Periódico (newspaper in Spanish), was originally commissioned by the Spanish daily newspaper ABC. Inspired by old Spanish typographic engravings, mostly from the second half of the 18th Century, we picked out the most relevant details of Spanish typography as the source of that inspiration, and instead of making a revival or an interpretation of these models, we started from scratch to create a truly original font family. The goal was to achieve a very distinctive family, functional and versatile at the same time, and reminiscent of old Spanish typography. Although we have borrowed many details from the old Spanish typography, like the nail, which is present in the letters U, G, or J, which we worked and evolved in order to be applied on other letters, we have also left behind several others. One example is the tilde of the ñ engraved by Gerónimo Gil, a very distinctive element of Spanish typography that was intentionally omitted for being too atypical to be used in a contemporary font.  The letters a and g are probably the most distinctive of the Periódico family. The shape of the bowl in the letter a, with the top arch in diagonal position, is very characteristic of old Spanish types. In Periódico, we emphasized this detail by applying it to many other letters (such as g, j, and t) up to a point that it became the leitmotiv of this family. The formal finish of serifs and terminals is something that gives great personality to any typeface, so we came up with plenty of alternatives in order to find the exact shape we wanted: sober, elegant, and contemporary. Even though the serifs are geometric, the upper terminals have a curve with a dynamic very similar to the arch in the a or the notch in the j. The terminals in the capitals follow the same style, but, in this case, the inspiration comes from Pradell’s Missal, which on the other hand has been influenced by the types engraved by Johann Michael Fleischman in the Netherlands. Eighteenth-Century types were mostly used for printing books. Therefore, they had very generous proportions (large ascendents and descendants) and high contrast, but today, these characteristics do not work well in newspapers because of the worldwide demand for more space-saving fonts. The adaptation of the type’s proportions to be used for a newspaper was one of the most interesting parts of the project, specially the time taken to find the perfect balance between the x height\ and legibility. Periódico is presented in 30 different styles, for a total of 30 fonts—10 for text (from Light to Bold) and 20 for display sizes (from Thin to Ultra Black); this family results in an extensive system capable of solving all the needs of a large publication.

A gentle breeze caressed his face as his body took on the easy posture of a dancer on break. Flickering sparklets of light sprinkled the glass-smooth surface of the aqua liquid on which he floated. His mind wandered; he was only days away from his scheduled departure date. This day was no different from a hundred other days he had spent melded to his windsurfer, skittering along the breadth of the modest lake, soaking up the sun's rays and forgetting about the entire rest of the world. Lake Quannapowitt, and the town of Wakefield, Massachusetts, were familiar to Steve, a long-time resident of the picturesque New England town. This is where he grew up; this is where he married and lived for many years; and this is the place he was preparing to leave, not one week hence. Not generally prone to nostalgia, it was in just such a state he nonetheless found himself once Zephyrus retreated, as was his custom, periodically, while patrolling the resplendent lake. Steve was going to miss the lake, and he was going to miss the town. How many hours of how many days had he spent exactly like this, standing on his motionless board, waiting for his sail to fill, and staring at the lake's shores, its tiny beach, the town Common with its carefully maintained greenery, and equally well-tended gazebo, the Center church - its spire shadow piercing the water's edge, like a scissor-cut the better to begin a full-fabric tear? Yes, he was going to miss this place - this town which all of a sudden had become a place out of time, just as he was about to become a person out of place. Once this idea struck him, he couldn't shake it. He was transported back in time four score years, now watching his ancestors walk along the shore. Nothing in view belied this belief - not the church's century old architecture, not the gazebo frozen in time, nor the timeless sands of the beach, nor the unchanging Common. Everything belonged exactly where it was, and where it always would be. This, he decided, was how he would remember his hometown. And this is when it occurred to Steve to design a typeface that would evoke these images and musings - a typeface with an old-fashioned look, reflected in high crossbars, an x-height small in size relative to its uppercase, and an intangible quality reminiscent of small-town quaintness. Wakefield, the typeface, was born on Lake Quannapowitt in the town for which it was named, shortly before Steve moved away. It is at once a tribute to his birthplace and a keepsake.

TT Mussels useful links: Specimen | Graphic presentation | Customization options About TT Mussels: The TT Mussels font family is the successor of such popular fonts as Bender and TT Squares. At the same time, TT Mussels has a number of fundamental differences that make it a unique font family that stands out from other octagonal typefaces. When designing TT Mussels, we paid great attention to the possibility of imposing large arrays of text, and we can responsibly state that TT Mussels is a rare type of technological text fonts. To go along with the rest, we've created a stencil version of the typeface, in which the location of the incisions changes according to their thickness. In total, the TT Mussels font family consists of 36 faces, which include among other things stylistic alternatives, ligatures, and also implements a broad support for OpenType features: case, frac, ordn, sups, sinf, numr, dnom, onum, tnum, pnum, liga, dlig, salt, ss01. Dynamic contrast is widely implemented in TT Mussels. It is most noticeable in the Black typeface, where the ratio of the thickness of the vertical strokes to the horizontal strokes is approximately two to one. For the Thin typeface, the thickness of the vertical strokes is already consistent with the thickness of the horizontal strokes. You can also find other signs of respect for traditional text fonts in the TT Mussels design, such as the trace of pen movement which is historically typical for antiquas. For example, in the letter M from the Black face, we can first see a thin stroke, then a thick diagonal stroke followed by a thin diagonal stroke, and a finishing bold vertical stroke. As in the case of dynamic contrast, this effect gradually disappears when approaching thin faces. In thick faces, in places such as the “armpits” of the letters MN? or the junctions of the diagonals of WVvw, there are visual compensators that brighten the bold typefaces. As the thickness of typefaces moves from thick to thin, the dimensions and conceptual values of compensators change, and in thin typefaces they completely disappear. TT Mussels language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Useful links: Using the variable font TT Alientz in InDesign About TT Alientz: TT Alientz is a variable* typeface that allows the user to make a visual journey from a laconic extraterrestrial grotesque to a very prickly display serif. As part of this project, we decided to investigate the influence of a foreign substance and the consequent transformation of the original forms, which ultimately leads to extreme visual changes. The TT Alientz family consists of 3 fonts: grotesque, serif and variable* font. Each font contains more than 470 glyphs. In addition to broad language support (including Cyrillic), the typeface has stylish ligatures, contextual alternates, and old-style figures. Variability in the typeface affects the changes in the overall style of the font—moving the slider to adjust the variable axis, you can go from a laconic grotesque to an extreme serif. TT Alientz Grotesque is a fairly neat hipster grotesque, but with its own small features. In the design of some letters of the grotesque you can find small sharp elements that add uniqueness and character to the font when used in large inscriptions and headings. At the same time, when you use the font in a small size of the size and in text blocks, sharp elements do not greatly affect its readability. The design of some letters of the grotesque is quite peculiar and is intended to emphasize the initial concept of slight 'alienness'. TT Alientz Serif is an 'infected' TT Alientz Grotesque and the result of changes to it. Unlike the grotesque, the serif is dynamic, viscous, ductile and very prickly. Serif has a lot of smooth lines and not quite standard strokes contrast. It can be noted that most serifs in the antiqua are pointed inward, not outward. Despite its extremeness, the serif will look good both in large and in small body sizes. *An important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ FOLLOW US: Instagram | Facebook | Website TT Alientz supports more than 160+ languages, such as: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (cyr), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Walloon, Xhosa, Zaza, Zulu.

Comenia Sans was designed in the framework of a unique typographic project for all types of schools. It is a complementary face for Comenia Serif, released by our friends at Storm Type Foundry. Comenia Sans has a lot in common with its serif sister: the height of both upper and lower case, the length of ascenders and descenders, and the general weight. This makes the two perfect partners which work well even when set side by side in a single line of text. Comenia Sans does, however, lack all serifs, ornamental elements and stroke stress variation. All these elements freshen up the feel of long texts, but for shorter texts use, they are not necessary. Despite that, Comenia Sans retains the soft, friendly character of its big sister, as well as a few tiny details which lend it its unique character without compromising legibility or utility. Open counters give all letters an airy feel and permit enough variation in construction. This is why the face works well even in multiple-page texts. All its letters are easily distinguished from each other, so the reader's eyes are not strained. Diacritics and punctuation harmonize with both upper and lower case. As usually, all diacritical marks fully respect conventional shapes of accents and they are perfectly suitable for Czech, Slovak, Polish and other Central European languages, where a lot of diacritics abounds. Similarly to the renaissance italics which refers to the cursive forms, Comenia Sans introduces novel shapes of some characters drawing from the hand-written heritage. This is most apparent in the single-bellied a, the simplified g, and the stem of f which crosses the baseline and ends with a distinct terminal. In the text, emphasized words are thus distinguished not only by the slant of letters, but also by the shapes of the letters themselves. All twelve styles contain set of small caps, suitable for the names, in the indexes or the headlines in longer texts. Legibility in small sizes under 10 points was at the center of designers' attention, too. This is why the counters of a, e and g are large enough to prevent ink spread in small sizes, both on-screen and in print. After all, the font was specifically optimized for screen use: its sober, simple forms are perfectly fit to be displayed on the computer screen and in other low-resolution devices. When used in the context of architecture, the smoothness of all contours stands out, permitting to enlarge the letters almost without limit. A standard at the Suitcase Type Foundry, each style of Comenia Sans boasts a number of ligatures, an automatic replacement of small caps and caps punctuation, a collection of mathematical symbols, and several types of numerals which make it easy to set academic and other texts in an organised, well-arranged way. For the same purpose, fractions may come in handy, too. Apart from the standard emphasis styles, the family also contains six condensed cuts (each set has the same number of characters), designated for situations where space is limited or the need for striking, poster-like effect arises. Comenia Sans is the ideal choice for the setting of magazines, picture books, and navigation systems alike. Its excellent legibility and soft, fine details will be appreciated both in micro-typography and in poster sizes. Although it was designed as a member of a compact system, it will work equally well on its own or in combination with other high-quality typefaces.

The typeface Hand Writing of Janina is designed from 2021 for the font foundry Typo Graphic Design by Janina Fels & Manuel Viergutz. The cha­rac­ter of the hand­written script type­face is rough, ruggend and raw. With state-of-the-art OpenType-Feature (like Con­text­ual Alter­na­tes (calt) and Sty­listic Alter­na­tes (salt)). Each upper­case and each lower­case let­ter has auto­ma­ti­cally alter­na­ted two varia­ti­ons to bring humanly-random cha­rac­te­ristics of hand­wri­t­ing to life. 4 font-styles (Book, Bold, Dark & Icons) with 786 glyphs (Latin 3) incl. 100+ decorative extras like icons, arrows, catch words, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates. For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: Hand Writing of Janina ■ Font Styles: 4 font-styles (Book, Bold, Dark, Icon) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play Script for head­line size ■ Font For­mat:.otf (Mac + Win, for Print) + .woff (for Web) ■ Glyph Set: 786 glyphs (Latin 3 incl. decorative extras like icons) ■ Lan­guage Sup­port: 93 languages: Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, NorwegianNynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Upper Sorbian, Uzbek (Latin), Volapük, Vunjo, Walser, Welsh, Western Frisian, Zulu ■ Design Date: 2021 ■ Type Desi­gner: Janina Fels, Manuel Viergutz

What do you imagine the ideal casual invitation font would look like? It has to be cheerful, inviting, legible, creative, and loads of fun. But first and foremost, it has to look like real handwriting. Fonts seeming like real handwriting are always a major task, and although Canada Type already has plenty of fonts that solve the “looks like handwriting” issue in a variety of ways, we're once again raising the bar a little higher with this one. Birthday is a massive package that crosses the traditional font/handwriting solution of 2-letter ligatures and waltzes into the land of 3-letter combinations. Plenty of them, too! The complete Postscript and True Type versions of Birthday ship with no less than five separate fonts full of nothing but ligatures. And for even more realism, an alternates font is also included in the package, for a total of seven fonts of happy handwriting that can be used anywhere and everywhere personalization is of importance to a layout. For layout artists with advanced typography tools that take advantage of the power of OpenType, Birthday Pro is a wunderkind. All the individual letter alternates are accessible through the Stylistic Alternates feature, the 2-letter ligatures through the standard Ligatures feature, and the 3-letter ligatures via the Discretionary Ligatures feature (for the technically inclined: this includes a nice liga-to-dlig crossover, where the maximum number of possible ligated letters is automatically chosen at the push of a button). If you enjoy using OpenType, Birthday Pro is definitely for you. If on the other hand you like your fonts in Postsript or True Type, it is advisable to keep a character map handy while using Birthday. You will need it to take advantage of the many, many alternates and ligatures distributed over the fonts. The next time someone asks you for the perfect casual invitation font is, look no further. And as usually is with Canada Type, quality fonts are more affordable than ever.

Vintage Glamour comes with an aesthetic style, and its serif-type tagline is Vintage and elegant. This font comes in eighteen thickness levels, from thin to black, to suit your needs. Vintage Glamour is also equipped with the latest professional characteristics that can present an elegant and attractive identity for your company or project for business purposes. It goes well with modern serifs and scripts that depict or stand firm as titles and brand representatives for an elegant look. Vintage Glamour has 18 font styles ranging from thin to regular and italic. This will go a long way in creating the perfect impression, giving you many options you'll want to use in each design. Vintage Glamour also comes with multiple languages, making any country and language easy to use. It also comes with alternative Ligatures and styles to make your designs more attractive. Vintage Glamour is suitable for branding projects and various design purposes such as business cards, name tags, and uniforms as a brand enhancement. Advertisements, posters, invitations, branding, logos, magazines, merchandise, presentations, etc. Supports languages: Afrikaans, Albanian, Asturian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vietnamese, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zulu A guide to accessing all alternatives can be read at http://adobe.ly/1m1fn4Y Adobe Photoshop go to Window - glyphs Adobe Illustrator go to Type - glyphs Features: A – Z Character Set a – z Characters set Numerals & Punctuations (OpenType Standard) Multilingual Thank you and have a nice day

Based on a specimen of an obscure and uncredited old face called Kitterland, Hamlet is one of those curiosities hardly ever noticed in the world of modern fonts, the kind that infuses a variety of historic Blackletter and calligraphy traits in an otherwise Roman alphabet. Such typefaces, what few of them exist, are almost always classified by typophiles as traditional decorative Roman alphabets. We beg to differ. We think such hybrids are fascinating enough to deserve a classification of their own. And we think today's aspiring letterers and type designers would benefit from paying special attention to this kind of hybrid alphabet, not only because it has much more hand than machine in it, but also because it is a prime example of how to succeed in mixing different lettering techniques into one self-contained and distinctly functional alphabet. As in any efficient mixture of lettering methods, Hamlet ended up with characters that are uniquely its own, such as the cupped A, M, V, W and Y, the very luscious and inviting curves on the arms of E, F, L and T, both single- and double-story forms of the a, and the humblest, friendliest g and y ever. A dozen alternate characters are sprinkled throughout the character set, so check out the map for a few pleasant surprises. We also made the Handtooled and Headstone styles because we thought these friendly forms were just crying out for such treatments. The Handtooled version turned out quite lovely, if we may say so ourselves, perhaps even better than the main font. The Headstone version is available as a free bonus to those who purchase the complete Hamlet package. All Hamlet styles come with lining figures as well as old style ones. Hamlet comes in all popular font formats. The OpenType fonts contain push-button swapping alternates and figures, which come in handy in software programs that support this kind of thing.

TT Bricks useful links: Graphic presentation | Customization options Do you love the early Soviet visual culture as much as we do? We’ve tried going back a hundred years and rethinking the constructivist era. We’ve created an extensive font family that consists of the simplest triangle and rectangle forms. TT Bricks font family includes 16 typefaces: Hairline, Thin, Light, Regular, Medium, Bold, ExtraBold, Black and Italics. Regardless of its Soviet past, TT Bricks is a very fresh and visually powerful font family that perfectly fits the contemporary media landscape. TT Bricks is perfect for mobile apps and corporate websites, as well as for printed press layout. Thanks to the exaggeratedly simple forms of all signs, TT Bricks looks great in very small type sizes. FOLLOW US: Instagram | Facebook | Website TT Bricks language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Banjar, Basque, Belarusian (cyr), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Embu, English, Erzya, Estonian, Faroese, Fijian, Filipino, Finnish, French, Friulian, Gaelic, Gagauz (lat), Galician, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Khasi, Khvarshi, Kinyarwanda, Kirundi, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Tatar, Tetum, Tok Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen (lat), Ukrainian, Uyghur, Vepsian, Volapük, Võro, Vunjo, Xhosa, Zaza, Zulu.

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there.

It's bold, chunky, and ready to make a big impression - Primed is an authentic, hand-drawn brush font made with real marker pens. Perfect for unmissable display text, logos, handwritten quotes, product packaging and more! As well as a full alternate set of upper & lowercase characters, Primed also includes a set of 18 swashes, ideal for underlining your lettering and adding that extra 'custom' style. The alternates and swashes are included as their own separate fonts. Primed also includes 47 ligatures, these double and triple letter combinations will help letters connect and flow more naturally. The ligatures will automatically generate when using the Primed fonts with most software. The Primed fonts contain language support for; English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Paradox Runa is based on the futhark, norse elder runes. “Missing” characters has been replaced with either other “real” runes, or “new” ones have been “invented” so that the font hold all characters for the latin alphabet (A-Z + swedish Å Ä & Ö) + “Numbers” 0-9. I do not claim that this rune alphabet is totally authentic nor correct! All upper and lower-case letters are the same except for the letter S. “Ligatures” have been created for the th, ng and eo sounds. These are accessed by writing TH, NG and EO (in upper case letters). Space is automatically replaced by a ‘colon’ (':') - if you want a “real” space, write an underscore! (open type version of the font and open type compatible layout application required). Paradox Runa goes perfect with the font Paradox X (regular yet enigmatic hand drawn latin letters)!

Mezalia is a one of a kind typeface. Its shapes were strongly influenced by bastarda scripts of high medieval times. Unlike most fonts sharing similar origin, Mezalia is not just another blackletter but a fully functional text typeface, blending medieval poise and character with modern sensibilities. Stroke widths, imitating a broad nibbed pen of a scribe, fluctuate constantly giving paragraphs a characteristic vibrating texture. Despite it's strong character Mezalia is very legible and will be an excellent choice for a book or an elegant magazine. Mezalia has two distinct styles: straight and cursive (true italic if you will, although the word is not really correct here), which come in seven weights, from thin to black. Each weight contains a set of old-style figures, lining figures, small caps and ligatures. A separate style containing drop-cap initials is also available.

The idea behind the font called Chaco originated after testing the deficiency shown in road signs in Latin America. The design began after a long documenting period. Throughout the various stages of the work,  there were several  tests and checks  conducted of the formal solutions implemented which, based on the results, would gradually be changed until we finally reached, in this way, its definite design. The original project for the font features three steps, namely: regular, light and bold, yet by making progress in the development, it was possible for us to perceive that by enlarging the black and thin variances, the family with 5 different weights could offer very good results in mass media, such as newspapers, magazines and television. In order to expand its possibilities of utilization, the set was completed with italics and small capitals.

Gutter Pigeon is not your every-day Ransom-kind-of-font! The prices of making it was really simple: I only used my phone and computer. I took pictures of letter from newspapers, magazines, bookcovers, candybars, movieposters, roadsigns, etc. In the beginning, It was easy to find new letters. But as I had the initial letters, it became quite a search for the missing letters. Not a hard job, you may think - but this font has 8 different versions of each letter! That's 26 lowercase glyphs and 26 uppercase glyphs...8 times! That's more than 400 glyphs! And on top of that comes numbers and punctuation! Go crazy with Gutter Pigeon! Actually, that is not very hard, because the font automatically cycles through the 8 different versions of each letter while you type! Upper- and lowercase in a wild mix!

Description This is Networkand Family. World's best graffiti and non-graffiti marker-styled font ever. Networkand marker font family, carefully selected from hundreds of letters. Signature-styled Networkand Script perfectly fits next to the Networkand Font. Besides all this, the Networkand Swashes Font is designed to customize your designs to another level. You can read Medium article here. FEATURES: Original: Networkand Fonts and swashes created for your special designs. You can turn your dreams into reality and customize them. Unique Creation: An unprecedented experience a creation that no one has ever had before and will uncover your awareness. Create your Brand: Unlike a standard font to create a new brand concept. Be different. Be different in life. Your own. Create your own mark: That’s the most special part of this font. A brand new identity for your personal signatures.

Antipol is a Sans Serif design that reverses the conventions of a regular Latin Sans Serif. With a weight emphasis on the horizontals and its vertical terminals Antipol radiates a 1970s charisma known from the like of Antique Olive. Its modern and avantgardistic attributes are most pronounced in the Hairline weight, where ultra thin lines meet distinctive arrowhead-corners. This particular weight is meant for display settings, think full-page magazine titles or posters. Antipol Wide and Antipol Extended are a generous statement for graphic design with enough space to let the type breathe: art catalogs, lead texts, invitations, letterheads or brand identity. Any style comes with a wide range of OpenType features that goes beyond a standard display font: Small Caps, Proportional and Tabular Oldstyle Figures and Lining Figures, Fractions, and much more. Type Specimen: http://bit.ly/2mxRCcA

Trolls are lurking under each and every river crossing. The earth is shaking as Ogres stomp across the land, spiked clubs in hand. Swordsmen and Sorcerers are waging war on one another even as the pure and young and stout of heart search for the talisman which will restore harmony once more. Are you under the spell of some wizard's magickal incantation or are you just looking for exactly the right typestyle for your J.R.R. Tolkien Convention newsletter? Regardless, an ancient curse has been lifted and the Talmudic Legend of the Clay Beast they call GOLEM has been restored to his former majesty. The shapeless mass is no longer one of unfinished substance, no longer a body without a soul. The Homunculus that was once Comicraft's Golem has had a spiritual awakening and is now available with the crinkly bits smoothed off.

Winner™ and Winner Sans™—Classic athletic aesthetics, finally as a versatile contemporary super family. Just when you thought there was nothing left to add to the classic sports design, we lifted it to a whole new level. Whatever you want to set in whatever space, with seven weights in seven widths both with or without serifs, you’ll definitely find the right proportions for it! Winner supports not only most Latin-based languages but also Greek. Its extensive character set also contains currency signs, arrows, as well as a wide range of numerals from small figures to Roman numerals. Furthermore, its sophisticated OpenType layout features give you access to alternative letter shapes, fractions, tabular figures, and contextual alternates. With more than 24,000 glyphs in 49 fonts, Winner leaves nothing to be desired. Grab Condensed Regular for free and give it a spin!

It all started with making of a simple all-caps font. I drew the whole alphabet, numbers all else needed - but something wasn't quite right...the lettershapes were fine, but quite boring. Then I took a drastic decision: I started all over again ... meaning, I printed the whole thing, messed it up using a wet cloth and wrinkled the paper - then scanned it all again, and imported all the graphics yet again. A lot of work, yes - but personally I think it was worth it! But anyway, that's the story of how Primitivus was made ... well, almost, but not quite ... but that's another story! Use Primitivus for anything that needs that special kind of look were handdrawn letters meets grunge! Play around with the 4 different versions of each letter to make your text look even more random and natural!

Dubrove is a wedge serif typeface inspired by Moravian (Czech) type designs of the 1930-50s. The character font is expressive: free, daring and graceful, delicious and attractive. Here are more than 1100 glyphs, all 102 European languages, all Ancient Slavic Alphabet (49 characters), Latin and Slavic small capitals and OpenType features with many solutions. Dubrove has several stylistic sets, historical forms, localized forms of several languages, interest contextual ligatures and many other delicacies. In the Dubrove typeface several stylistic sets of Slavonic lowercase letters are made. In addition to font basic style (in fact it is close to the natural lowercase character) is a traditional [ss02] set (postpreliminary, the Soviet Union, when most copy lowercase letters are uppercase) and lowercase the natural character [ss03], the style of which, in particular, is often used in the Bulgarian script.

Cryptic is a font family of caps and small caps whose unique design was inspired by Morse Code. The traditional dots and dashes have been re-imagined as diamonds that you can read from top to bottom on the letters themselves. Secret code hidden within the letters, hence - Cryptic. This font family is truly versatile! The letters are all based on the character shapes of the Naked style, and all the diamonds have the same proportions, so you can stack and layer as many as you like to create a custom look for any project. Cryptic is perfect for website headers, posters, t-shirts, billboards, book covers, SVG cutting files, and anything else you want to add a little mystery, intrigue, or glitz to. Please note that some styles are better suited for larger scale projects to show off the fine details.

Tipperary was designed by Steve Matteson and named for a favorite 'single track' bike trail, Tipperary is a monoline Humanist Sans Serif typeface. The clear, open, letter forms curve abruptly in an almost squarish geometry much like the sharp turns on the Tipperary trail. The clear, austere forms offer exceptional legibility for both interface designs and extended reading. Small size package labels and crisp branding programs benefit from Tipperary's emphasis on clean, readable design. eText typefaces are designed to meet the challenges of extended reading in digital environments such as mobile devices or desktop screens. Their forerunners are among the world's most popular and important book typefaces for print media. These classic designs were reinterpreted to conform to technological constraints of LCD and e-Paper while retaining the properties of proportion and form which made them favorites for print.

Glosa is a type family designed for editorial purposes. Glosa is delicate and highly readable at very small sizes but reveals all it’s strength and personality when used at big sizes. The contrast of the sharped serifs and ball terminals, provide a fresh and very contemporary look. Glosa Text is a bracketed serif, softer, smooth and less idiosyncratic, suitable for text settings. Both styles have four weights and italics, in a workhorse typeface, full of OpenType features such as Small Caps, Tabular Figures, Central Europe characters and Historical Figures, among others. Glosa Headline is ideally suited for nameplates and headline typography, with four weights and with lowercase matching the small caps. In Glosa most of the diacritics were designed to fit the gap between the x-height and the caps height, avoiding some common problems with the accented characters.

Duct tape is one of the most versatile adhesive materials known today. From fixing the bumper of your car that keeps falling off, to creating a sturdy wallet. From alternative wrapping to sticking a friend to the wall, Duct tape is there. And it will stay there. It will stick to anything and hold for a very darn long time too! The cloth-backed tape was invented some time during World War II, and also proved itself useful as a base material for lettering. VLNL Duct was originally designed by DBXL as a logo for temporary Amsterdam restaurant BAUT. DBXL imagined an owner taping the name on the window of his shop using Duct tape. The font was used for all communication of the restaurant. Duct is a sturdy, rough all-caps typeface that will stick to anything.

Black Sansa - Retro display font with a full set of uppercase and lowercase letters, multilingual symbols, numbers, punctuation, stylistic set, and ligatures. Black Sansa retro display font style for retro poster, magazine, retro beauty branding design in vintage style suitable for your retro design concept. Features: Simple installations, accessible in 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 ¿ ¡ ____ PLEASE NOTE Most of the fonts require advanced graphic software that supports Open Type Features like Adobe (Illustrator, InDesign, Photoshop), Affinity (Photo, Designer, Publisher), Corel Draw, or similar software. Image used: All photographs/pictures/logo/vector used in the preview are not included, they are intended for illustration purposes only. Thank you Hope you enjoy our font!

The initial idea for the Oops font, was to create graphemes, and by using them it could imitate a mark of a spilled liquid-stain. In an attempt to make the most convincing effect, those graphemes were written on glass. The final appearance of the graphemes, mostly remain in their basic form, and have the characteristic of a liquid, like fluidity in motion. This manuscript is expressive, but that does not affect the readability of the letters. The generated font was created by using Photoshop, Illustrator and a little bit of interventions in Font Lab. Font Oops is updated and edited version of an old version of the Art decor font, which had just basic letters. Today, Oops font contains Latin and Cyrillic letters, and it can be ideal for use in subjects like a paintball, art, expression, ink, water...

Comply Slab is inspired by action and extreme sports, Comply gets it's name from the well known skate trick the “No Comply”. This type family doesn't mess about! With 9 weights from thin to black, Comply Slab will give you some great options to use. This font family will “kill it” in both print and digital, in headlines for editorial, posters, banners, websites, apparel, packaging, logos or magazines just to name a few. If you want to make a statement that gets the message across in a slick way with some cool looking glyphs Comply Slab is the font! There is an alternate R and S so you can choose to go with the cool default sharp glyphs or swap them for a more traditional chamfered corner version. Each of the 9 weights has an italic version to add even more action.

The Ballpoint font was created to look as close to a natural handwritten script as possible by including lowercase alternates, lowercase swash, ligature and underlines. Mix and match lowercase regular with several lowercase alternatives to get your new ligature. Perfect for any awesome projects that need hand writing taste. With built in Opentype features, this script comes to life as if you were writing it yourself. It's highly recommended to use it in opentype capable software - there are plenty out there nowadays as technology catches up with design ... Other than Photoshop, Illustrator and Indesign, many standard simple programs now come with Opentype capabilities - even the most basic ones such as Apple's Text Edit, Pages, Keynote, iBooks Author, etc. Even Word has found ways to incorporate it. Thanks for checking out this font. I hope you enjoy it! AminMario

This typeface is an attempt to offer as a font the well known marvelous Hans Holbein “Death Alphabet”, first published in 1523. We have tried to preserve as much as possible the spirit and appearance of the original Initials set — incredibly fine and enriched with detailed figures — trying at the same time to create a font not too complex to be usable. Neverteless, the font files are large, and when used, the decorated initials may appear on screen more slowly than ordinary characters. (Minimum size recommended : 96 pts) We are offering here two complete standard sets (no accented characters) : Initials and capitals. We have reconstructed the missing letters : J and U, Eth, Lslash, Thorn and Oslash. The font may be used with all our Humane and Garalde fonts, like 1543 Humane Jenson or 1592 GLC Garamond and others from the GLC foundry catalog.

FonteysPRO is the new and improve version of the Fonteys font family by Fernando Fuentes and the Eysner award nominated Albert Monteys. It is an informal font family designed to letter comics. With a unique handwritting style is also perfect when you need an informal typography. FonteysPRO has a lot of variants for each letter to enhance the handwriting feeling. It’s feels like actual hand lettering. And, if were not enough, the Fonteys supports almost all latin languages, cylliric, greek, and even vietnamese. Its early version Fonteys, available at "pay what you want" in the designer webpage, has became in a success in the Indie Comic scene from Spain. Now with the PRO version FonteysPRO will surely become in one of the most used comic books typographies in the world. (In our modest opinion, of course)

Mirabeau Buonaparte Lamar had an exotic name for a historic Texan, but he left his mark beginning in 1836, the year of Texas independence and the first year that pioneers other than mountain men made their way West. Lamar went on to become the young republic’s first elected vice-president (to President Houston) and second president -- and to author a number of interesting letters in his elegant, stylish hand. (Mirabeau B. Lamar grew up a well-to-do southerner from Georgia, and his penmanship shows it.) One of the most interesting aspects of designing old handwriting fonts, to me, is pausing to reflect on the actual moment that the letter-writer is sitting at his or her desk or table, pen in hand, putting thoughts to words -- 150 to 200 years ago. Has a complete character set, and plenty more.