Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership. After composing negative letters on a strip of film it was possible to use Mramor with the early phototypesetting devices. In 1994 with the help of Macintosh IIvi I added the lowercase letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing numerous decorative and useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining approximately 9600 glyphs contained in the present font system named Amor. It is already usual to combine sans and serif fonts within one family in order to distinguish (e. g. in a book) historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typefaces don't arise by simple removal of serifs; they have to be drawn completely separately, when occasionally many declined forms may be made, considered to the serifed original. Nevertheless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere. Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner “order” was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate identity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.

Get ready to burn rubber with Heavy Heap—the ultimate typeface for fans of hot-rod culture and high-speed thrills! This groovy psychedelic typeface is on fire, with a scorching look that’s sure to turn heads. With three sizzling weights to choose from, you can customize your typography to match your project’s intensity level. And with blistering mathematical symbols, torrid OpenType fractions, and a range of searing hot currency symbols, Heavy Heap is ready to take on any design challenge. But this headliner is more than just a pretty face—it’s a powerhouse of design options. It looks outstanding when used with warp and envelope effects, allowing you to create dynamic, eye-catching layouts that really pop. And with its bold, energetic style, Heavy Heap is perfect for any project that needs a little extra heat. From posters to flyers, from logos to website headers, this font is the ultimate choice for anyone who wants to make a brave statement. So rev up your engines and get ready to hit the road—with Heavy Heap, you’ll be riding in style! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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

Bardamu is a variable slab serif font family designed by Eugene Tantsurin and Anna Remm, and released by Groteskly Yours Studio. Bardamu is a type family that is open to interpretation and experimentation, yet this ambiguity does little to hide its inherent friendliness and good vides. Bardamu can easily be used in a variety of projects and feel at home both in graphic design, branding, web design or editorial design. Thanks to its unique letterforms and eye-catching design choices, it can be that final touch that makes your brand pop! One of the standout qualities of Bardamu is its remarkable versatility. Bardamu comes in 25 styles, allowing users to choose a style that best fits their needs. In addition to that, it offers a wide range of styles, from sleek backward-slanted italics at -20° to elegant upright styles, as well as regular 20° italics. For static fonts, there are two extra subfamilies available (10° Half Italic and 10° Half Reverse) that can be used for creating more complex hierarchy in any text. With a total of 25 static fonts and 1 Variable font, Bardamu is the perfect workhorse display slab serif with unlimited typesetting capabilities. Each font in the Bardamu family boasts an extensive 700+ character set, encompassing all major Latin-based languages, punctuation marks, symbols, and even supplementary characters. Bardamu takes flexibility to a whole new level with its incredible OpenType features that further enhance its versatility. With features such as Case-Sensitive Punctuation, Stylistic Alternates, Sub- and Superscript, Tabular Figures, and Localised Forms, you can fine-tune every detail of your design to perfection. Moreover, the multiple stylistic sets available in Bardamu allow you to switch between various versions of the same glyph effortlessly. Bardamu type family includes 25 static styles as well as a variable font. All styles can be purchased separately or as a full family package. Two styles can be downloaded free of charge. If you'd like to explore Bardamu further, we also offer free trials upon request.

PHOENICA is a contemporary humanistic typeface family suitable for traditional high-resolution print purposes, office application and multi-media use. Of the creation formed the basis an idea which was developed for the first time by Lucian Bernhard approx in 1930 with the Berhard Gotic and was taken up in the last time by different written creators repeatedly: the repeated elimination anyway (in comparison to a Antiqua, e.g. Garamond) already very much diminished form Grotesque (as for example Helvetica) by systematic leaving out of the serifs. The horizontal direction of the writing is thereby stressed remarkably by which so-called »Rail effect« originates. The eyes can grasp the line to be read very well what is ordinarily left to a Serif-stressed font. By this desired effect is suited PHOENICA also for big text amounts. In numerous test runs Stems and tracking was compared to experienced fonts and was adapted. The experienced was taken over without renouncing, nevertheless, the modern and independent character PHOENICA. PHOENICA offers to you as a welcome alternative to the contemporary humanistic Sansserif. It is a very adaptable family for text and Corporate design uses. Several companies have discovered PHOENICA meanwhile as a Corporate font for themselves and use them very successfully. She provides a respectable typeface combined with refinement and elegance. Every PHOENICA family has at least six weights in each case in regular and italic. In addition more than three fine Haarline weights (Hairline 15, 25, 35). These are a total of 27 possibilities. Phoenica as well as Phoenica Condensed are excellently readable fonts, because they were optimised especially for amount sentence. Both basic styles (Regular and Condensed) are tuned on each other and follow the same form principle. The family is neither exclusively geometrical nor is constructed humanistically, the forms were sketched on quick and light Recognition effect of every single letter. The PHOENICA family design and logo is suited for all only conceivable uses like newspapers and magazines, for the book typography and Corporate Design.

Introducing Doradani, a modern sans-serif typeface that draws inspiration from the timeless classic, Franklin Gothic by Morris Fuller Benton, originally designed in 1903. At the heart of Doradani’s design is a perfect balance between Benton’s iconic proportions and contemporary open aperture shapes, resulting in a truly unique and distinctive typeface that is both traditional and current at the same time. With five distinct weights and accompanying italics, Doradani offers unparalleled versatility for any project, whether it’s for headlines, body text, or anything in between. Each weight is carefully crafted to maintain the integrity of the design, making it the perfect choice for designers and typographers who demand the highest quality. From sleek and sophisticated to bold and impactful, Doradani has the ability to elevate any design project. Whether you’re creating a logo, a magazine spread, or a website, this stunning typeface is sure to make a lasting impression. So why settle for a basic typeface when you can choose the one that combines the best of both worlds? Try Doradani today and take your designs to the next level. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

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.

A literary font FS Neruda takes its name from Chilean poet Pablo Neruda, described as “the greatest poet of the 20th century in any language”. As such, it’s a font that references the very best literary typeface traditions. Smart, sharp and classical, FS Neruda bridges the gap between the classical and the offbeat. This font started life in the world of newspapers and books and is the perfect storytelling typeface for savvy, inquiring readers whether in printed journals, hard news, short online missives or poetry. Idiosyncratic precision FS Neruda is clear and legible in body text, while also being a space-saver fitting in more characters on each line than the typefaces that inspired it. In larger sizes it becomes a different beast – livelier, quirkier, but no less sharp. This is a truly classic typeface designed with long text setting in mind, thanks to its large x-heights, and short ascenders and descenders. FS Neruda mixes suave, sharp confidence with a sense of fragility and quirkiness. It’s knowledgeable, informative and idiosyncratic; one for readers and enquiring minds. Subtle weight modifications The construction and details of the letterforms differ across each of the five weights, with each cut separately to evoke different flavours: Thin is typewriter-like, Light is classy, Regular is canonical, Bold is robust, Black is magazine-esque. FS Neruda also boasts a radiant italic companion, a wide set of small caps, lower and uppercase ligatures, case punctuation and spacing, four sets of figures, and some ageless typographic symbols such as manicules, fleurons and teardrop crosses. Suggestive simplicity “The key to success in the current type design landscape is to design a typeface which looks conventional at text sizes but has a few small, suggestive touches visible at bigger sizes that make it distinct,” says designer Pedro Arilla. “Another thing we wanted to achieve with this typeface is simplicity.” FS Neruda is available in ten carefully crafted styles: it’s designed to work perfectly at text sizes, but still glows as a display typeface.

Conversation Hearts are inspired by the sweethearts and conversation hearts that can be found all over the US and Britain, but not in Germany. A source of endless fun and surprise. As a typographer to me they are also a surprising document of written communication. Most people complain that nowadays the inscriptions are not as sweet as they used to be. While they used to held romantic and promising inscriptions like “Be True” “Sweet Talk”, today they carry “Tweet me” “Ur Hot” and “Party Girl”. So i took this as a motivation to work with conversation sweetheart on a conceptial inspirational and typographical level. The obvious: every letter pressed on the keyboard brings out a conversation heart that starts with the letter - i.e. L = Loverboy, H = Heartless but what to write? Since i didn't want to reproduce the old “Fax me” and “Email me” I had to come up with something new. Something with a personal relation and of course something that I Love - what else could i write in the shape of the heart? So I tried to access my upper subconsciousness and looked for two words for every letter in the alphabet. One for the capital letter pressed and one word for the lowercase letter. Resulting in a Kurt Schwitters worthy assemblage of vocables "Post-office" “Internship” “Zebra” “Answers” etc. It is not easy to read a text set in Conversation Hearts but easier as a text set in Zapf-Dingbats. To sparkle the visual appearance uppercase letters are filled hearts with “carved” inscription, while lowercase letters are an outlined heart with written inscription. Conversations Hearts is a part of the Light Hearted Font Collection that is inspired by a recording of Jean Baudrillard with the title, "Die Macht der Verführung" (The Power of Seduction) from 2006. Further inspiration came from the article, "The shape of the heart: I'm all yours". The heart represents sacred and secular love: a bloodless sacrifice. by British writer Louisa Young printed in EYE magazine (#43) London, 2002.

Introducing Lineavec—the typeface of the future. With its precise, wide, and light design, Lineavec embodies the essence of technology and innovation. This futuristic font will transport your message to the far reaches of space and time, evoking images of vector arcade games, laser beams, and the intricate traces of a circuit board. Lineavec is not just a font, it’s a statement. It’s a symbol of the ever-evolving digital landscape and the unstoppable march of progress. Its sleek and minimalistic design is perfect for a range of contemporary projects, including tech startups, gaming websites, and sci-fi films. So if you want to give your message a sense of interstellar distinctiveness, Lineavec is the font for you. Whether you’re looking to captivate your audience with bold headlines, or to add a touch of sophistication to your brand identity, Lineavec is the perfect choice. Don’t miss out on the opportunity to make your mark on the future—get Lineavec today! Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Our Binder Family is a revival and expansion of Binder-Style, a typeface designed by Joseph Binder and released by D. Stempel AG in 1959. It originally was a single weight. In later film type adaptations, a bold style, and an outline with drop shadow style were made available. However, this typeface never really had a true sense of family or larger language compatible character set. The original Binder-style typeface found revived popularity with its super condensed style when it appeared on the movie poster for "Silence of the Lambs". It was always a disappointment to me how this typestyle had never gained more traction in use. And so, many years later, we decided to revive the original typestyle, and expand it with a range of weights and obliques to pair with those weights. We've moved most of the unusual lowercase forms to a Stylistic Alternates feature, along with unicast alternates for the Capitals. The family includes a full standard character set with expansive international support of latin based languages, and 4 weights jumping from Thin to Bold, along with 4 accompanying obliques. This family is ready for you to eat it up with a nice glass of Chianti. Here's what's included with the Binder Family: 538 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 4 weights: Thin, Light, Regular, & Bold. Accompanying Obliques with each weight/width style. TTF formatted fonts have been hinted for optimal performance. Here's why the Binder Family is for you: You're in need of a stylish condensed font with a variety of weights and obliques for your designs You're a fan of the typographic works of Joseph Binder, but wish there was more to them You love the style of Agency and Bank Gothic, but want something uber-narrow You are desperate to recreate the movie poster from Silence of the Lambs You just like to collect quality fonts to add to your design arsenal

In 1459, while visiting his dying mother, Italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project. The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Have you ever used a handwritten font on your design project? Have you ever felt bored or dissatisfied with its glyphs style that looks stiff and doesn't flow even doesn't really characterize the peculiarities of a handwritten font? Or fonts that don't have alternative glyphs so they look monotonous in a word or even sentence. And in the end, it makes your projects so far from your expectations, even your clients. It's so frustrating, isn't it? Just wake up from your dissatisfaction and this is your time to make a good choice for your design project. So, we have a solution to fix it. We introduce 'Stylish Classy' just for you. This is a font that really characterizes from the handwritten style. This font is crafted carefully in every its single scratch, created to look as close to a natural handwritten script so that it can create the perfect combination on each glyph. When we make this font, we really want to create a touch that is so free-flowing that it gives a natural impression on its use later. For example, if you want letter 's' that has a flow sketch with letter 't', you can find it in 'st' ligature glyph. So if you really want a so natural and flowing touch in your project, Stylish Classy Font gives you 210 Natural Ligatures ( combining of two or more letters in a glyph ), Two Alternates, and Slant Version. Stylish Classy is a fashionable handwritten script font and obviously it's so Stylish and Classy :) Stylish Classy Font offers beautiful typographic harmony for your design projects diversity e.g. logos & branding, wedding designs, social media posts, advertisements, product designs, quotes, watermark, photography, poster design, magazine, stationery, or simply as a stylish text overlay to any background image. - Included Languages support: Afrikaans, Albanian, Catalan, Danish, Dutch, English, Estonian, Finnish, German, Icelandic, Indonesian, Italian, Norwegian, Malay, Portuguese, Spanish, Swedish, Zulu. - All Natural Ligatures (210 Glyphs): Bh Cl Cr Cs Ct Cy Hy Jh Ji Kh Kl Lo My Mrs Mr Mt Si Sl Sp Sp St St1 St2 St3 Ul1 Un1 Ut1 Ul Un Ut Wh Yo aa ab ab1 ab2 ak1 all ant app arr art ask ast at at2 at3 at4 att af ah aj ak ak1 al al1 an ap ap ar av bb1 bb cc ch ck co ct dd ever ee1 ee2 ent er1 err ett ee ek el en er es et ff1 ff2 ful ff fi gg1 gh gh2 ght gn1 gf gg gh gi gl gn hh ight ill1 ill2 it's itt1 if1 ill ion ism it1 it2 ith itt ity if ii il it jj1 jj kk ll1 ll2 la lh ll most nt oll on2 on1 op1 ops or1 orr oth ous of oh ok ol om on oo op or ot ow ox oz ph pp pt rk1 rta rk rr rt sl1 sl2 sl3 ss1 ss2 st1 st2 st3 st4 st5 st sh si sl sp ss st the tt1 tt2 th to tt tv ty ull ure ut1 ut2 ut3 us ut ve vs wh wt yl1 yl2 yl3 you yr yr2 yl yn yr mm1 mm2 mm3 mm ms nn1 nn -Swash on pictures are not included

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Pure and not-so-simple Maybe it’s the air of purity, openness and transparency that they transmit, but geometric typefaces are more popular than ever among leading brands. Based on near-perfect circles, triangles and squares, geometric letterforms look uncomplicated, even though making them readable is anything but – something the designers of the first wave of geometric fonts discovered nearly a century ago. Many of the world’s most recognisable brands in technology, retail, travel, food, manufacturing and other industries continue to be drawn to the straightforward, honest character that geometric fonts convey. Fontsmith set out in 2015 to develop a typeface in the same tradition, but optimised for the demands of modern brands – online and offline usage, readability and accessibility. And, of course, with the all-important Fontsmith x-factor built in. FS Lucas is the bold and deceptively simple result. Handle with care The letterforms of FS Lucas are round and generous, along the lines of Trajan Column lettering stripped of its serifs. But beware their thorns. Their designer, Stuart de Rozario, who also crafted the award-winning FS Millbank, wanted a contrast between spiky and soft, giving sharp apexes to the more angular letterforms, such as A, M, N, v, w and z. Among his inspirations were the colourful, geometric compositions of Frank Stella, the 1920s art deco poster designs of AM Cassandre, and the triangular cosmic element symbol, which led him to tackle the capital A first, instead of the usual H. The proportions and angles of the triangular form would set the template for many of the other characters. It was this form, and the light-scattering effects of triangular prisms, that lit the path to a name for the typeface: Lucas is derived from lux, the Latin word for light. Recommended reading Early geometric typefaces were accused of putting mathematical integrity before readability. FS Lucas achieves the trick of appearing geometric, while taking the edge off elements that make reading difficult. Perfectly circlular shapes don’t read well. The way around that is to slightly thicken the vertical strokes, and pull out the curves at the corners to compensate; the O and o of FS Lucas are optical illusions. Pointed apexes aren’t as sharp as they look; the flattened tips are an essential design feature. And distinctive details such as the open terminals of the c, e, f, g, j, r and s, and the x-height bar on the i and j, aid legibility, especially on-screen. These and many other features, the product of sketching the letterforms in the first instance by hand rather than mapping them out mechanically by computer, give FS Lucas the built-in humanity and character that make it a better, easier read all-round. Marks of distinction Unlike some of its more buttoned-up geometric bedfellows, FS Lucas can’t contain its natural personality and quirks: the flick of the foot of the l, for example, and the flattish tail on the g and j. The unusual bar on the J improves character recognition, and the G is circular, without a straight stem. There’s a touch of Fontsmith about the t, too, with the curve across the left cross section in the lighter weights, and the ampersand is one of a kind. There’s a lot to like about Lucas. With its 9 weights, perfect proportions and soft but spiky take on the classic geometric font, it’s a typeface that could light up any brand.

Auchentaller was inspired by a travel poster by Josef Maria Auchentaller in 1906. To our knowledge, it was never cast in type. Grado lies on the northern Adriatic, between Venice and Trieste. At one time the port for the important Roman town of Aquileia. With the decline of the Roman Empire, the upper Adriatic region came under the rule of the Visigoths, the Ostrogoths, the Byzantines, the Lombards, the Franks, the Germans, the Venetians and finally, in 1796, the Austrian Hapsburgs. So it remained until the dissolution of the Austro-Hungarian Monarchy in 1919, following World War I, when the seaport of Trieste was awarded to Italy. With Trieste came Montefalcone, Aquileia and Grado. The area was marked by years of political tension between Italy and Yugoslavia, exemplified by the d'Annunzio expedition to capture Fiume (Rijeka) in September, 1919. Some basic discussion of the period from 1919 to 1939 may be found in Seton-Watson’s Eastern Europe Between The Wars (Cambridge 1945) and Rothschild’s East Central Europe Between The Two World Wars (Seattle 1974). In 1965 I was traveling by train from Venice to Vienna. Crossing the Alps, the train stopped for customs inspection at the rural Italian-Austrian border, just above Slovenia. We were warned not to get off the train because there were still shooting skirmishes in the area. Through all this, Grado remained literally an island of tranquility, connected to the mainland by a only causeway and lines on a map. Auchentaller not only painted the beach scene at Grado, he moved there, living out the rest of his life in this comfortable little island town. His travel illustration contains the text from which the design of our font Auchentaller is drawn. The text translates: "Seaside resort : Grado / Austrian coastal land". Please see our gallery images to see a map locating Grado, as well as Auchentaller’s painting of the resort. Auchentaller is a monoline all-cap font, light and open in design , with a lot of typically art nouveau letter forms. Included in our font are a number of ligatures. As is frequently seen in designs by German speakers, the umlaut is embedded in the O & U below the tops of the letters. This approach led to two whimsies: a happy umlauted O and a sad umlauted U. This font has a clean, crisp look that is very appealing and very distinctive. Auchentaller ML represents a major extension of the original release, with the following changes: 1. Added glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Add glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 336 glyphs. 2. Added OpenType GSUB layout features: pnum, liga, salt & ornm. 3. Added 116 kerning pairs. 4. Revised vertical metrics for improved cross-platform line spacing. 5. Revised ‘J’. 6. Minor refinements to various glyph outlines. 7. Inclusion of both tabular & proportional numbers. 8. Inclusion of both standard acute and Polish kreska with choice of alternate accented glyphs for c,n,r,s & z. Please note that some older applications may only be able to access the Western Europe character set (approximately 221 glyphs). The zip package includes two versions of the font at no extra charge. There is an OTF version which is in Open PS (Post Script Type 1) format and a TTF version which is in Open TT (True Type)format. Use whichever works best for your applications.

Useful links Font Specimen SFT Schrifted Sans: The Story of Font Development Article Contacts Follow us on Instagram to know all about our future projects and updates. If you want to customize SFT Schrifted Sans, need font files or have any other questions, please reach out to us at info@schrifteria.xyz. About SFT Schrifted Sans SFT Schrifted Sans is a functional geometric sans-serif typeface with a Nordic character. It can serve as a stylish text font and as an eccentric headline one. With multiple subfamilies (wide geometric and compact neo-grotesque) and numerous alternatives, SFT Schrifted Sans can be customized for various projects and transformed beyond recognition. SFT Schrifted Sans has wide language support: 200+ Latin and 60+ Cyrillic languages, including specific localized forms (for example, for Bulgarian and Serbian languages). Visit the font page for more information. Language support Latin: Abenaki, Afaan-Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese-Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir-(Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape-Verdean-Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean-Creole, Gwich’in, Haitian-Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese-(Latin), Jèrriais, Kaingang, Kala-Lagaw-Ya, Kapampangan (Latin), Kaqchikel, Karakalpak-(Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish-(Latin), Ladinlatinlatino-sine-Flexione, Latvian, Lithuanian, Lojban, Lombard, Low-Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam-Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese-Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami-(Inari-Sami), Sami (Lule-Sami), Sami (Northern-Sami), Sami (Southern-Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish-Gaelic, Serbian-(Latin), Seri, Seychellois-Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio-(Latin), Somali, Sorbian (Lower-Sorbian), Sorbian (Upper-Sorbian), Sotho (Northern), Sotho-(Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok-Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen-(Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Vietnamese, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu, Zuni. Cyrillic: Russian, Belarusian (Cyrillic), Bosnian (Cyrillic), Bulgarian (Cyrillic), Kazakh (Cyrillic), Kirghiz, Macedonian, Serbian (Cyrillic), Tadzhik, Ukrainian, Chechen (Cyrillic), Bashkir, Chuvash, Tatar Volgaic, Mongolian, Uzbek (Cyrillic), Avar, Dargwa, Ingush, Kabardino-Cherkess, Kumyk, Lak, Lezgian, Ossetian, Tabasaran, Buryat, Komi-Zyrian, Touva, Mordvin-moksha, Udmurt, Adyghe, Dungan, Rusyn, Oroch, Enets, Chulym, Aleut (Cyrillic), Karaim, Udege, Nganasan, Ulch, Akhvakh, Ket, Karata (Karata-Tukita), Kildin Sámi, Yukagir, Karakalpak, Archi, Saami, Uighur (Cyrillic), Nanai, Koryak, Tsez, Soyot-Tsaatan, Tindi, Veps, Andi, Turkmen (Cyrillic), Karelian, Godoberi, Besermyan, Chukchi, Even (Lamut), Gagauz, Altaic, Moldavian (Cyrillic).