Stepon is a versatile display font that offers a plethora of creative possibilities. This font is characterized by its bold, modern, and unique design, making it an excellent choice for a wide range of projects. The distinctive feature of Stepon is its versatility, with six different variations that include inline, outline, texture, and rough styles. Each variation stands strong on its own and can be easily combined with others, allowing you to unleash your creativity in various ways. Whether you're working on a logo, branding materials, invitations, packaging, posters, headlines, business collateral, greeting cards, magazines, films, or any other design project, Stepon has got you covered.

The Oyster family is a useful toolkit for hand-draw moods. It's a super casual and somewhat messy font that comes in two flavors: regular and outline, or rather, truly-hand-drawn-outline. Both styles have two choices for each upper- and lower-case letter, for that additional handmade feel. The OpenType contextual alternates feature instantly get these alternate glyphs to dance. The regular style also brings a set of glyphs with filled counters in a stylistic alternates pack, for a little twist now and then. And finally, the family has also a picture font with useful icons and ornaments. Handmadify your message and give Oyster a try!

Breuer Condensed is a mechanical sans ideal for captions and headline settings, and may also be suitable for moderate lengths of body copy with its comprehensive offering of OpenType features. The italics are optically adjusted obliques with a selection of augmented lowercase glyphs to provide a warmer read. The overall design ensures a distinct aura of technical precision in a personable tone. This family of eight fonts is designed to accompany the Breuer Text and Breuer Headline sets released in 2007. Breuer Condensed offers a 76% narrower footprint compared to Breuer Text and is fine-tuned to render typographic color equivalent to each sibling Text weight.

Arthur Baker's display script Sassafras, designed in 1995, is based on the natural inline effect created when writing with a split-metal nibbed pen. Black and white are nicely balanced, giving this calligraphic face a remarkably smooth appearance. The regular and italic versions of Sassafras include two alternate faces: one with long, tall ascenders and regular-length descenders, and one with shortened ascenders and descenders that allow it to fit where its companion might not. In both, the ascenders increase in width as they move upward, while the descenders taper to a fine point. This variety of form makes Sassafras a very flexible choice for display work.

Florian Fecher’s Lektorat font family is one for the books, and for the screens, and for the magazines. While an editorial’s main goals are to entertain, inform, and persuade, more should be considered. For example, clear divisions are necessary, not just from one article to the next, but in how each is positioned as op-ed or fact-based, infographic or table, vilifying or uplifting. From masthead to colophon, Lektorat has six concise text styles and 21 display styles to captivate, educate, and motivate within any editorial purpose. Magazines and related publications are notoriously difficult to brand and then to format accordingly. The research behind Lektorat focused on expression versus communication and what it takes for a great typeface to accomplish both tasks. In the changeover from the 19th to 20th century, German type foundry Schelter & Giesecke published several grotesque families that would become Lektorat’s partial inspiration. Experimentation with concepts from different exemplars gave birth to Lektorat’s manifest character traits: raised shoulders, deep incisions within highly contrasted junctions, and asymmetrical counters in a sans family. After thoroughly analysing magazine publishing and editorial designs, Florian discovered that a concise setup is sufficient for general paragraph text. So Lektorat’s text offering is concentrated into six total styles: regular, semibold, and bold with their obliques. Stylistic sets are equally minimal; an alternate ‘k, K’ and tail-less ‘a’ appear in text only. No fluff, no wasted “good intentions”, just a laser-like suite to focus the reader on the words. The display styles were another matter. They aim to attract attention in banners, as oversized type filling small spaces, photo knockouts, and in subsidiary headings like decks, callouts, sections, and more. For these reasons, three dialed-in widths — Narrow, Condensed, and Compressed — complete the display offerings in seven upright weights each, flaunting 21 headlining fonts in total. If being on font technology’s cutting edge is more your goal, the Lektorat type family is optionally available in three small variable font files for ultimate control and data savings. The Lektorat typeface was forged with a steel spine for pixel and print publishing. It unwaveringly informs, convincingly persuades, and aesthetically entertains when the tone calls for it. Its sans serif forms expand in methodical ways until the heaviest two weights close in, highlighting its irrepressible usefulness to the very end. Lektorat is an example of how much we relish entering into an agreed battle of persuasion — one which both sides actually enjoy.

The Azbuka™ typeface family has its roots in a fairly pedestrian source. “The idea came in part from an old sign in London that read ‘SPRINKLER STOP VALVE’,” says Dave Farey, designer of the typeface. Like all good sign spotters, Farey took a photograph of the sign and filed it away for possible use in a lettering or typeface design project. In Prague a number of years later, the street signs reminded Farey of the London signage - and his camera came out again. Comparing the two back in his studio, he realized that the signs from London and Prague were not as similar as he initially thought. However, they were enough alike to serve as the foundation for a no-frills, 21st century sans serif typeface family. “I wanted to draw a wide range of weights, italic and condensed designs all in one go,” recalls Farey, “rather than add on to the family later.” His goal was to create a family that could be used for text and display copy, with sufficient weights to provide a broad typographic palette. Indeed, the completed design, created in collaboration with fellow type designer Richard Dawson, consists of twenty typefaces in eight weights ranging from extra light to extra black. The five mid-range designs have complementary italics. Seven condensed designs round out the family. Azbuka’s lighter weights perform remarkably well in blocks of text composition. “They’re clean and legible - and perhaps a little boring,” says Farey, “but they are perfect for copy with a down-to-earth, yet contemporary flavor.” The heavier weights are equally well suited for a variety of display uses. The designs are authoritative but not overbearing and will readily make a strong statement without calling attention to themselves. The condensed weights of Azbuka are ideal for those instances where you have a lot to say - and not much room to say it. The name Azbuka? It’s Russian for “alphabet.” And what more appropriate name could there be for this utilitarian, industrial-strength type family than alphabet? The Azbuka family is available as a suite of OpenType Pro fonts. Graphic communicators can now work with this versatile design while taking advantage of OpenType’s capabilities. The Azbuka Pro fonts also offer an extended character set that supports most Central European and many Eastern European languages

Jugendstil Initials were designed by Heinrich Vogeler around 1905, based on the German blackletter tradition. A similar set of initials by Vogeler, but based on roman letters was released by Rudhardsche Geisserei of Offenbach at about this time. I believe the originals were woodcuts. The backgrounds to the letterforms may be seen as examples of Heimatkunst, an art movement within Germany that drew deliberate inspiration from the rural countryside. Like the Arts and Crafts Movement in England a little earlier, Heimatkunst may be seen, in part, as a romantic rejection of urban industrialization, while at the same time representing a back-to-roots nationalism. Like any river, it was fed by many streams. Jugendstil Initials is an experiment with which I am most pleased. It is far and away the most complex font HiH has produced and I was uncertain whether or not it could be done successfully. To oversimplify, a font is produced by creating outlines of each character, using points along the outline to define the contour. A simple sans-serif letter A with crossbar can be created using as few as 10 points. We decided to make a comparison of the number of points we used to define the uppercase A in various fonts. Cori, Gaiety Girl and Page No 508 all use 12 points. Patent Reclame uses 39 and Publicity Headline uses 43. All the rest of the A’s, except the decorative initials, fall somewhere in between. The initial letters run from 48 points for Schnorr Initials to 255 for Morris Initials Two, with 150 being about average. Then there is a jump to 418 points for Morris Initials One and, finally, to 1626 points for Jugendstil Initials. And this was only after we selectively simplified the designs so our font creation software (Fontographer) could render them. The average was 1678, not including X and Y. There was no X and Y in the original design and we have provided simple stand-ins to fill out the alphabet, without trying to imitate the style of the orginal design. We did a lot of looking to find a compatible lower case. We decided that Morris Gothic from the same period was the best match in color, design and historical context. We felt so strongly about the choice that we decided to produce our Morris Gothic font for the purpose of providing a lower case for Jugendstil Initials. The long s, as well as the ligatures ch and ck are provided. at 181, 123 (leftbrace) and 125 (rightbrace) respectively. This font was a lot of work, but I think it was worth it. I hope you agree.

This is a large group of typefaces inspired by those borders and patterns you see going across documents from the Middle Ages and Medieval times, eventually becoming this collection of fonts where you can scroll various repeating patterns across a page, for example. You can get a repeating pattern that scrolls seamlessly by repeating the same letter. The default text displaying on the web-page is bbbbbbbb, for example. There's over 2 dozen basic styles, and each style has 52 designs within it, using the characters Upper Case A - Z and lower case a - z, with the lower case being the negative/reverse colour of the Upper Case version, it will be the corresponding design just reverse coloured and with an edging strip. There's also a space - but nothing else. The styles in these fonts usually have groups of six characters (A to F, G to L, M to R, S to X), and where the second group is a variation on the first - usually thicker lines - and the third grouping is another variation on that, usually thicker lines again, making the first 24 letters. (Sometimes there's three groups of eight characters). The pattern within a group normally starts off plain then gets busier as it progresses - such as there'd be a more complex pattern of circles and diamonds as you go through the letters. Then the letters Y & Z are somewhat different to the rest. There's four versions starting with Z, and they're a little bit different, and they're grouped in fives - getting bolder as you progress through the letters, but with similar patterns within each group of 5, and that makes the first 25 characters. The letter Z character is extra busy. Again, lower case is the reverse colour of the Upper Case. Mostly you can get patterns and borders that combine seamlessly by using letters within the same group of 6 or 8 (like maybe abdcedcb). There are a few occasions when that doesn't work out, because there may be circles or diamonds at the sides of the letters that don't match up with another letter that has a different pattern at the side. But you can create a pattern with the exact level of complexity you want perfectly easily. You can see examples of this in the poster images. Neighbouring letters without embellishments at the sides of the letters will usually fit together. Have fun with it, that's what it's there for. aah yes fonts

Franz Kafka’s manuscripts have always been a source of inspiration for designer Julia Sysmäläinen. At first she was just interested in literary aspects but later she noticed that content and visual form can not be separated in the work of this ingenious writer. Analyzing Kafka’s handwriting at the Berlin National Library, Julia was inspired to design the typeface FF Mister – by now a well known classic. Over the years, FF Mister K became a handsome typeface family and even produced offspring: the Josef K Patterns. Some of Kafka’s most expressive letterforms were the starting point for these decorative ornaments. How do the Patterns work? Outlines and fillings correspond to the uppercase and the lowercase letters on your keyboard. You can use them separately or layer them on top of each other. If you write a line of “pattern-text” in lowercase and repeat it underneath in uppercase you get a row of fillings followed by a row of outlines. Now you can color them and then set line space = 0 to get a single line of layered colored ornaments. Alternatively, activating OpenType / stylistic set / stylistic alternates will also unite the two lines to a single layered line. Further magic can be done with OpenType / contextual alternates turned on. On the gallery page of this font family is a downloadable Josef K Patterns.pdf with an alphabetical overview of forms. Hundreds of patterns are possible … we’d love to see some of yours and present them here on the website!

Iranica is a new creation of Naghi Naghashian. It is extremely legible even in very small size. "Iranica" is reminiscence to my birthplace and my cultural root. Iranica is a modern Sans Serif font family. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement und provides more typographic flexibility. Iranica supports Arabic, Persian and Urdu. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography. It also includes proportional and tabular numerals for the supported languages. Iranica design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Iranica's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Iranica was developed for multiple languages and writing conventions. Iranica supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Lincoln Electric started its life as an in-house experimental film type Thomas Lincoln drew shortly after concluding his work as part of Herb Lubalin’s famed crew in the late 1960s,. The master alphabet was drawn on illustration boards using pen and ink and press-type lines. The typeface was initially made for use in the branding and promotional material of Lincoln’s new design outfit. This alphabet’s forms are a spin on Bifur, the all-cap deco face designed by Adolphe Mouron (known as Cassandre) in 1929, and published by the Deberny & Peignot foundry in France. Lincoln Electric evolves Cassandre’s idea further by constructing new shapes more in line with minimalist principles rather than art deco geometry — something clearly evident in Lincoln’s minuscules, which exhibit a clear connection to Bauhaus ideas More than 50 years after the typeface’s design, Thomas Lincoln found the original film alphabet tucked away in his archives and brought it over to Canada Type for digital retooling. The result is a modern and thoroughly elaborate set of fonts that belonging prominently in a 21st century designer’s toolbox. The following features are included in Lincoln Electric: • Three fonts for chromatic layering. • More than 1900 glyphs in each font. • Expanded Latin and Cyrillic character sets. • Small caps and Caps-to-small-caps. • Six different sets of stylistic alternates. • Ordinals and case-sensitive forms. For a showing of the stylistic set variations and a sample of demonstration of chromatic layering, please consult this PDF.

Jazz Gothic is a digitization and expansion of an early 1970s film type from Franklin Photolettering called Pinto Flare. This type became an instant titling classic with jazz and soul album designers; then it caught on wildly with film and television designers. Blue Note and Motown would not have been the same without this face. Jazz Gothic is a simple geometric idea, quite likely originally inspired by the heavier display weights of Futura. The resulting product is a versatile message-driver that stands quite strong and cherishes the limelight, yet shows a playful and artistic side within its curvy thick swashes and rebellious unicase forms. In the hands of a good designer, Jazz Gothic eliminates any doubt about the delivery of the message or the attractive purposeful way it is delivered. It is the kind of typeface that loves a design program's bells and whistles. Knock it out of dark or light backgrounds, shade it, mask-alize it, roughen it, stretch it, squeeze it, and the message will still stand larger than life. Jazz Gothic comes in two fonts, a main one with a full character set to accommodate the majority of Latin-based languages, and a second one that contains about 50 alternates and swashed forms. The OpenType version is a single font that has all the alternates and swashes at the disposal of the buttons of OT-savvy program palettes.

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 Schneidler Latein is a sharp and elegant Antiqua based on the ductus of the broad edged pen with a strong character. Running perfectly in paragraph text giving it something quite special and being effortlessly legible at the same time, Schneidler Latein works great in headings as well. Each glyph is a piece of art ready to be used in branding and blowup combining beauty and personality in a kick-ass blend. It is absolutely new to the digital world as it never has been digitized before. This new version digitized, further developed and extended by artist and graphic designer Lena Schmidt comes in nine styles from which there are four application-related ones like Subtext and Display and five weight-related ones like Bold and Heavy. Each style contains 948 glyphs, variations of numbers, three stylistic sets one preserving the historic forms of changed characters, small caps, open type features and superior and inferior characters. Designed by F. H. Ernst Schneidler the Schneidler Latein was released in 1916, the bold version in 1920 and the italics in 1921. Schneidler was born in 1882 in Berlin. He studied at the school for applied arts in Düsseldorf with professor F. H. Ehmcke and P. Behrens. He was as a painter, graphic designer and illustrator. In 1920 he was appointed as teacher in the school for applied arts Stuttgart. His students were Albert Kapr, Imre Reiner and Lilo Rasch-Naegele among others. Further well-known fonts from his hands are for example Legende, Amalthea, Schneidler Mediävel and Schneidler Antiqua. Lena Schmidt was born 1981 in Bremen. She is a german painter, graphic designer and illustrator mostly known for her huge wood carving paintings. From 2003 to 2011 she studied Fine Arts in Hamburg with professor Matt Mullican. From 2015 to 2019 she studied graphic design with a focus on type design at HAW Hamburg Department Design with professor Jovica Veljović. She lives and works in Hamburg, Germany.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

Kangaroo FS Joey was the offspring of a project with Rudd Studio to develop a logotype for an online streaming TV service, in 2008. While under wraps, the secret project was code-named Kangaroo. The logotype led to a second project, to design a corporate typeface for the service. It was the first big project Fernando Mello had worked on with Jason Smith. “Like any designer who just joined a team, I was very excited about it, drawing and sketching lots of ideas. I remember Jason and I experimenting with lots of possibilities, for both the logo and the typeface.” Online As the font for a Spotify-style, internet-based service, FS Joey needed to be highly legible on-screen, including at very small sizes. There had to be a range of weights, and they’d have to work well in print, too. It was also important that it felt corporate, not too quirky, while still having a strong character of its own. Quirkiest “We designed three weights specifically for use on the Web,” says Jason Smith. “There was the usual fight between me and my team. I wanted at least one identifiable letter that was a quirk. As always I went straight for the lowercase ‘g’, and it was drawn numerous times with lots of variation. I got the quirkiest one accepted by the client.” But, later in 2009, the Competition Commission blocked Project Kangaroo, and Fontsmith were left with a couple of weights of an as yet unused font. From Kangaroo, Joey was born. A favourite “Straight away, people started to notice the typeface,” says Jason. “I can take the credit for pushing the art direction and standing up for the quirks. But it was Fernando who was the key to pulling it all together and adding his own distinct flavour. Now it’s one of my favourite designs in our library.” Fresh and friendly, geometric and energetic, Joey is available in five weights, all with italics, all finely-tuned for both screen and print.

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.

It shouldn't be a surprise to anyone that these letter shapes are familiar. They have the unmistakable color and weight of Cooper Black, Oswald Cooper's most famous typeface from 1921. What should be a surprise is that these letters are actually from George Auriol's Robur Noir (or Robur Black), published in France circa 1909 by the Peignot foundry as a bolder, solid counterpart to its popular Auriol typeface (1901). This face precedes Cooper Black by a dozen of years and a whole Great War. Cooper Black has always been a bit of a strange typographical apparition to anyone who tried to explain its original purpose, instant popularity in the 1920s, and major revival in the late 1960s. BB&S and Oswald Cooper PR aside, it is quite evident that the majority of Cooper Black's forms did not evolve from Cooper Old Style, as its originators claimed. And the claim that it collected various Art Nouveau elements is of course too ambiguous to be questioned. But when compared with Robur Noir, the "elements" in question can hardly be debated. The chronology of this "machine age" ad face in metal is amusing and stands as somewhat of a general index of post-Great War global industrial competition: - 1901: Peignot releases Auriol, based on the handwriting of George Auriol (the "quintessential Art Nouveau designer," according to Steven Heller and Louise Fili), and it becomes very popular. - 1909-1912: Peignot releases the Robur family of faces. The eight styles released are Robur Noir and its italic, a condensed version called Robur Noir Allongée (Elongated) and its italic, an outline version called Clair De Lune and its condensed/elongated, a lined/striped version called Robur Tigre, and its condensed/elongated counterpart. - 1914 to 1918: World War One uses up economies on both sides of the Atlantic, claims Georges Peignot with a bullet to the forehead, and non-war industry stalls for 4 years. - 1921: BB&S releases Cooper Black with a lot of hype to hungry publishing, manufacturing and advertising industries. - 1924: Robert Middleton releases Ludlow Black. - 1924: The Stevens Shanks foundry, the British successor to the Figgins legacy, releases its own exact copies of Robur Noir and Robur Noir Allongée, alongside a lined version called Royal Lining. - 1925: Oswald Cooper releases his Cooper Black Condensed, with similar math to Robur Noir Allongée (20% reduction in width and vectical stroke). - 1925: Monotype releases Frederick Goudy's Goudy Heavy, an "answer to Cooper Black". Type historians gravely note it as the "teacher steals from his student" scandal. Goudy Heavy Condensed follows a few years later. - 1928: Linotype releases Chauncey Griffith's Pabst Extra Bold. The condensed counterpart is released in 1931. When type production technologies changed and it was time to retool the old faces for the Typositor age, Cooper Black was a frontrunning candidate, while Robur Noir was all but erased from history. This was mostly due to its commercial revival by flourishing and media-driven music and advertising industries. By the late 1960s variations and spinoffs of Cooper Black were in every typesetting catalog. In the early- to mid-1970s, VGC, wanting to capitalize on the Art Nouveau onslaught, published an uncredited exact copy of Robur Black under the name Skylark. But that also went with the dust of history and PR when digital tech came around, and Cooper Black was once again a prime retooling candidate. The "old fellows stole all of our best ideas" indeed. So almost a hundred years after its initial fizz, Robur is here in digital form, to reclaim its rightful position as the inspiration for, and the best alternative to, Cooper Black. Given that its forms date back to the turn of the century, a time when foundry output had a closer relationship to calligraphic and humanist craft, its shapes are truer to brush strokes and much more idiosyncratic than Cooper Black in their totality's construct. Robur and Robur Italic come in all popular font formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages. A range of complementary f-ligatures and a few alternates letters are included within the fonts.

As a former typographer / lino and calligrapher, Abdallah NASRI had recourse to the nature of the idea of ​​an "INTERCHANGEABLE" collection for types who in reality offer a police collar parallel to the complex typeface of the variable. Our fashion is outlined by a simple calculation defined by superimposed geometric circles where we used only its ¼ to fill the need for the angles of each of our letters. Always with the idea of ​​having in the same allocated space, the same letter nested as many times as fat example from Hairline to Ultrabold. It was in this way that I was able to obtain a large number of styles, with a very interesting kerning which prompted me to extend the font to other languages ​​with +1000 characters and +600 glyphs. I have always been treasured by the all in "1". I assure you that I sought to obtain the maximum of Visibility for a use S / Titling TV, WEB Pages and Typography Typo; once the difficult thing was done, I was rewarded by a font that has countless typographic openings for the world of graphics with 10 styles of weights in hand, and again I am happy to have personalized the charm of each letter by new details; I do not regret the time spent on thinking about it so that it is useful and at the same time pleasant as a working tool, finally profitable in all sectors and more multilingual, without forgetting that it is a family of inter change c ' is to say: All the types occupy the same height of the body and it is their fats which differs in the same space width of each of the letters, therefore no interference in spacing. Here, an additional alternative, a participation of a septuagenarian in the service of the love of modern digital typography. • TEST: At 50% screen in a body of 12 pixels, the A10 STAR Alphabet subjected to a test, has a clear Readability / Visibility. • P.S: A10 STAR integrates Diacriticism in all its forms. Texte d'origine : Abdallah NASRI a eu recours en étant ancien typographe/lino et calligraphe à la nature de l'idée d'une collection "INTERCHANGEABLE" pour les types qui en réalité offre un collier de police parallèle à la fonte complexe du variable. Notre mode est esquissé par un calcul simple défini par des ronds géométrique superposés où on a utilisé seulement son ¼ pour garnir le besoin des angles de chacune de nos lettres. Toujours dans l’idée à avoir dans le même espacement alloué, la même lettre imbriquée autant de fois de graisse exemple du Hairline à Ultrabold. C’est de cette manière que j’ai pu obtenir un grand nombre de styles, avec un crénage très intéressant ce qui m’a incité à étendre la police à d’autres langues avec +1000 caractères et +600 glyphes. J’ai toujours été prisé par le tout en « 1 ». Je vous assure que j’ai cherché à obtenir le maximum de Visibilité pour une utilisation S/Titrage TV, Pages WEB et Maquette typo ; une fois le difficile fait, j’ai été récompensé par une police qui possède d’innombrable ouverture typographique pour le monde du Graphisme avec comme atout en main 10 styles de graisses, et encore je suis content pour avoir personnalisé le charme de chaque lettre par des détails nouveaux ; je ne regrette pas le temps passé dessus à réfléchir pour qu’il soit utile et à la fois agréable comme outil de travail, enfin profitable tous secteurs confondus et en plus multilingue, sans oublié que c’est une famille d’inter change c’est-à-dire : Tous les types occupent la même hauteur du corps et c'est leurs graisses qui diffère dans un même espace largeur de chacune des lettres, donc aucune interférence dans l’espacement. Voilà, une alternative supplémentaire, une participation d’un septuagénaire au service de l’amour de la typographie numérique moderne. • TEST : A 50% d'écran dans un corps de 12 pixels, l'Alphabet A10 STAR soumise a un test, présente une nette Lisibilité / Visibilité. • P.S : A10 STAR intégre la Diacritique dans toutes ses formes.

Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer's antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer's antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast. At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer's antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent. To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures. To make the uppercase italics as compact as possible, they were based on the roman cut rather than on the original design. The slope of lowercase italics needed to be harmonised. The actual letter forms are still broader than the characters in the original design, and the changes in construction are more noticeable. The lower case b gained a bottom serif, the f has a more traditional shape as it is no longer constricted by the demands of two-matrice casting, the g was redrawn and is a single storey design now. The serifs on one side of the descenders of the p and q were removed, the r is broader and more open. The construction of s, v, w, x, y, and z is now more compact and better balanced. Because Teimer was designed to make optimal use of the OpenType format, it was deemed necessary to add a significant amount of new glyphs. The present character set of one font comprisess over 780 glyphs, including accented characters for typesetting of common Latin script languages, small caps and a set of ligatures, tabular, proportional, old style and lining, superscript and fraction numerals. It also contains a number of special characters, such as arrows, circles, squares, boxed numerals, and ornaments. Because of its fine and light construction, the original digitised design remained the lightest of the family. Several heavier weights were added, with the family now comprising Light, Light Italic, Medium, Medium Italic, Semibold, Semibold Italic, Bold, and Bold Italic.

TT Octosquares useful links: Specimen | Graphic presentation | Customization options TT Octosquares is a fresh, revised, expanded, and significantly improved version of our first commercial typeface TT Squares and its narrow version TT Squares Condensed. With all our love for the original font family, it felt there was a lack of functionality, character composition, features, and design freshness, which prompted us to the idea of a complete restart. Now TT Octosquares can be safely called a superfamily consisting of 4 widths (Compressed, Condensed, Standard, Expanded), 72 faces (18 in each width), and 1 incredible variable font in which variability works jointly on three axes. In addition to working on the contours themselves and their design, we completely revised the composition of the typeface. First, we added two completely new widths: Compressed and Expanded. Secondly, we increased the number of weights in each of the subfamilies—while in the old versions there were 5 weights, now in each of the subfamilies there are 9 weights. At the stage of working with the contours of characters, we revised the roundings, changed the forms of shoulder and stem crossings, added noticeable shelves at the letters, removed the sharpness from the triangular characters and cut off all sharp endings. From the very beginning of work on TT Octosquares, we planned to make a variable 3-axis version of it sewn into 1 font file. This means that by installing just one variable font file, you get access to three axial adjustment of the font: by thickness, width and inclination. Thanks to this flexibility in settings, you can always choose a custom combination of thickness, width or inclination that best suits your tasks. Due to the increased language support and the appearance of a bunch of useful OpenType features, the number of glyphs in the typeface has increased from 480 to 825 in each style. Now you can use stylistic alternates, standard and discretionary ligatures, or use old-style figures, numbers in circles and even slashed zeros in your design. Full list of features: aalt, mark, mkmk, ccmp, subs, sinf, sups, numr, dnom, frac, ordn, lnum, pnum, tnum, onum, case, zero, dlig, liga, salt, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, calt, locl. To use the variable font with three variable axes on Mac you will need MacOS 10.14 or higher. For other software and browsers, you can check the support status here: v-fonts.com/support/.

Round Rope - Playful Display Font Round Rope - Playful Display Font is a fun and colorful typeface that is perfect for adding a playful touch to any design. This font was inspired by the idea of creating a font that is both playful and whimsical, perfect for children's books, branding, packaging, posters, and any design that requires a fun and lighthearted touch. The font is designed with a playful, rounded appearance and features a hand-drawn feel that adds to its charm. Round Rope is a versatile typeface that can be used for a variety of design projects. Its playful and whimsical appearance makes it perfect for use in children's books, cartoons, and other designs that require a fun and lighthearted touch. It's also great for branding, packaging, and posters, where its unique style can help your designs stand out. This font comes with a range of features that make it a versatile and functional typeface. It includes uppercase and lowercase letters, as well as Opentype features such as alternates and ligatures, which allow you to create unique designs and add even more character to your text. It also includes support for multilingual characters, making it easy to use in designs that require different languages. In the font package, you will receive three file formats: Round Rope otf, Round Rope ttf, and Round Rope woff. These formats make it easy to use the font across different platforms and devices, ensuring that your designs look great no matter where they are viewed. Round Rope is a fun and playful font that is sure to bring a smile to your face. Its unique style and playful appearance make it a great choice for a wide range of design projects. Whether you're designing for children or adults, this font is sure to add a touch of whimsy and playfulness to your work. In summary, Round Rope - Playful Display Font is a fun and colorful typeface that is perfect for adding a playful touch to any design. Its unique style and playful appearance make it a great choice for a wide range of design projects, including branding, packaging, posters, and children's books. With its range of features and file formats, it's also a versatile and functional typeface that can be used across different platforms and devices.

Hardbop is a typographic system inspired by jazz, especially the style it's named after "Hardbop". It's also inspired by the prolific graphic work of Reid Miles for the covers of Blue Notes Records in the '50s, Japanese jazz album covers of the '70s and condensed and grotesque hand painted signs. Hardbop also references classic fonts such as Impact, Bebas, Din, Frontage and TT Trailers, the latter in the exaggeration of certain characteristics such as counterforms and endings. Hardbop design works for titles and wide spaces and was specially designed for covers and posters, where its intention is not to go unnoticed. Although it is a small family, it allows game possibilities with a wide set of characters. Enjoy!

The cover of the 1929 sheet music from the First National/Vitaphone picture “The Girl from Woolworth’s” had its title (“Someone”) hand lettered. This single word title was the model for Store Clerk JNL, which is available in both regular and oblique versions as well as solid and solid oblique versions (without an inline). A bold, casual sans serif with rounded ends and an inline, Store Clerk JNL is perfectly suited for projects where a strong, yet playful title is necessary to grab the reader’s attention. For those old enough to remember, Woolworth’s was a leading “Five and Dime” store chain, especially in the days when a nickel or a dime actually could purchase something.

Introducing Monsante, a modern Art Deco-style font. Inspired by typography from the 1920s, it exudes elegance, luxury, and a touch of modernism. Carefully crafted with distinctive geometric elements and crisp letterforms, this font creates a sense of luxury and sophistication. Monsante is available in two styles: Regular and Inline. These styles are ideal for displays, headlines, film titles, awards, certificates, books, weddings, cards, signage, menus, and more. It also includes special characters that you can mix and match to add characteristics and beauty to your designs. Fonts featured : Uppercase Lowercase Numbers & punctuations Symbols Stylistic alternates Custom ligatures. Transform your projects with Monsante, the font that effortlessly combines timeless charm with a contemporary flair.

Tropical Lounge is an interlocking display typeface inspired by the hand lettering in 60s pulp magazine covers. It’s filled with a playful and vibrant 60s vibe, as well as modern OpenType features. Contextual Alternates switch the previous letter depending on the following one, giving it a bouncy, jazzy feeling. Both lowercase and uppercase letters are capitals, but uppercase features a set of taller and wider letters. You can also mix and match uppercase and lowercase for a suitable combination. In addition, Tropical Lounge has a set of Swash and Stylistic Alternates that can be used for a larger variety. There are also lining numbers and a set of arrows and swooshes in lowercase Stylistic Set 1.

Viva Beautiful is a lovely hand painted brush script. Viva Beautiful includes two script styles (Regular or B) and an all caps font. Both scripts come in a basic or pro version. Viva Beautiful Pro and Viva Beautiful Pro B include opentype alternates and common ligatures. Try the alternates and ligatures to give your designs a realistic hand painted look. Viva Beautiful and Viva Beautiful B include opentype ligatures. The all caps font is a basic version and pairs beautifully with any Viva script. This brush script family works best for fashion, beauty products, food, apparel and magazines. Viva Beautiful could also be used for film, television, marketing, advertising and websites. Bring beauty to your designs with Viva Beautiful!

Cut by Monotype between 1900 and 1902, the Monotype Modern font family was based on Miller & Richards News 23 and 28; slightly condensed news text types of the 1890s. Monotype Modern is a lively typeface, with long, fine hairlines and well rounded letterforms, representing the best of nineteenth century modern face design. A classic text face, and typical of the moderns that were produced in the United Kingdom at that time, being less extreme in its rendering than some of the models of purer form being produced elsewhere. Monotype Modern is an excellent text face for magazines, newspapers and books, the heavier and more condensed versions are useful in headlines and display.

Being a geometric sanserif ocr-t comes in eleven weights from ultrawhite to infrablack (brightwhite, white, silver, lightgrey, grey, darkgrey, anthracite, black, jetblack). With more than 600 glyphs it covers all your typographic needs and manages to stay at the same place no matter which width you’re using. Its readability and legibility is more than fine although it needs no kerning. The infrablack is really black, in order to achieve this, the form of letters change from darkgrey to anthracite from upright to some kind of upright italic. This also gives opportunity to mix two weights with same colour but different architecture. Find also stylistic sets, alternate letters, lots of bullets, different arrows, hands and well: kind of hearts.

A Stylized Sans Serif with a Futuristic Flavor. The Rhizo font began as a digitization of a film typeface from LetterGraphics known simply as "Rodin". The original specimen included standard Capitals and Lowercase, Numerals and limited punctuation. We've fleshed out the original style to include alternates, ligatures and a full character set with all the trimmings. Stylish, gorgeous, a little dark, a little friendly...a variety of attitudes conveyed in this typeface. Opentype features include: Full set of Inferiors and Superiors for limitless fractions. A collection of Standard Ligatures. A small set of Stylistic Alternates Smallcaps Approx. 592 Character Glyph Set: Rhizo comes with a glyphset that includes standard & punctuation, international language support, and additional features.

Casta is strong Modern contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Casta come with elegant style, strength and contrasts, with features an extended latin character set of 429 glyphs covering over 28 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Casta is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best luxury fashion.

The original inspiration for Blue Parrot came from a short scene in the classic film Casablanca. For just a few seconds, the exterior of Ferrari's Blue Parrot night club is shown, complete with a wonderful hand-lettered sign... all in capital letters. Blue Parrot JNL was originally released in 2006, and it wasn't long before a few people noted that the font would also look good with a lower case alphabet. The idea of adding in lower case kicked around for a couple of years until Jeff Levine finally completed a revision of the font. In this version there's also an expanded character set thanks to the creative input of Michael Hagemann of Font Mesa.

Accia Forte is a strong serif typeface with high contrast, large x-height and prominent serifs. Its loud contemporary feel will be ideal for titles as well as posters and web appearance. The font family contains 8 weights from Thin to Extra Bold, with matching true italics. It supports extensive language support including Cyrillic, as well as numerous OpenType features such as small caps, ligatures, several sets of figures, case-sensitive punctuation, ordinals. Accia Forte is a member of Accia Type System. It encompasses five typefaces ranging from sans-serif to expressive serif, giving you the possibility to create sophisticated cohesive designs. Accia Type system consists of Accia Sans, Accia Flare, Accia Piano, Accia Moderato, and Accia Forte.