Sortasnaky is a gleeful axiological handwritten typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Vakgok is a plenteous leonine unicase typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 220+ glyphs including punctuation and numerical.

Bacboc is an overflowing coequal handwritten typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Geopa is a fractional conversant tech sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs with ligatures and fractions.

Freggo is a beauteous kooky handwritten typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Maesgo is a bodacious joculatory linear sans apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

The Swing Bill font was designed as a display face for sport material or pop music posters, but has also been seen on TV.

Weggio is a brimming mucho handwritten typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 200+ glyphs including punctuation and numerical.

Gosbry is a serene gregarious handwritten typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 220+ glyphs including punctuation and numerical.

Jumpy is dinkum heuristic mono lineal typeface apt for headline, editorial, branding, packaging, printed materials and typographic applications. 220+ glyphs including punctuation and numerical.

Monarque is an elegant typeface. It is crafted with fine details that would make your typography stand out. Large x-height, high stroke contrast, rounded curves & long sharp serifs create together a dramatic look that would succeed in delivering a strong message with elegance. The true italic’s are designed to work harmoniously with the roman for a striking contrast within a line. Originally created to be an all-caps only, the font includes a lot of uppercase ligatures that are thought to flow in naturally and achieve a legible composition. OpenType features include a stylistic set of alternates, contextual alternates, discretionary and standard ligatures, old style figures, small caps and case-sensitive forms. The type family is available in 5 weights for a total of 10 fonts and supports over 200 Latin-based languages, making Monarque a solid powerful typeface ready for any kind of project from editorial design, branding, magazines, logos and more. As Monarque is only available as a display (for now) its full potential operates at its best with headlines or short to medium-length texts.

Geometron has its origin in a custom typeface that I was commissioned to design for an architectural project. The concept was a "back to basics", minimalist typeface constructed mainly with straight lines and circles or circular arcs, but without departing from the classical style of Roman & Greek lettering. Notable requirements were: an extensive character set needed for multi-language documentation, as well as a full collection of symbols and alternate glyph forms (e.g. superiors & inferiors) for scientific use. Special care was taken to obviate the almost identical similarities that were prone to appear between letters like uppercase "i" and lowercase "L" or between Latin and Greek letters such as "a" and "alpha". This was also a prerequisite for scientific notation where ambiguity is not acceptable. All in all, the font would have to blend a modern design with a wealth of functional features. Consequently, all of these were made possible by choosing the OpenType format for development, resulting in a comprehensive and feature-rich font family specifically targeted for use in high-end design/typesetting applications.

Geometron has its origin in a custom typeface that I was commissioned to design for an architectural project. The concept was a "back to basics", minimalist typeface constructed mainly with straight lines and circles or circular arcs, but without departing from the classical style of Roman & Greek lettering. Notable requirements were: an extensive character set needed for multilanguage documentation, as well as a full collection of symbols and alternate glyph forms (e.g. superiors & inferiors) for scientific use. Special care was taken to obviate the almost identical similarities that were prone to appear between letters like uppercase "i" and lowercase "L" or between Latin and Greek letters such as "a" and "alpha". This was also a prerequisite for scientific notation where ambiguity is not acceptable. All in all, the font would have to blend a modern design with a wealth of functional features. Consequently, all of these were made possible by choosing the OpenTypeÆ format for development, resulting in a comprehensive and feature-rich font family specifically targeted for use in high-end design/typesetting applications.

Langston is an original design by Alex Kaczun. It’s part of a series of lettering experiments, manipulating body proportions, characteristic elements and spacing to achieve some dramatic visual effects. It is hard to characterize if Langston is an outline or inline font. The outline has the same thickness and proportions as the stems. And the inter-letter spacing is also visually similar. This creates a dynamic and interesting visual harmony throughout. Furthermore, certain design elements like the accents and punctuation symbols, break with the outline treatment, and morph into an interesting play between inline and outline. The overall effect is stunning and mesmerizing. Langston is a display font not intended for text use. It was designed specifically for display headlines, logotype, branding and similar applications.This attractive display comes in roman with lower case and lining figures.The font is also available with true small capitals and old style figures. A special version was created with decorative initial capitals to further enhance the possibilities. The large Pro font character set supports most Central European and many Eastern European languages.

This family was inspired by the beautiful roman font used by Aldus Manutius in Venice (1499) to print for the first time Hypnerotomachia Poliphili..., the well known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The present font contains all of the specific latin abbreviations and other ligatures used in the original. The Italic style, carved by Francesco Colonna, the so called "Aldine" style, was inspired from various documents, all printed with this first Italic font. We offer the complete set of ligatures (about 60) we have been able to find, contained in the original font. In the two styles, we have made differences between I and J, V and U, to make easier a modern use. Added are the accented characters and a few others not in use in this early period of printing. The Italic style may be used as a complement to our 1470 Jenson Latin. The font contains all characters for West European (including Celtic), Baltic, East and Central European and Turkish language.

Oswald Cooper is best known for his emblematic Cooper Black™ typeface. Although he was responsible for several other fonts of roman design, Cooper never drew a sans serif typeface. But that didn’t stop George Ryan from creating one. Ryan saw a sans serif example of Cooper’s lettering in an old book and decided that it deserved to be made into a typeface. Ryan’s initial plan was to make a single-weight typeface that closely matched the slender and condensed proportions of the original lettering. While the resulting Oz Handicraft™ typeface proved to be very popular, Ryan was not satisfied with the limited offering. So, between other projects – and over many years – Ryan worked on expanding the design’s range. The completed family includes light, semi bold and bold weights to complement the original design, plus a matching suite of four “wide” designs, which are closer to normal proportions. Fonts of Oz Handicraft include a Pan-European character set that supports most Central European and many Eastern European languages.

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

Patent Reclame manages to be light-hearted, while clearly showing its blackletter roots both in the shape of the individual letters and the rhythm of text on a page. The designer is unknown. Schriftgeisserei Flinsch of Frankfurt a.M. cast the face around 1895. Nicolete Gray shows a quite similar face called “Graphic,” from Stephenson Blake in 1896. Personally, I don't think that Patent Reclame looks like an English design, but I do not have any proof one way or the other. The numbers are proportional, intended for posters, not spreadsheets. Two ornaments are included, an art nouveau rose at #172 and a lilypad with long tendril at #177. Great for invitations, posters and flyers announcing fun events. Do not use for obituaries. Quite readable in smaller sizes for short blocks of text. I really like the buoyant quality -- a nice combination of discipline and enthusiasm.

Loosely based on a hand lettered title found on vintage sheet music for the song "Hong Kong", the design for Kwun Tong JNL emulates the letters and numbers formed from pieces of bamboo stalk. Kwun Tong JNL is named for a locality in Hong Kong although (according to Wikipedia) "the Hong Kong Government is unitary and does not define cities and towns as subsidiary administrative units."

One of the most friendly Slab Serifs just got even more friendly. Museo Slab Rounded is the latest addition to the Museo font family. It has updated letterforms, spacing and kerning. It can perfectly be combined with Museo Sans Rounded. It comes in six weights with italics, that are not just slanted regulars. Key characters have been changed to give the italics more flow.

Rudolph Ruzicka designed his font Fairfield as a legible text font. His philosophy: The reader expects optical assistance with reading. He does not want to be distracted while interpreting and understanding the ideas of a text." Fairfield font is based on the forms of Venecian Old Face fonts as well as on the designs and details of Art Deco, giving the font a distinctive appearance"

This font was inspired by the so-called Litterarum latinarum, quas italicas, cursoriasque vocant, scribendum Ratio (Louvain 1540), a manual intended for calligraphers by the well known scientist Gerhard Mercator. It was a magnificent “Cancellaresca corsiva” design, enriched with many alternates, final loops and ligatures. We have added a lot of accented and other characters required for modern use that did not exist in the original.

The Weidemann typeface's original name was Biblica, which was designed for the collaborative publication of a Bible by the German Catholic and Protestant Churches. The mass of text which the face was intended to set required that the design allow many characters to fit onto one line without rendering the words illegible. Thus, narrow spacing does not compromise the legibility or the elegance of Weidemann.

Like its cousin Quickpen, Quickbrush is an unfussy, confidently jotted script, with lots of rich texture to recreate the skips and jumps that appear in brush pen lettering. Contextual alternates for lowercase letters mimic starting and ending marks, to make each word look truly written by hand. It’s a typeface you’ll reach for again and again, for any project that needs a casual, handwritten touch.

"Lekker" is an Afrikaans word, that does not quite have an English equal. I can sum it up with the following mixture of words: yummy, nice, fun, joy. That is what this typeface encapsulates. A fun, playful, informal and easy-to-read font with a few script ligatures. Lekker includes multilingual support for All Western Europe languages, as well as Afrikaan (of course). xx Susan

I don't have an Uncle Oscar, so the font is not named after someone I know. The name just kind of stuck. Uncle Oscar is a pencil font, made with a black ‘Lamy’ pencil I took from my son Sam’s pencil box. It is a little rough, but very legible and comes in Regular and Italic. Of course, Uncle Oscar speaks a lot of languages.

A Victorian face named Oakwood provided the pattern for this decorative little number, with its swirls and curls guaranteed to delight boys and girls, saints and churls, and dogs and squirrels…well, maybe not the last pair, but you get the idea. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

Acarajé is a grotesque font that stands out thanks to its versatility. Its personality blossoms through its particular modulation, which grows with weights; making it a rather jovial typeface that does not abandon the characteristics of more classic grotesques. With two styles available: normal and italic, and a variety of 7 weights that range from "Black" to "Regular", this font offers incredible flexibility for your designs.

This elegant family of fonts, suitable for both text and display, is narrow in fit and characterized by a unique feature: in the capital B, P, and R, the stroke of the bowl does not quite meet with the stem. The design is noticeably calligraphic with a dynamic and delicate character, especially in the italics. Its subtleties can best be appreciated when set in large point sizes.

Reva is an extremely aesthetic font that will warm you up. As well as being suitable for use in every field, Reva will be a good friend in your logo designs. In addition, magazines, brochures, posters will not leave you alone in your work. Reva will represent you well thanks to the round and hot images in the paragraphs. Also multilingual support, ligatures and more await

Big, bold and with attitude to spare, no-one better get in the way of Yuko when it’s got something to say. Although it’s a gentle giant really, Yuko has a lot of opinions and it won’t go without being heard. Yuko is most effective when you need to say something loudly and with attitude to get people’s attention, especially if you’re competing for space.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

The x factor How do you make a font like FS Albert unique, distinctive? “When designing a font I try to question every letter,” says Jason Smith, “but all you need is a few that have an x factor. With FS Albert, they’re the lowercase ‘a’ and ‘g’ and the uppercase ‘I’ and ‘J’. “I remember a friend saying, ‘Why on earth have you designed the ‘a’ like that? Isn’t it too friendly for this kind of font?’ And, in a way, that’s what I wanted – honesty and warmth, because a lot of big brands at the time really needed to show a more human side.” Range of weights and styles FS Albert is a charismatic type: a warm, friendly sans serif face with a big personality. Open, strong and amenable, and available in a wide range of weights and styles, FS Albert suits almost every task you put it to. Fontsmith has crafted five finely-tuned upright Roman weights and four italic weights, as well as a special Narrow version to provide the best coverage and give headlines and text an easy-going character. The chunky kid “FS Albert was inspired by – and named after – my son, who was a bit of a chunky kid,” says Jason Smith. “I designed an extra bold weight because I always felt that the really big font heavy weights had the most personality. “I recently told Albert this story. He laughed, and forgave me for thinking he was a fat baby. He liked the big personality bit, though.” 1000s of glyphs Not content with a character set that covered Europe and the whole of the Western world, the studio decided to go further afield. There are now FS Albert character sets that cover western and eastern European languages, including those of Russia, as well as Cyrillic, Arabic and Greek scripts. In fact, the font now covers more than 100 languages, making it ideal for bringing a consistent typographic style to the communications of global brands.

Expat was designed to be used to make exciting promotional material for most industries. With its rugged and thick narrow body, Expat appears heavy to the eye and draws the eye, which is great for big headlines. Some examples of great uses of the typeface include high energy content seen in sports and apparel advertising, rustic and trendy restaurant materials, even event promotions for concerts or holidays like Independence Day and Oktoberfest.