Drawn shortly before Jim Rimmer's passing in 2010, Loxley was designed to be used in a fine press edition of the folklore story of Robin Hood. It was named after the cited birthplace of the story's classic hero. Loxley's shapes were inspired the same early Roman faces (such as Subiaco from the late 1400s) that influenced Frederick Goudy's Aries, Franciscan and Goudry Thirty types. It exhibits the preculiarities of Jim's left-handed calligraphy, as well as his outside-the-box thinking with exit strokes and serif variations. Loxley was remastered for the latest technologies in 2013. Now it comes with a character set of over 450 glyphs, including plenty of stylistic alternates, a full compliment of f-ligatures, a Th-ligature, basic fractions, ordinals, a long s for historic setting, comprehensive class-based kerning, and extended Latin language support. 20% of this font's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Designed by Daniel Hernández and Paula Nazal with digital editing by Elizabeth Hernández. Corrections and review by Alfonso García and Rodrigo Fuenzalida. Boston is a slightly rounded-edged typeface, which is inspired by “Trenda”—a geometric sans serif based on the uppercase of “Trend”(a Latinotype font, released in 2013, that was very well received). This new typeface comes with a wider character set that offers a complete family of uppercase and lowercase in different weights. Boston is a versatile, easy-to-use, functional display font with a strong personality, especially its uppercase, which makes the designer’s work easier. Boston’s lightest and heaviest variants are ideal for display use while its middle weights work well with short and mid-length texts. This typeface has been designed especially for corporate projects, logotypes and publishing. Boston comes in 8 weights, ranging from Thin to Heavy, and includes matching italics as well as small caps and alternates. The family contains a 634-character set that supports 206 different languages.

Supra-compressed – designed by Gert Wiescher in 2013 – is the extreme version of this family. But despite it being very slim it is still – because of its openness – a very readable font. The light and normal weights and the dominant x-height with its high ascenders make for easy reading of long copy. The heavy and x-light weights are great for elegant headlines. Supra is a versatile OpenType family with lots of different weights.

Lalola (whose early version was released as ‘Lola’ by the spanish foundry Type-Ø-Tones in 1997) is a display typeface with strong attitude. It was inspired by a lettering model by Eugen Nerdinger and Lisa Beck. From a few letters of that model, Lalola became an original design and a single font, comprising all the necessary characters for languages based on the Latin alphabet. You can ‘say it loud’ with Lalola, either in lower or uppercase, yet with wit and a unique, distinctive friendly voice. Lalola received already two mentions, the Typefacts’ Best Typefaces of 2013 and the prestigious TDC 2014 Certificate of Excellence.

Surpassing traditional Antiqua, our new collaborative font family Audela emerges after overcoming time, national borders, language differences, cultural gaps, and professional challenges. Starting off as an exercise project of our very first intern Léa Bruneau in 2018, Audela slowly shaped into a full-fledged elegant serif typeface of 14 styles under the watchful eye of Plamen Motev, Fontfabric’s Type Director. Three years later, Audela is internally regarded as a breaker of limits earning its name from the French “au-delà,” meaning “beyond.” This new rising star features sharp serifs, flowing letterforms, advanced OpenType features, Extended Latin and Cyrillic support, to name a few.

POWERPLAY a monospace lowercase alphabet with a 3D twist. Designed by André Toet in 1976 (during his study at Central School of Art & Design, London, UK) and he redesigned this in 2011. The name Powerplay is based on the Battersea Power Station, London. The remarkable architecture of the building is also used as a decor for films and for one of the covers by Pink Floyd (Animals, the flying pig). Concept/Art Direction/ Design: André Toet © 2017

Rum Soft Serif is a soft version of Rum Serif with softly rounded outer corners. Rum Soft Serif is a text & display family suitable for any purpose, any media, any size. A humanistic modular Serif in five weights containing small caps, italic, swashes, alternative characters, old style, lining, tabular & proportional figures. Design date: 2011-2023 The complete family consists of Sans Serif & Serif in both sharp and soft version + the display fonts Rum Plakat & Rum Silhouette.

FormPattern Color Two is a dingbat font for creating borders, frames, lines, and patterns. It is made up of a versatile set of interconnectable shapes that can flow together to make lines, borders, and patterns. Try different letter spacing to connect the forms into a continuous pattern or to space them apart. Explore leading (line spacing) to create large areas of pattern. Work with layering and opacity to discover the color-mixing potential of this font. Web designers can use FormPattern to make unique horizontal rules. How does FormPattern work? Install is as a regular font and as you type you will get forms instead of letters. Most design software, such as Illustrator, InDesign, and Photoshop provide a glyphs palette where you can choose the precise form you want. Color fonts are supported by Photoshop 2017, Illustrator 2018, and QuarkXPress 2018 (and later versions). A solid uncolored font comes with every purchase and can be used in applications that do not support color fonts. It will appear black and can be colored in the usual ways. FormPattern Color Two is compatible with all other FormPattern fonts from Tarallo Design.

Hello, Friends! Introducing Ravenholm -a new modern gothic font family. Font looks amazing as single words and as full text blocks. It has support for many languages as: Czech, Danish and Norwegian, Deutsch, English, Espanol, French, Italiano, Magyar, Nederlands, Portuguese, Finnish, Swedish, Turkish, Russian etc. Ravenholm font family cast: - Ravenholm Color (color OTF font) - Ravenholm Bold - Ravenholm Inline - Ravenholm Thin - Ravenhol Slant WARNING #1 Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/ Enjoy it on your best projects! For any help regarding this font, please feel free to contact me through my profile page and I’ll be glad to offer support. Thanks for buying!

Circe™ is a geometric sans-serif with some humanist qualities. It consists of seven weights from Thin to Extra Bold in both Normal and Italic styles. Circe, like the Greek goddess it is named after, is capable of metamorphosis. While being clean and simple in its basic form, Circe can become intricate and fancy with its numerous decorative glyph variations. The extensive character set provides support for almost all European languages based on Latin and Cyrillic scripts. Abundant alternates and swash variants organized in stylistic sets inspire creative design options. Circe is good for small point size paragraphs as well as for headlines and posters. The typeface was designed by Alexandra Korolkova and released by Paratype in 2011. The Italic styles were added in 2018 by Alexandra Korolkova and Maria Kharlamova (Selezeneva).

American type designer Michael Abbink created this serif FontFont between 2009 and 2010. The family has 12 weights, ranging from Regular to Black (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries as well as small text. FF Milo Serif provides advanced typographical support with features such as swashes, ligatures, small capitals, alternate characters, case-sensitive forms, and fractions. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. FF Milo Serif received several awards: the ISTD award in 2011 and the Letter.2 award in 2011. This FontFont is a member of the FF Milo super family, which also includes FF Milo.

Kaat is a new type (2013). It was designed by Chris Nuijen and named after his daughter Kaat. It represents the period in which everyone has their face behind the latest mobile phone screen or interactive games console. "Kaat"is slick, modern and progressive, to reflect our busy immediate life style, whilst providing the essentials in a period where people can be judged on television. Kaat is here to stay and to evolve. Everyone wants to try to be that little bit different, but essentially we are all the same, with the same inherent needs, just like babies or children. We need to be fed, watered, nurtured and loved, the only difference is in today's world you can do all that from behind a screen. "Kaat" bridges that gap, transcending the basic needs of type, with the sophistication and fast paced sharpness of today, everyone wants to be different but we all stay the same, this is a reflection in the thickness and shape of each glyph. The font represents how we are molded and cast differently in yet we still stay the same, because we need the repetition! Everything needs to be done quicker, simpler and cheaper. We eat we sleep we communicate.

SF Hussein font is designed to be used in broad writing and short sentences. It is an ornate heading font with minimal details. Its domain is stationery, logos, branding, ad design, and posters, and it can be paired with a range of other font styles to create different moods. This font is an improvement of the Hussein font that was presented by designer Sultan Al-Maqtari in 2013 The Hussain font supports Arabic, Latin, Persian, and Urdu.

PODIUM Soft is variations of PODIUM Sharp typeface designed in 2019. Family consist of 13 styles from ultra compressed to extra expanded. Main purpose of this project was idea to make hybrid between different modular and geometric woodtypes that I found in old polish specimens: Rex, Blok, Bacarat etc. Thanks to big range of different styles, PODIUM will be perfect choice for visual identities, posters and display usage.

Vertebrata is a serif type family of six fonts, designed by Fulvio Bisca between 2011 and 2014. It embodies features from different ages of writing and history of typography: the solemnity of Capitalis Monumentalis in uppercase and small caps, rhythm of Textura in lowercase, sturdiness of 1800 Slab Serifs in the overall look and feel, and a contemporary modular approach to the construction process. In spite of the geometric genesis of the letterforms, special attention has been paid to optical corrections, in order to obtain a natural and legible design. With more than 500 glyphs per font and carefully designed small capitals, Vertebrata is a complete OpenType family, including multilingual and advanced typographic features. Regular, Italic, Bold and Bold Italic styles are intended for both text and display applications, whereas Black and Black Italic are more suitable for display size settings.

Nünooska is a sans serif type designed by Luke Turvey in 2014. The minimalist charm of Nünooska offers a soft unique style while remaining legible and clean. This rounded geometric sans serif is designed to look excellent for display or printed publication.

Maisonneuve is named after the fracture I had in 2019. During the period of revalidation this font was born passed on circles and rectangles. A modern – almost modular – font with old school figures and lots of symbols and good readability and legibility.

Designed in 2011 by Olivier Gourvat, this font family has generous proportions with a range of weights make it a versatile family for print, text, signage, branding and web design work. Kyrial Sans Pro offers lots of OpenType goodness and broad language support.

Wroxeter is Greater Albion Typefounders' customary Black Letter release for Christmas 2013. It's a typeface family for all times of year though, a good clear traditional black letter re-creation offered in a family of four typeface:- regular, wrought (a hand-tooled look a la Mr F Goudy), oblique and narrow forms. The tradition of typefounders' black letter revivals which don't over-burden themselves with historical precedent continues in this highly refined and polished family.

Cats OTF color font. Creative set of characters, kittens pictured in a variety of poses. You can use this font for design logos, quotes prints on t-shirts and other. OpenType-SVG Font was designed with Fontself Maker in Illustrator CC. Contains only uppercase letters and digits. WARNING Color fonts are pretty new technology - they currently show up in Photoshop CC 2017+, Illustrator CC 2018 and some Mac apps. Learn more about color font support on third-party apps here: https://www.colorfonts.wtf/

O Type Foundry published the unique 'Geometric Mechanic Sans Serif' in 2023, a typeface that Galang Persada had been perfecting since 2013. Attention all graphic designers! Are you tired of using the same old fonts and design elements in your projects? Look no further than Gal Sans, the newest geometric mechanic sans serif font on the market. With its clean lines and modern aesthetic, Gal Sans is the perfect addition to any designer’s toolkit. Its versatility makes it suitable for a wide range of design projects, from logos to website text. Plus, its minimalist design adds an elegant touch to any composition. Don’t settle for ordinary – elevate your designs with Gal Sans. Try it out today!

Journal type family is a low-contrast text face of the Ionic-Legibility group. It was designed at the Polygraphmash Type Design Bureau in 3 styles in 1951–53 by Lev Malanov and Elena Tsaregorodtseva. The fonts were based on Cyrillic version of Excelsior that was developed in 1936 in Moscow by professor Michael Shchelkunov, Nikolay Kudryashev et al., that in its turn was based on Excelcior by Chauncey H. Griffith, 1931, Mergenthaler Linotype. Digital version was developed in ParaGraph (ParaType) in 1991. In 2012–13 designer Natalia Vasilyeva made some corrections in original digital data, extended character set and add bold italic style. The family was rereleased in ParaType in 2013.

Novecento Carved is a layered font family. It is designed to be paired with the 2013 version of Novecento Sans , used as base layer. Each glyph of each style of Novecento Carved (around 18.000) was manually reviewed and adjusted to overcome the limitations of an automatic interpolation algorithm. The minimalism of its construction makes it super easy to achieve a bas-relief or engraving effect just switching luminosity values among the two layers (carved and sans). Novecento Carved was selected and displaying on Typodarium 2018, the 18th of June. Webfont usage: to make Novecento Sans and Carved to align properly, please apply these settings when generating your webfonts: Hinting = native; Line Height Adjustments = native.

A classical 20-th century's (1900s to 1980s) typewriter font for both text and large display usage, titles, signage... A new thicker version of Selectric (2016), as if typed using not a thin carbon ribbon but a coarse fabric one. Both are available on a different models of Selectrics. Made after rare enough samples of the same style used during 1980s in the USSR. Based on the actual letter proportions of the original typewriter Selectric (2016) (Cyrillic ball). This time not monospaced as before, but proportional. The single known so far previous typewriter vector typeface with this 'ink blotting' effect (similarly expanded serifs) as in Dodo (2008) is ITC American Typewriter (1974; by Joel Kaden and Tony Stan) and all its hand drawn analogs from 1980s (and perhaps before). Which, in turn, is resembling ATF Bulletin Typewriter's (1925, 1933; by Morris Fuller Benton) overall proportions, geometry, and even had some natural ink expands in its paper sample (but not by design, as I see it).

Afronaut PRO (New version of typeface published in 2019) was inspired by vernacular Latin & Arabic typography in St. Louis (on Senegal-Mauretania Border, Africa). Geometric forms working well and contrasting with smooth, round elements. After reading "Afronautics – from Zambia to the Moon" by Bartek Sabela (about Zambian conquest of space) a breif was set to create typeface that looks like mix between: vernacular Arabic script, futuristic typography and some special lettering that I found in Africa during my travels to Guinée, Bissau, Gambia, Senegal, Mauritania and West Sahara. Afronaut has seven weights, also many letters have 3 different forms. Afronaut PRO can work as regular version of my Yalla Typeface.