The M XiangHe Hei Traditional Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and Seol Sans (Korean). M XiangHe Hei is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Traditional Chinese.¶

Linotype Gotharda is part of the Take Type Library, chosen from contestants of Linotype’s International Digital Type Design Contests of 1994 and 1997. This display font started as an experiment of the Croatian-German designer Milo Dominik Ivir. He wanted to design a font with characteristics of both sans serif and Gothic faces. From the Gothic he took the heavy strokes, the narrow letters, the exaggerated overmatter and the high x-height. The modern standard forms of the letters s, a, x and z, the clear capitals and the lack of serifs are the characteristics taken from sans serif faces. The result is a font with a constructed, old German feel. Linotype Gotharda is intended exclusivley for headlines in large point sizes.

Step into the chilling world of 70s Italian horror with Giallo Rossa, a giallo inspired typeface. This macabre creation captures the essence of classic Italian giallo films, evoking a sense of foreboding and terror in every letter. With its sharp edges and jagged lines, Giallo Rossa has an unsettling energy that will leave you mesmerized. Immerse yourself in a typographic nightmare as you unleash the power of Giallo Rossa. Its letters embody the twisted beauty of giallo cinema – every curve reminiscent of a shadowy figure lurking in the dark corners. No matter what you’re designing, Giallo Rossa is your perfect accomplice. This horrifying typeface will set your creations apart from the mundane. Beware though: once you delve into Giallo Rossa‘s sinister embrace, there’s no turning back!

Set the wayback machine for about 1967. Smell the patchouli? Now you can inject just the right dose of swirly-licious mojo into your retro design with this original vintage-styled sixties font. But as with many psychedelic hippie lettering designs, the history reaches back even further; it owes a designer's debt of gratitude to the designs of the Art Nouveau era as well. This is predominantly a uni-case alphabet, but also features a few alternative characters in the lower case – at the full height of the capitals. With an extensive character set and multilingual glyphs, you can use Hippie Mojo to say "Groovy baby" in many languages. Evoke the carefree and tripped-out vibe of the psychedelic era with Hippie Mojo; it's pure retro fun!

An elegant, contemporary and quirky handwriting font inspired by fonts such as Satisfaction and Nothing. There are many handwriting fonts out there, almost all of them tending to highlight the individuality of a particular person's handwriting. I wanted to go beyond this. What I've always wanted was to write in an elegant, casual yet legible style: something which my own hand often refuses to do. So I set out to produce the handwriting of my dreams - this font. While it doesn't match my dreams 100%, it certainly comes close! Affable comes in three styles, Affable Regular, Affable Blak and Affable Lite. The Affable family is fully professional, carefully letterspaced and kerned. All upper and lower case characters, punctuation, numerals and accented characters are present.

The M XiangHe Hei Simplified Chinese typeface merges traditional brush strokes with modern letterforms to carefully balance traditional calligraphy with humanist design. Named for the smooth movements of a flying crane, the M XiangHe Hei typeface is designed to glide across the page, and features strokes that are partly derived from the Kaishu calligraphic style – an everyday script which dates back hundreds of years. Seol Sans features Neue Frutiger for its Latin glyphs, and works harmoniously with Neue Frutiger World and Monotype’s CJK typefaces Tazugane Info (Japanese) and Seol Sans (Korean). M XiangHe Hei is a great choice for global brands using sans serif Latin typefaces looking to maintain their visual identity, and communicate with a consistent tone of voice with Simplified Chinese.

Street Wars is an Oldschool Graffiti Tag Fonts, Back to Basic!!! For those of you who want a more funky design look. In the graffiti world, usually you'll use the initials as a sign of your masterpiece, or you use it for a graffiti battle. Street Wars present to you, Inspired from old style graffiti tagging. Street Wars Includes full set of funky uppercase, lowercase letters, numbers, punctuation, multilingual language, stylistic styles and various ligatures. To make you easily mix and match your own graffiti style tag. to use various style you have to use software that supports OpenType features. We hope you enjoy with Street Wars. Feel free to comment and give any feedback to build more good font. Thanks for your purchasing, and Happy creating... :)

Lately I have been thinking about rabbits. Not that I have a particular love for rabbits - they’re cute, but also kind of stupid. But as Christmas dinner is approaching, I see more rabbit carcasses lining the shelves of supermarkets. These poor animals never saw the light of day, never felt the grass between their paws and never had a ‘true life’. In honour of the hundreds of thousands of rabbits being slaughtered for Christmas this year, I have named this font: Rabbit Escape. Rabbit Escape is a slightly back-slanted typeface - handmade with a permanent marker I bought in Japan. It is quite unusual, maybe a bit weird, but it will serve you well. Comes with a generous stuffing of diacritics.

TT Jenevers useful links: Specimen | Graphic presentation | Customization options Please note! If you need OTF versions of the fonts, just email us at commercial@typetype.org About TT Jenevers: TT Jenevers is a modern serif with Dutch flavor. The font family features the characteristic details peculiar to Dutch serifs—these are the asymmetrical shape of serifs and an irregular slant of ovals. For example, in the letter “o” there is no slant, but it is present in p-q. In TT Jenevers, both lowercase and uppercase characters are of a large size, which makes it a rather display typeface. At the same time, the big half-ellipse of the lowercase characters does not allow the letters to stick, which allows the implementation of TT Jenevers in text arrays. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. The italics of the TT Jenevers are slightly narrower as compared to upright faces—this is done to ensure a greater density of the text array. TT Jenevers font family consists of 12 fonts (6 upright and 6 true Italics), each of which has more than 830 characters. The typefaces include small capitals for Cyrillic and Latin alphabets, 33 ligatures, standard and old-style figures, stylistic alternates, arrows, hands, and card suits. We have prepared two dissimilar stylistic sets, which allow changing the nature of TT Jenevers to a more hand-written one, or adding a futuristic touch to the typeface. FOLLOW US: Instagram | Facebook | Website TT Jenevers OpenType features: ordn, case, c2sc, smcp, frac, sups, sinf, numr, dnom, onum, tnum, pnum, lnum, liga, dlig, salt, ss01, ss02, zero. TT Jenevers language support: Acehnese, Afar, Albanian, Alsatian, Aragonese, Arumanian, Asu, Aymara, Azerbaijani, Banjar, Basque, Belarusian (cyr), Belarusian (lat), Bemba, Bena, Betawi, Bislama, Boholano, Bosnian (cyr), Bosnian (lat), Breton, Bulgarian (cyr), Cebuano, Chamorro, Chichewa, Chiga, Colognian, Cornish, Corsican, Cree, Croatian, Czech, Danish, Dutch, Embu, English, Erzya, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gaelic, Gagauz (lat), Galician, Ganda, German, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian, Icelandic, Ilocano, Indonesian, Innu-aimun, Interlingua, Irish, Italian, Javanese, Jola-Fonyi, Judaeo-Spanish, Judaeo-Spanish, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Kashubian, Kazakh (lat), Khasi, Khvarshi, Kinyarwanda, Kirundi, Komi-Permyak, Komi-Zyrian, Kongo, Kumyk, Kurdish (lat), Ladin, Latvian, Laz, Leonese, Lithuanian, Luba-Kasai, Luganda, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto, Makonde, Malay, Maltese, Manx, Maori, Mauritian Creole, Minangkabau, Moldavian (lat), Montenegrin (lat), Mordvin-moksha, Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Nogai, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish, Portuguese, Quechua, Rheto-Romance, Rohingya, Romanian, Romansh, Rombo, Rundi, Russian, Rusyn, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (cyr), Serbian (lat), Seychellois Creole, Shambala, Shona, Silesian, Slovak, Slovenian, Soga, Somali, Sorbian, Sotho, Spanish, Sundanese, Swahili, Swazi, Swedish, Swiss German, Tagalog, Tahitian, Taita, Talysh (lat), Tatar, Teso, Tetum, Tok Pisin, Tongan, Tsakhur (Azerbaijan), Tsonga, Tswana, Turkish, Turkmen (lat), Udmurt, Ukrainian, Uyghur, Vastese, Vepsian, Volapük, Võro, Vunjo, Welsh, Wolof, Xhosa, Zaza, Zulu.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Rationality Grateful is an elegant handwritten font that exudes sophistication and charm. Its clean and modern design is perfect for a wide range of design projects, from wedding invitations to branding materials. This font features delicate and flowing strokes, which add a touch of femininity and grace to any design. The letters are carefully crafted to ensure readability and legibility, even in small sizes. With its elegant curves and swooping lines, Rationality Grateful is ideal for use in headings, titles, and other large text blocks. It’s also great for adding a personal touch to handwritten notes, quotes, and social media posts. Overall, Rationality Grateful is a versatile and timeless font that will elevate any design project and leave a lasting impression on your audience. If you have any questions please don’t hesitate to contact me Thank you best regards, Fikryal Studio

Meristmas is a beautiful and sweet handwritten font. It is fresh, clean, and elegant. This font will look amazing in a great amount of projects, both formal and informal. Meristmas is the perfect font for making craft original and outstanding designs. Its casual charm makes it appear wonderfully down-to-earth, readable and, ultimately, incredibly versatile. You can also get alternate ornament / swashes in this font. Just type 0 - 9 and block one characters ( number ) / highlight and you can get alternate swash in here. If you use character Map please convert to .ttf format to get swash alternate. Comes with a full uppercase, lowercase, numbers and punctuation + standard multilingual support. It’s great for branding, logo designs, lettering, logotype, craft, posters, packaging and much more. We recommend using Adobe Illustrator or Photoshop. Tutorial how to Install & use Alternate / Special Character : https://hanscostudio.com/tutorial/ Enjoy!

Violencia - An Illustrated Wild West Font Violencia is a hand-dawn font inspired by the legendary age of the Wild West and its tales of gunfights, train robberies and blood vendettas. It’s an all-caps design the evokes the textured style of vintage western movie posters, comics and novels. The Violencia font family includes all-caps uppercase and lowercase characters, along with numerals, punctuation, symbols and language support. It also comes with a complete set of alternative characters, all in the 3 unique styles of, Distressed, Outline and Block. Wingsart Studio Design Tip! Mix the uppercase and lowercase characters and look for interesting shape combinations that might occur within the letters. Take advantage of all the alternatives too for a much more custom look that’ll be unique to your design. For more great illustrated fonts browse the ever-growing collection by Wingsart Studio.

Here's a unique and unusual font pack in the tradition of late 1960s psychedelic poster and album cover styles. Perfect for that flaming psychedelia vibe from the Haight-Ashbury scene in the Summer of Love era. Combine Regular and Fill versions to create a two-toned design for a super offbeat and eye-catching look. Once loaded on your system, the three versions of the font show in your menu as the following three "weights": Psychotropic Experience Regular, Psychotropic Experience Fill, and Psychotropic Experience Solid. The 3-alphabet collection works together seamlessly to allow you to assign one color to the body of the letter, and a second color to the inset fill areas. Just copy your text block, paste in place, reassign the font to the Fill version, choose a complimentary color, and off you go. All caps Fonts.

Patika Typeface is a contemporary neo-grotesque font that combines modern aesthetics with functional legibility. Inspired by the timeless elegance of classic typefaces such as Helvetica, Futura, and Avant Garde, Patika offers a fresh take on the genre with its unique blend of clean lines, balanced proportions, and subtle details. Designed with utmost care and precision, Patika Typeface achieves a harmonious balance between width and height, particularly in its lowercase letters, ensuring optimal legibility across various sizes and applications. Its versatile nature makes it an ideal choice for a wide range of typographic needs, from eye-catching headlines to extensive blocks of text. Equipped with a comprehensive set of OpenType features, including alternative glyphs, fractions, arrows, ligatures, and more, Patika offers designers an array of tools to enhance their typographic compositions and add a touch of uniqueness to their designs.

Recreate authentic letterpress typography with Oxford Press, a set of chunky uppercase Serif & Sans fonts designed using real vintage metal letterpress blocks sourced from old printing companies. The Serif & Sans fonts each have two variations, 'Clean' and 'Rough'—with the latter having real, highly detailed hand-made letterpress textures applied to each letter. Each letter of the 'Rough' fonts also has an alternate texture, which can be accessed simply by switching between upper and lowercase characters. The 'Rough' fonts can make a striking impact as bold header text for posters, adverts, prints and packaging, whereas the 'Clean' versions are more suited for smaller accompanying text, cleaner designs or for applying your own textures and styles. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian.

Please welcome the new grotesque family; slightly more geometric than Block Berthold but much softer than the industrial Din Next, Rockeby includes a lot of stylistic alternates and ligatures to help add character to any type of design. The slightly curved diagonal strokes give the sans serif fonts its unique personality and soft look. Even more - the family has two scripts (4 weights each) which will enhance the design even more. Combining italic with the script has never been easier - they both have the same italic angle. These scripts also benefit from contextual alternates, swashes and ligatures. And last but not least, the family also includes Extras fonts (which also have 4 weights) which can further enhance any design you are creating. There is an new addition to the family - Rockeby SemiSerif and Rockeby Brush families!

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Mimeograph Lettering JNL is based on one of the numerous plastic lettering templates once manufactured by the A.B. Dick Company of Chicago and is available in both regular and oblique versions. The mimeograph utilized a porous drum which inked the backside of a waxed stencil sheet. Unlike traditional stencils which have cut out areas that are directly inked or painted, a mimeo stencil has the area to be printed scratched away by removing the wax coating with a stylus. The resulting image allows the ink from the drum to seep through the sheet and transfer to the blank paper. As with a companion font (Mimeograph Template JNL), the character shapes follow the routed letters of the template, complete with rounded terminals. A previous font release [designed with flat terminals and some alternate characters] is available as Interoffice Memo JNL.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Initially released in 2013 Corbert was a big hit and was named one of the most popular fonts of the year by MyFonts. Following on from its success the design is updated and remastered to meet the latest standards of The Northern Block and to satisfy critical issues put forward by the most demanding of users. A geometric sans serif typeface influenced by Bauhaus and the early modernist era. Precise shapes are optically adjusted to create a clear, natural typeface with excellent legibility. Corbert is a regular, self-evident design that works well across a wide range of applications. Details include nine weights with matching italics and over 540 characters per style. Opentype features consist of five variations of numerals, including inferiors, superiors, fractions, alternative lowercase a, e and g, and language support covering Western, South, and Central Europe.

YinYangMessages contains two sets of letters, those on the upper-case keys that fit on the left side of a yin-yang symbol and those on the lower-case keys that fit on the left side of a yin-yang symbol. One can alternate the two sets manually but the OpenType contextual alternatives feature does this automatically in any program that supports this feature. The family contains two fonts. In one the filled half is on the left and in the other the filled half is on the right. The slash and backspace keys contain blank halves of the symbol, which are useful for completing words with an odd number of letters. The two styles can be used in layers. YinYangMessages is a fun and playful family that every once in a while may be the ideal typeface for some unusual situation.

Mamute is a block rockin' family with a cool letterpress look. Its upper- and lower-case slots hold glyphs with slightly different textures for a natural look. Numbers and punctuation marks also have alternate versions. Just trigger the Contextual Alternates feature to easily cycle the alternate glyphs, preventing double letters from displaying the same texture. Mamute is a highly decorative typeface available in 2 widths, regular and condensed, each also offered as a layered font, a handy and playful way for adding shades to your composition. There’s also a generous ornaments font and a catchwords one to spice up your designs. Mamute is based on Aldine wood type spirit (as there were many incarnations of it!), from circa 1870. Please note that this family has a limited character set and doesn't bring diacritics nor accented characters. But yet it does rock, you bet!

Important! There is a whole new redesigned version (remake) of Uni Sans called Uni Neue . The Uni Sans font family includes 14 weights - seven uprights with seven italics. It is characterized by excellent legibility in both - web & print design areas, well-finished geometric designs, optimized kerning, excellent web-font performance and legibility etc. Inspired by the classic grotesque strong typefaces like DIN and Dax - Uni Sans has his own unique style in expressed perfect softened geometric forms. The font family is most suitable for headlines of all sizes, as well as for text blocks that come in both maximum and minimum variations. Uni Sans font styles are applicable for any type of graphic design in web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos. PDF Specimen also available - click here .

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces. Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Worthe Numerals come out of a time-tested development cycle where House Industries employees ask “What if this could be just a little more…”. After pushing traditional didot forms to the limit, these digits were originally applied to a set of wood blocks. But, who says replenishable Michigan-grown basswood should have all the fun? So we added everything one needs to stylishly set their current currency and credit default swap hedges, while also being able to set the appropriate fractional take from their blog’s micropayment structure. Made to be large, attract attention, and —when needed— drop a shadow, Worthe Numerals brighten the daily drumbeat of numerical gloom. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Neue Helvetica® is a melding of aesthetic and technical refinements that result in superior design proportions, improved legibility and an expanded range of uses beyond the original Helvetica typefaces Neue Helvetica World fonts enable the setting of pan-European languages, in addition to Arabic, Armenian, Cyrillic, Georgian, Greek, Hebrew, Thai and Vietnamese. The Cyrillic fonts include full support of the Unicode block, including characters for Bulgarian, Mazedonian, Serbian and Ukrainian. Other Monotype global fonts can be paired with Neue Helvetica World to create a more comprehensive global typographic solution. A few examples follow: Devanagari: Saral Devanagari Japanese: Tazugane Gothic or Yu Gothic Korean: YD Gothic 100 or YD Gothic 700 Simplified Chinese: M Ying Hei PRC or M Hei PRC Traditional Chinese: M Ying HK or M Hei HK Click here to download a brochure with more information on Neue Helvetica World.

Ralph M. Unger, (Arno Drescher), 2006, (1936) Originally, Arabella Pro was designed by Arnold Drescher around 1936/1939. Drescher created this wonderful script for former Germany type foundry Joh. Wagner. The typeface has been redesigned, digitized, completed and expanded as OpenType Pro in the profonts studio.Arabella Pro comes in two versions, light and medium, each with a large selection of manually designed ligatures and alternates, i.e. swashed upper case to make this naturally flowing script design a perfect font for OTF-savvy applications like e.g. InDesign or Quark Xpress 7.Arabella Pro light and medium are perfect partners for any sans serif, especially for Futura. It is perfectly suited for anything in the area of headlines, posters, invitations etc. However, since it is very well legible, it can also be used individually for small text blocks.

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Ten years or so after his unique treatment of Garalde design with Trump Mediaeval, Georg Trump took on the transitional genre with Mauritius, which was to be his last typeface. He started working on it in 1965. The Stuttgart-based Weber foundry published a pamphlet previewing it under the name Barock-Antiqua in 1967, then announced the availability of the metal types (a roman, a bold and an italic) a year later. The global printing industry was already in third gear with cold type technology, so there weren't that many takers, and Weber closed its doors after more than 140 years in business. Subsequently, Trump’s swan song was unfairly overlooked by typography historians and practitioners. It never made it to film technology or scalable fonts. Thus, one of the most original text faces ever made, done by one of the most influential German type designers of the 20th century, was buried under decades of multiple technology shifts and fading records. The metal cuts of Mauritius seem to have been rushed in Weber’s desperation to stay afloat. So the only impressions left of the metal type, the sole records remaining of this design, show substantial problems. Some can be attributed to technological limitations, but some issues in colour, precision and fitting are also quite apparent, particularly in Mauritius Kursiv, the italic metal cut. This digital version is the result of obsessing over a great designer’s final type design effort, and trying to understand the reasons behind its vanishing from typography’s collective mind. While that understanding remains for the most part elusive, the creative and technical work done on these fonts produced very concrete results. All the apparent issues in the metal types were resolved, the design was expanded into a larger family of three weights and two widths, and plenty of 21st century bells and whistles were added. For the full background story, design analysis, details, features, specimens and print tests, consult the PDF available in the Gallery section of this page.

Smallstep - One geometric sans serif with a free spirit. If we presume that geometric typefaces play with the idea of what typography would look like in the future when all unnecessary elements would disappear, than most of their designers seem to envision the future in a rather metropolisque kind of way. We love geometric faces, but the cold and heartless feelings that most of them leave is just not our cup of tea. That is why we are happy to bring some optimism in that genre with our new typeface. We called it Smallstep. Smallstep is a typeface that follows the traditions of classic geometric sans serifs like “Futura”, but is at the same time friendly and whimsical. We took the liberty to deviate from the standard sans serif glyphs while drawing some characters (such as ”a” and ”r” ), others (“w” “k”) are completely redesigned. Probably the biggest trademark of this typeface is the way vertical lines in most lower case characters are “cut” so they end in a 60 degree angle. Smallstep is over all a expressive face, which means it brings some emotions to your design and feelings in itself, and should be used accordingly. Other than that, it is suitable for both headline and body text, print and web. So what kind of name is “Smallstep”? We view the type design process as a form of evolution: There can be no typeface that differs drastically from the current standards, since its characters would be unrecognizable and thus unreadable. But at the same time there are hundreds of faces that differ a little, and still manage to make a difference by moving with small steps towards better and more refined looks. Smallstep consist of 4 weights, that cover all the features, that are expected of a modern Opentype face: kerning pairs, ligatures, true italics and alternative characters, plus a set of symbols, that will help you start off your designs more easily.

Grava is Neil Summerour’s injection of warmth within the geometric sans font category. Historically, geometric sans families have been based on primal shapes — triangle, circle, square — and the more closely they held to those rigid rules, the more internal inconsistencies they showed. Angles won’t match up correctly, letters will lean, overshoots complicate clean typesetting, and idealized circles become grotesque and unwieldy in some weights. Because of issues like these, geometric sans fonts have a reputation of being cold, austere, even a bit “off”. Grava was made to hold a T-square and triangle in one hand while giving a welcoming handshake with the other. The Grava font family comes in two styles (a normal and a Display), each with 20 weights (Thin to Ultra) and paired with italics. Its design allowed the three scripts of Latin, Cyrillic, and Greek to emerge seamlessly, ensuring Grava will find its home in multilingual publications. Even better, each character in the three scripts is spaced with every other character for a beautifully matched fit, and it’s a buy-one-get-all-three deal since they are all packaged together. The normal style’s large x-height won’t let you down in paragraphs, headings, and any call-out text. And have you seen the angles on those numerals? Pairing Grava’s numerals on a jersey is sure to catch some eyes, just sayin'. Grava Display is purposefully quirky and sharp, and made for poster sizes, book and album covers, and those websites with a well-defined character — somewhere between playfully self-aware and overtly vintage. Flat edges are abandoned to make way for sharp points and conspicuousness, for geometrical attitude and respectful expressiveness. Corporate reports use Grava Display to take on a professional and current look. The optional ligatures (N–T, L–L, G–A, C–O, almost anywhere an ‘A’ is placed, and more) in both the normal and Display styles invoke a midcentury modernist and high art feel. Now that introductions are done, you can let go of Grava’s hand and put it to work for you.

Nawin is an informal Arabic typeface inspired by handwriting. The idea behind this design is to create a type family attractive and ownable for children but at the same time a design that keeps excellent letter recognition for reading. Handwriting has been a great source of inspiration in this particular typeface. By emulating the movements of the pen, we have obtained letter shapes that express spontaneity. A bright group of letters create a lively and beautiful paragraph of text. To get closer to handwriting and the variety of letter shapes that we draw while writing, this typeface offers a large number of alternative characters, which differ slightly from the default ones. Because we have programed the «Contextual Alternate» feature in the fonts, these alternate characters appear automatically as you set a text on your computer. For instance, in the Arabic variability on vertical proportions between letters Alef and initial Lam, create movement in text and avoid the cold mechanical feel of repetition. In the case of the Latin a part from having an entire alternate basic alphabet, there are also different letterforms for characters with diacritics, this way variability becomes even greater. Nawin is quirky and elegant at the same time. Letter recognition is relevant when reading continuous text. For this reason, in the Arabic, we have added another contextual alternate feature with alternate characters that help to avoid confusion when letters with similar or the same shape repeat inside one word. This is the case of medial «beh and Yeh» repeated three times continuously in the same word. The alternate characters change in shape and length, facilitating distinction to the reader. Since this typeface is inspired by handwriting and the free movement of the hand while writing, we considered ligatures a good asset for this design. The Arabic has a wide range of ligatures that enhance movement and fluidity in text making look text alive, while the Latin achieves this same effect via contextual alternates.

Cute FS Kitty is the type equivalent of Bagpuss: plump, cute, cuddly and not fond of exercise. So don’t go giving it a run-out on body copy; FS Kitty is an all-caps font made for showing off in posters and headlines, and on products, point-of sale and especially sweets. Blubber Kitty had been quietly curled up in Phil Garnham’s sketchbook for a year before he brought it out to be brushed up. “It was in the mix as a basic form when I started thinking about FS Lola. It was a twisted, bubbly beauty – quite squishable and huggable. The working file was called Blubber. “At that time it was a basic construction of strokes. I created the ‘A’ first, purely as a shape to play with, not as type. I flipped it for ‘V’, and copied that for a ‘W’. I flipped the ‘W’ for an ‘M’... I thought, ‘This looks a bit wacky, but I like it,’ and just carried on. The most tricky characters were the ‘B’ ‘P’ and ‘R’. I must have drawn about 20 kinds of B for this, just to get it to fit.” Variety “When the regular weight of Kitty had been designed,” says Jason Smith, “it just felt like a natural progression to go on and explore how far we could go with it: Light, Solid, Headline, Shadow.” Phil Garnham thinks there’s still more to come. “There are some really individual characters in this font that I think have yet to be exploited: the Greek Omega symbol, the strange face in the ampersand. Like Bagpuss, Kitty has kept a low profile so far. “We know people are using Kitty. In fact, it was the first of any of our fonts that we sold on the day it was released. But I still haven’t seen it out there in the wild. It’s going to be a exciting moment.”

Introducing Xenu—the technical typeface of the future, designed for those who demand precision and efficiency in their communication. Inspired by industrial classics like DIN, Xenu exudes a cold, business-like demeanor that will immediately convey a sense of technical prowess and sophistication. Crafted with a unique blend of traditional scientific letterforms and contemporary aesthetics, Xenu’s impassive letterforms are a perfect representation of the future of industrial design. Its sleek lines and rigid structure make it a perfect choice for any project that requires a technical edge. Whether you’re designing a user manual, technical guide, or an engineering report, Xenu’s four weights and italics will instill your message with mechanical confidence and technological elegance. Its technical look and feel are perfect for businesses that want to project a cutting-edge image and convey a sense of precision. So why settle for a mediocre typeface when you can have Xenu—the ultimate expression of technical perfection? Choose Xenu and experience the future of technical communication. 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.

Introducing Xenara—a typeface born from the mechanical precision of vintage calculators and electric typewriters of the 1970s. Designed with technical applications in mind, Xenara features stolid letterforms and rounded ends that communicate a cold, businesslike style with scientific precision. Xenara’s unique design elements include an alternate barless “A”, trident “M”, zigzag “E”, and square “S”, which are available when you use the OpenType alternates feature. These details add a level of technical sophistication to your work that is unmatched by other typefaces. Available in both Regular and Bold weights, Xenara is the perfect choice for projects that require a technical look and feel. Whether you’re creating data-heavy reports, technical manuals, or scientific publications, Xenara will ensure your message is delivered with the utmost precision. Choose Xenara for a typeface that speaks to the essence of science and technology with a timeless design that will endure for years to come. 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.