feel. Text set in Meringue has an elegant weightless look, and the strongest effect can be achieved with high-quality printing. The typeface includes old style figures, ligatures, and alternative characters that allow creating truly versatile design by means of typography. Designers may also find Meringue perfect for beautiful presentations, invitations and other special occasion papers. Meringue was designed during the Type and Typography course at the British Higher School of Art and Design, supervised by Ilya Ruderman.

Lina round is an Arabic typeface from Lina type family, it has an expressive character with its round and friendly shapes. It's Round, legible, Clear, Flexible, Simple, Modern. With a handful set of OpenType features and alternatives. Lina type family consists of Lina soft, Lina sans, Lina round. the design is inspired by the Kufic calligraphic style and influenced by the Naskh style. Lina round was highly crafted in order to perform well both on screen and in print. The large x-height and open counters make it function well even on small font sizes. It has a wide range of use possibilities headlines, logotypes, branding, books, magazines, motion graphics, and use on the web and Tv. Lina round consists of 7-weight versions from thin to bold.

Child Krafter - Quirky Font. Child Krafter a super fun and playful hand-lettered bold typeface. Child Krafter is uneven, unexpected, playful font family which puts a smile on your projects and will inspire you to create something fun and memorable This font is perfect for a professional touch which makes it even more super fun and playful . It is perfect for headings, flyer, greeting cards, product packaging, book cover, printed quotes, logotype, apparel design, album covers, etc. The alternative characters were divided into several Open Type features such as Swash, Stylistic Sets, Stylistic Alternates, Contextual Alternates, and Ligature. The Open Type features can be accessed by using Open Type savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop Corel Draw X version, And Microsoft Word. This font is also support multi language.

Roadhouse is a layering typeface family that is part of the greater Evanston type collection, which is inspired by American typefaces commonly used at the turn of the century leading up to Prohibition. Roadhouse reflects the style of lettering used on tavern signage and printed ephemera during the early 20th century. The family comes with 31 layering fonts, from top layers like bevels, highlights, stripes, outlines, as well as extruding and drop layers. It also includes 2 script fonts, upright and oblique, as well as 9 complimentary text fonts for smaller text settings. Either get the entire family of extrusions, bevel angles or the basic family with ready to use fonts that don’t need to be layered. Roadhouse is a great display typeface for logos, branding, packaging, and advertising.

Introducing our sleek and modern condensed sans-serif font - Meuga. Meuga is condensed sans-serif font offers a minimalist design with its narrow width and clean lines, perfect for any branding or design project. This condensed sans-serif font is perfect for anyone looking for a clean and modern look, with its narrow width and elegant lines. Add a contemporary touch to your designs with our condensed sans-serif font, perfect for headlines and titles in digital and print design. This font is perfect for Headlines and titles, digital advertisements, brochures and flyers, infographics and data visualizations, navigation menus and labels, web designs, logotypes, t-shirts, and many more. Meuga features: A full set of uppercase Numbers and punctuation Multilingual language support PUA Encoded Characters OpenType Features Condensed Style +235 Total Glyphs

Hello World, Introducing, Hi Maria is a beauty script font suitable for your design project needs, such as; wedding themes, Christmas themes, social media posts, quotes, overlays on images, tagline logos, posters, print needs, website banners, and more. Features A set of uppercase and lowercase glyphs Number, symbol, and punctuation Multilingual Support Some Swashes and Ligatures So Easy to Use Access Swashes by keyboard key parenleft ' ( ' to feature beginning swash 1 key bracketleft ' [ ' to feature beginning swash 2 key plus ' + ' to feature middle swash 1 key equal ' = ' to feature middle swash 2 key parenright ' ) ' to feature ending swash 1 key bracketright ' ] ' to feature ending swash 2 For Example: type [love+you] Thank you a million times for downloading and using this font for your projects. Enjoy this font and happy creating!

We created this with vibe of real hand lettering. This is Perfect for your BRANDING not just branding you can do design, wedding, funny logos with this font. These typeface work well for many different aesthetics. this typeface work well with Liquor Labels, Signage, & any type of signature-styled logo. Signaline is handwritten signature script with a natural & stylish flow. This collection of scripts is perfect for personal branding. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. Signaline also includes full set of uppercase and lowercase letters, multilingual symbols, numeral, punctuation. This font would be perfect for all types of printing techniques *you can embroidery, laser cut, gold foil etc.

Capitaly Script is a bold calligraphic typeface. Created with pride and care, this lettering has the optimal appearance of a classic vintage logo, for a modern setting. The font family consists of the styles Script (Regular) and Top (Upright). Use asterisk * after a letter to make a swash letter. Example: Ber*lin Use _ or # or ¤ after any word to make a swash tail. Example: Cursive¤ Letters_ Use multiple _ # ¤ after any word to make swashes of different length. Example: Decorate______ (Download required.) The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. Anyway you slice it, these five Ingredients can be layered to generate a Hero Sandwich with the carbs and protein you need to deliver a knuckle sandwich to the bulking agents of your deadliest foes! See these families related to Hero Sandwich Ingredients: Hero Sandwich Combos Hero Sandwich Pro

As comic book readers know all too well, team ups are every super hero’s bread and butter... when the brave and the bold are in a pickle, and super villains are running onion rings around them, here’s how they roll: They Meat! They Team-Up with your taste buds! They Fight Hunger! Yes, some hero combos may get along better than others, but they are always more powerful together. So take a footlong bite out of crime, and make the subways safe again with our mouthwatering HERO SANDWICH! Prepared with plastic gloves on by those awfully nice chaps at the Comicraft deli. If you're an avenging hero on the go, have no fear, we've pre-assembled these eight classic Hero Sandwich Combos! Because choosing your fillings shouldn't get in the way of knocking out a supervillain’s fillings. See these families related to Hero Sandwich Combos: Hero Sandwich Ingredients Hero Sandwich Pro

Moguine Serif is a neo-classic serif typeface. With disappearing hair thin lines and weighted vertical strokes, this modern font family is the perfect lettering for a headline. Why not use Moguine Serif for a short poem or quote that requires a neutral but beautifully clean look. Created with pride and care, this type has the optimal appearance of a classic vintage logo but for a modern setting. The font family consists of the styles Regular and Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from Northern Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

What is it? Chordette for Education is a ukulele chord font created specifically for schools and individual instructors. It can be used for creating song sheets, presentations, or adding chords to videos. This education version has a basic chord set for beginners which include finger positions and an option for 3D chords. It’s a favorite tool for teachers, music therapists, and musicians. What instruments are supported? Chordette for Education supports ukulele tuned GCEA. The fonts are available in black and white for Windows and Macintosh. The 2D chords include fingering numbers and the chords can be used for song sheets, presentation software, and video tutorials. Alternate chords and 3D chords for presentations are included. Is it free? Chordette for Education is priced at $8, which includes chord font sets for both Mac and Windows. How do I use it? For help and support, please visit https://ukefarm.com/chordetteEd/help.html

Rivera is a professional sans-serif typeface. Its tall, narrow style gives it an appearance of modernity and pride, while being humble and clean. Use it for a sleek headline, a crisp logo or simply as a unique body text. In any case, it will lift your branding to the next level. The Rivera family consists of 10 font styles: Thin, Light, Regular, Bold, Black as well as each style as Italic. The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. With more than 700 glyphs, it has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa, from America to South-East Asia. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

ITC Christoph's Quill is just about everything you could want in a typeface: it's distinctive, beautiful, and exceptionally versatile. According to designer Russell Bean, ITC Christoph's Quill is the culmination of experimentation with a graphics tablet that spanned several years. Then one day, as if by magic, it all just fell into place. The design seemed to flow from my pen." Bean was born in Australia and, except for a brief stint with a photo-lettering firm in Southern California, has spent most of his career working down under. "I can recall a deep fascination for the written word," he says. "Even before learning to spell, read or write, I think I recognized that this was a means of visual communication." Bean's first job was in a small ad agency as a trainee in the production department, where he learned art techniques and how to handle print, as well as "the value of visual impressions," he says. His career path meandered from one design job to another, but always in the general direction of fonts and typefaces. Today, his workload consists of logo design commissions, font editing, typography and print production consultation to a select group of loyal clients - still leaving time, notes Bean, "to pursue my type design ambitions." ITC Christoph's Quill began life as a simple, visually striking font of caps, lowercase, punctuation and numerals. To this Bean added a bold weight, for when a little more strength is desirable. Next came a flock of alternate characters. Finally, Bean drew a set of decorative caps, a suite of logos, and a sprinkling of beginning and ending swashes. The net result is a type family that can add a signature flourish to a vast range of projects: from invitations and menus to logos, signage, packaging and more."

Conrad X. 'Cobb' Shinn (Sept. 4, 1887- Jan. 28, 1951) was a Fillmore, Indiana-born post card illustrator who sold a series of successful novelty postcard lines which included (among others) Charlie Chaplin, automobiles and the Dutch culture in the beginning years of the 20th Century. After serving in World War I, Shinn found the market for novelty postcards dwindling, and he also lent his artistic skills to cartoon features and illustrating many children's books [including his own, under the nickname 'Uncle Cobb'] which taught easy step-by-step drawing methods. Some time in the 1920s, he eventually migrated into the field of supplying electrotypes and stereotypes of 'stock cuts' of photos and line art to the printing trade. In the days of letterpress printing, this was the forerunner of paper clip art and its successor, electronic clip art. Purchasing many of his designs from 'journeyman' artists of the time, the diversity of Cobb Shinn's stock cuts library grew with the passing years, reflecting changing times, styles and topics. Some of the illustrators whose signed works were presented in Shinn's 'CUTalogs' [as he called his stock cuts catalogs] include Mary Clemmitt, Louis H. Hippe, E.C. Klinge, Nelson White, Harvey Fuller, Bess Livings, Lois Head, Harvey Peake and Van Tuyl. Upon his passing in 1951, it's not known how long the Indianapolis-based company existed before finally closing its doors. One of the more popular series of cartoons were the line illustrations of men and women affectionately called 'little big head guys' by many modern fans of these cuts because the heads of the characters were drawn somewhat larger than the rest of their bodies. Shinn Kickers JNL is a collection twenty-six of these illustrations, and just like a kick in the shin (as the pun in the name implies), these charming cartoons get your attention.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Bookish A little bit bookish, but quietly elegant and well-proportioned, FS Sally is a graceful font family. It’s a refreshingly uncomplicated design that brings sophistication to text and display type, and a distinctive aplomb to both large and small volumes of text. Hidden talents There’s more to FS Sally than meets the eye. Choose Standard for the Latin alphabet or Pro if you work with Cyrillic and Greek typography. There’s a large range of special features, including elegant small caps and a set of discretionary ligatures to add a traditional flavour to figures and fraction sets. Rhythmic There’s a rhythm and flow to FS Sally – the result of the classic but asymmetric design of its serifed feet and shoulders. The inward curve of the serif at the shoulder and the outward curve at the foot subliminally guide the eye through each letterform, and the flicked feet of the “a”, “d” and “u” add an extra kick of energy to the rhythm. The italic forms have their own flow, too, with a pen-like fluency that retains the formal discipline required for a text type. Regular to heavy FS Sally’s five weights, all with italics, cover every kind of print application. The regular weight is elegant in display and an easy read in longer texts. A subtle step up from the regular is the medium, which was created to deliver a stronger colour and finish in poorer printing conditions. The semibold offers a strong alternative to the regular at smaller sizes, and its intermediate feel suits it to sub-headings, title pages and calmer designs. The bold works excellently in book and title headings, and FS Sally Heavy lends weight and punch to poster headlines and logotypes.

Classica Pro by Bernd Möllenstädt A real alternative for letterpress printing A masterpiece It was only after many years, shortly before the end of his life, Bernd Möllenstädt brought out these early drafts of his Classica Light and Light Italic from his drawer, and asked me to produce for him on the computer a Bold and Bold Italic, from which we later wanted to interpolate further cuts like Regular and so on. The boldening of letters with an oblique axis and with hairlines which should not grow to the same extent as the general line widths, is hard to cope with perfectly, even for the smartest computer program, and even more so, when it concerns an as complicated set of data as those conceived by Bernd. The automatically generated result could therefore only be a first step that had to be improved manually later. This was about the stage that we had reached when Bernd died in March 2013, leaving me behind with comprehensive corrections on proofs of this automatically generated Bold. Although I was aware that it would mean a lot of work to complete the project, I did not want to leave it unfinished and decided to finalize and publish the Classica, also in Bernd‘s honor. In the course of the two years that I worked on this font family it somewhat naturally became also my own. New details were added and some of the existing changed. A book typeface requires the supreme and forgives rarely, it represents a true masterpiece. My intention and my ambition were to create a real alternative for letterpress printing, with a font family that contains all the typographic options for an excellent typesetting, and is better readable and has a better appearance than other existing typefaces. Whether this was achieved, the reader may decide. Volker Schnebel, Hamburg, december 2014

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with Grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Expline typeface finds its roots in modernist design but subtly pays homage to early Modern Industrial Grotesks. This fusion creates a font that encapsulates the essence of tradition while embracing the contemporary. The font incorporates sharp details in select characters and curves, imparting a delicate sweetness while preserving the robust character associated with grotesk fonts. This unique blend allows Expline to strike a perfect balance between display and text usage, making it a versatile choice for a variety of design projects. Expline's flexibility shines through its extensive weight options. The font family offers eight distinct weights, each thoughtfully crafted to establish a clear typographic hierarchy. Designers can easily choose the right weight to suit the specific needs of their projects, whether it's a bold headline or a refined body text. This variety ensures that your typography will always make the right visual impact. Expline typeface doesn't stop at weights. It provides expansive character sets across each weight, encompassing all Western European diacritics, Punctuation, Mathematics, and Numerics. This ensures that your typography will seamlessly support various languages and punctuation marks, making it a global choice. In addition, the font boasts OpenType features, granting the flexibility to explore multiple subsets. This includes alternate capital letterforms, tabular and lining numerals (both proportional and old-style), enabling endless typographic possibilities. Whether you're designing for print or web, these features allow you to fine-tune your typography for a perfect fit. Expline is a font that bridges the gap between modernist design principles and early industrial influences, resulting in a Neo-Grotesk font with a contemporary twist. Its comprehensive weight options, expansive character sets, and OpenType features make it a versatile choice for any medium between print and screen.

Veto® Sans is both highly legible and handsomely distinctive – a rare blend in a typeface. It’s a design that stands out and fits in. Veto Sans is equally competent on screen and in print. It’s four carefully determined weights in both normal and condensed proportions, each with an italic complement, give the family an exceptionally deep range of applications. All the designs in the family are valuable design tools. None are superfluous. Advertising, brand, corporate, editorial and interactive design are all in Veto Sans’ wheelhouse. It also shines in wayfinding and other signage projects. And to all these, it brings a warmth and personality. An ample x-height, open counters, vertical stroke endings and subtly condensed capital letters enable Veto Sans fonts to perform with grace in print and digital environments while being space efficient. An added benefit is that all-capital typography set in Veto Sans is not only space saving, it’s also easy to read. Drawn as a complete reimaging of his earlier Veto design, Swiss designer Marco Ganz worked to create character shapes distilled to their purest forms while maintaining a relaxed and natural demeanor. Ganz, who is also a three-dimensional artist, is acutely aware that the negative space between letters and the internal space within letters is as important as the positive shape of the letters themselves. This dynamic balance between the negative and positive aspects of character forms gives Veto Sans a sense of immediacy without looking hurried. Ganz also took great care to draw a suite of italic designs that not only complement the roman weights perfectly, but also give the family a dynamic verve. A large international character set also ensures ease of localization. “Veto Sans,” says Ganz, “is a typeface for designers that search for a new and different solution to age-old typographic challenges.”

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

Introducing Toughton Handwritten Font Unveil the beauty of handwritten elegance with Toughton, a font that breathes life into your creative projects. Designed to capture the essence of human touch, Toughton transforms words into a poetic dance of strokes and curves. The Art of Personalization Toughton isn't just a font; it's a journey through the art of personalization. Whether you're crafting wedding invitations, designing branding materials, or adding a human touch to your digital creations, Toughton's unique character will infuse your work with warmth and authenticity. Timeless Appeal With a timeless appeal that transcends trends, Toughton embraces the charm of handwritten script. Its fluid strokes and carefully crafted ligatures ensure that every word flows effortlessly, making it the perfect choice for projects that demand elegance and readability. Versatile Application From logos to social media graphics, packaging to editorial designs, Toughton adapts seamlessly to a variety of design contexts. Let your imagination run wild as you explore the versatility of this handwritten gem. Features and Functionality OpenType Features: Toughton comes with a set of OpenType features, including ligatures and alternates, to add depth and character to your text. Multilingual Support: Express yourself in various languages with Toughton's extensive multilingual support. Web and Print Ready: Whether it's for web design or print publications, Toughton is optimized for both digital and physical mediums. Elevate Your Creations Elevate your design game with Toughton Handwritten Font. It's not just a font; it's an artistic tool that allows you to tell your story with flair, grace, and a touch of humanity. Unlock the potential of your creative projects and make your message resonate with the world. Experience the magic of handwritten authenticity. Get Toughton today and let your words dance with elegance.

Eyadish is an entertaining, comic, and childish font. The name of this font is originally derived from two main syllables. The first one is "Eyad-" which refers to my first name and the second syllables is "-ish" which means characteristics of or relating to. Hence, "Eyadish" refers to the characteristics that "Eyad", the typographer, himself has and had during his childhood. I do like this font for its childish and comic shapes. I have decided to design this font trying to leave a humble and personal imprint regarding the magic and innocent world of all children. Frankly, it is my most favorable designed font. This font comes in two different weights with facilities for writing and publishing in different alphabets included in various Latin and Cyrillic texts and scripts. "Eyadish" is primarily designed to be fit with all prints of kids, children, and juveniles' products. It is major usage is in advertisements and publications. It is suitable for T-shirts, books' covers of children such as fairy tales and comic stories, advertisement light boards in malls, and titles in parental, childish, comic, and other related magazines. "Eyadish" also can be printed in many children's products such as garments, towels, shoes, socks, toys, pacifiers, diapers, exhibitions, festivals, books titles and contents, medicines' packages, kindergartens' signs, buses, comic and TV series, kids and children organizations and charities names, images, software, foods including milk cans, candies, chocolates, and other related products. The font is extremely and distinguishably attractive when it is used with various, and vivid colorful letters and words in posters, cards, and placards. "Eyadish" is specifically designed for commercial, educational, cultural, and social purposes related to infants, babies, kids, and children. The main characteristic of "Eyadish" Typeface is in its childish look that remains when anyone reads or types or even deals visually with its characters.

This all started with a love for Minister. This is a font designed by Carl Albert Fahrenwaldt in 1929. In the specimen booklet there’s a scan from Linotype’s page many years ago. They no longer carry the font. I’ve gone quite a ways from the original. It was dark and a bit heavy. But I loved the look and the readability. This came to a head when I started my first book on all-digital printing written from 1994-1995, and published early in 1996. I needed fonts to show the typography I was talking about. At that point oldstyle figures, true small caps, and discretionary ligatures were rare. More than that text fonts for book design had lining OR oldstyle figures, lowercase OR small caps—never both. So, I designed the Diaconia family (using the Greek word for minister). It was fairly rough. I knew very little. I later redesigned and updated Diaconia into Bergsland Pro —released in 2004. It was still rough (though I impressed myself). In 2006, I found myself needing a readable sans serif. So I went to Bergsland Pro, and eliminated the serifs. I named the font Brinar. I kept a flare in place for the serifs and cupped the ends. I was stunned. People loved it. It’s remained my bestseller until very recently. So, at the end of 2016 I decided that Brinar really needed some help. The flares were basically random. The stem width and modulation variances all needed to be fixed. My old OpenType feature code was quite limited and clumsy. So, I created the 6-font Biblia family. I cleaned up or redesigned all the glyphs. I updated the fonts to the 2017 set of features: small caps, small cap figures, oldstyle figures, fractions, lining figures, ligatures and discretionary ligatures. These are fonts designed for book production and work well for text or heads.

Introducing Rimouski, the rounded geometric typeface that brings a touch of refined elegance to any design project. With its perfectly crafted letterforms and soft, precise points, Rimouski adds a sense of sophistication that is hard to come by. One of the unique features of Rimouski is its OpenType “stylistic alternates” function. This allows you to generate a variety of oddly angled characters that add a quirky twist to your design. The result is a typeface that is not only geometric, but also dynamic and playful. Rimouski is available in five different weights and italics, making it a versatile choice for any project. Whether you’re creating a logo, designing a website, or working on a print project, Rimouski will bring a touch of class to your design. So if you’re looking for a typeface that combines geometric precision with a refined appearance, look no further than Rimouski. Its unique letterforms and distinctive style will make your project stand out from the crowd. 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.

In the history of 20th century graphic arts, the evolution of the informal sans serif has been a uniquely American phenomenon. The ongoing saga of this (still as popular as ever) sub-genre dates back to the maturity of the Industrial Age and early Hollywood film titling, runs through the prosperous times of interwar print publications, sees mass flourishing during the various media propagations of the film type era, and solidifies itself as arguably the most common design element in the latter years of the century. Fun, bouncy, playful, and highly exciting, the casual sans serif is now all over game packaging, film and animation titles, book covers, food boxes, concert posters, and pretty much everywhere design aims to induce excitement about a product or an event. The casual sans is the natural high pill of typesetting. We figured it was high time for the casual sans to adapt to 21st century technology, gain more versatility, and become as much fun to use as the emotions it triggers. So we’re quite excited to issue Bananas, a fun sans serif family in 6 weights and 3 widths that can be used anywhere your designer’s imagination can take you. Rather than being based on a single design, Bananas was sourced from multiple American film era faces, all from 1950s and 1960s, when the casual sans genre was at its popular peak. Headliners’ Catalina and its very similar cousin, Letter Graphics’ Carmel, served as initial study points. Then a few Dave West designs informed the design development and weighting process, before narrow and wide takes were sketched out and included in the family. The entire development process happened in a highly precise interpolative environment. All Bananas fonts come with a full glyph complement supporting the majority of Latin languages, as well as five sets of figures, automatic fractions, quite a few ligatures, biform/unicase shapes and other stylistic alternates.

Cocogoose Pro Narrows has been completely re-engineered in 2020 to include extra features and technologies. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new Ultra Compressed subfamily has been developed for display usage. Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters.

You stand, poised at the brink. If you do not choose the right, the best typeface, this may be one of the greatest disasters in your history. The whole root and core and brain on which and around which your project is built seems about to perish into an ignominious end. But I do not for a moment fail to believe that Winsel shall prevail for you. This bold new face, founded from the tested mind of insigne design, will in the moment of need wield for you the full might of its ancestors. The entire strength of the British Empire’s vernacular poster lettering spanning the 1920’s to the 1950’s drives the very heart of every feature and weight this font has to offer. Winsel’s expanded design is sharp and angular, based on pointed brush strokes. Its thick, sturdy appearance will draw and direct your reader’s mind to the weight and importance of your messages and titling. Within the font’s full forces work a range of styles to achieve victory in the contest ahead: thick weights that are compact and muscular for carrying a heavier load and lighter, finer weights to lead you through your more sensitive operations. It stands equipped with OpenType features, ready to support most European Latin-based languages and providing features such as Small Caps and Titling Caps in all nine of its weights. Well-honed for the task ahead, Winsel has been crafted to ride out the storm of mediocrity and to outlive the merits of inconsequence, if necessary for years, if necessary alone. There has never been in all the world such an opportunity for you. With Winsel, you shall go on till the end. You shall write on the beaches. You shall write on the landing grounds. You shall write with growing confidence and growing strength in print or on the air. Every morn has brought forth a noble chance. Your chance this day is Winsel.

Meet the new TT Trailers! The first version of TT Trailers was conceived as a font suitable for the film industry. The font harmoniously looks in posters, it is ideally suited for setting titles. However, the font has gained wide popularity among designers, and now you can find TT Trailers on the covers of magazines, on restaurant signs and on the main pages of websites. TT Trailers useful links: Specimen | Graphic presentation | Customization options Since 2019 when we released the first version, the TypeType studio team has released dozens of fonts, constantly improving our skills. In 2022, we decided to look at TT Trailers again, improving and expanding the font. In the new TT Trailers, we expanded the character set, corrected the contours, and improved the technical content. We have added extended Latin and Cyrillic characters, new symbols, and additional sets of numbers. The number of glyphs in one style has increased from 1081 to 1242. The inclined styles were long-awaited. The italics in TT Trailers are as eccentric as the upright fonts. The 15-degree tilt looks absolutely harmonious, complementing the character of the font family. We added italics to the variable font, so the new font changes along two axes at once, weight and slant. From the technical point of view, TT Trailers has become more modern and correct, and the number of OpenType features has increased from 29 to 42. We have added new alternative versions of glyphs and created a large number of localized features. The font retained all the qualities thanks to which designers fell in love with it, but became even more convenient. TT Trailers in the new version is suitable for titles and posters, for websites and printed materials. The font will embellish in restaurant and cafe signs and look beautiful in posters. There are 19 styles in TT Trailers: 9 upright, 9 italic and 1 variable font.

The impetus behind Felbridge was both ambitious and highly practical: to develop an ideal online" typeface for use in web pages and electronic media. Robin Nicholas, the family's designer, explains, "I wanted a straightforward sans serif with strong, clear letterforms which would not degrade when viewed in low resolution environments." Not surprisingly, the design also performs exceptionally well in traditional print applications. In 2001, to achieve his goal, Nicholas adjusted the interior strokes of complex characters like the M and W to prevent on-screen pixel build-up and improve legibility. Characters with round strokes were drawn with squared proportions to take full advantage of screen real estate. In addition, small serifs were added to characters like the I, j and l to improve both legibility and readability. "The result," according to Nicholas, "is a typeface with a slightly humanist feel, economical in use and outstanding legibility - even at relatively small point sizes. Most sans serif typefaces have italics based on the simple "sloped Roman" principle, but italic forms for Felbridge have been drawn in the tradition of being visually lighter than their related Roman fonts, providing a strong contrast when the italic is used for emphasis in Roman text. The italic letter shapes also have a slightly calligraphic flavor and distinctive "hooked" strokes that improve fluency. Felbridge is available in four weights of Roman - Light, Regular, Bold and Extra Bold - with complementary italics for the Regular and Bold designs. The result is a remarkably versatile typeface family, equally comfortable in magazine text copy or in display work for advertising and product branding. As a branding typeface, Felbridge works in all environments from traditional hardcopy materials to web design, and is even suitable for general office use. As part of a corporate identity, this no-nonsense typeface family will be a distinctive and effective communications tool." Felbridge™ font field guide including best practices, font pairings and alternatives.