Fioritura is a floral display typeface inspired by Sandro Botticelli's "Primavera" ("Spring") and Guiseppe Arcimboldo's "The Four Seasons" paintings. Fioritura means flowering in Italian, and the character composition consists of stems, leaves, flowers, and flying pollen. Scripts: Latin, Greek, Cyrillic. Language count: 480+. Glyph count: 1103. Kerning: 936 class pairs. Hinting: Not applied. Contextual Alternates: AA BB CC DD EE FF GG LL MM NN OO PP RR SS TT ZZ aa bb cc dd ee ff gg ll mm nn oo pp rr ss tt zz. To keep the writing natural, every second of two frequently repeated letters is automatically replaced by its alternative version. Turned on by default. Contextual Alternates: ΆΈΉΊΌΎΏ. Greek uppercase accented characters lose their tonos accent and retain only dieresis in All Caps mode. Turned on by default. If you need tonos accents in All Caps then turn off Contextual Alternates (calt) feature. Stylistic Alternates: ABCDEFGLMNOPRSTZ abcdefglmnoprstz. Supported languages: Abenaki, Abron, Acheron, Achinese, Achuar-Shiwiar, Adamawa Fulfulde, Adangme, Afar, Afrikaans (Latin), Aghem, Aguaruna, Aja, Akan, Albanian, Alsatian, Amahuaca, Amarakaeri, Amis, Andaandi (Dongolawi), Anuta, Ao Naga, Apinayé, Arabela, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asháninka, Asturian, Asu, Atayal, Awa-Cuaiquer, Awetí, Aymara, Azerbaijani (Latin, Cyrillic), Baatonum, Bafia, Bagirmi Fulfulde, Balinese, Balkan Romani, Bambara (Latin), Baoulé, Bari, Basaa, Bashkir (Latin), Basque, Batak (Latin), Belarusian (Latin, Cyrillic), Bemba, Bena, Biali, Bikol, Bini, Bislama, Boko, Bora, Borgu Fulfulde, Bouna Kulango, Bosnian, Breton, Buginese (Latin), Bulgarian, Buryat, Bushi, Candoshi-Shapra, Cape Verdean Creole, Caquinte, Caribbean Hindustani, Cashibo-Cacataibo, Cashinahua, Catalan, Cebuano, Chachi, Chamorro, Chavacano, Chayahuita, Chechen, Chewa (Latin), Chickasaw, Chiga, Chiltepec Chinantec, Chokwe, Chuukese, Cimbrian, Cofán, Colognian, Cornish, Corsican, Creek (Muscogee), Croatian, Czech, Dagaare, Dagbani, Danish, Dawan, Dehu, Delaware, Dendi, Dholuo, Dimli, Dinka, Ditammari, Drehu, Duala, Dutch, Dungan, Dyula, Embu, English, Erzya, Ese Ejja, Esperanto, Estonian, Ewe, Ewondo, Falam Chin, Fanti, Faroese, Fijian, Filipino, Finnish, Folkspraak, Fon, French, Friulian, Frisian, Fula, Gagauz (Latin), Galician, Ga’anda, Garifuna, Gen, Genoese, German, Gikuyu, Gilbertese, Gonja, Gooniyandi, Greek, Greenlandic (Kalaallisut), Guadeloupean Creole, Guarani, Gusii (Latin), Gwich’in, Haitian, Hakha Chin (Latin), Hän, Hani, Hausa (Latin), Hawaiian, Hiligaynon, Ho-Chunk, Hopi, Hotcąk (Latin), Huastec, Hungarian, Icelandic, Ido, Igbo (Latin), Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Ixcatlán Mazatec, Jamaican, Javanese (Latin), Jèrriais, Jola, Kabuverdianu, Kabiyè, Kabuverdianu, Kabyle (Latin), Kaingang, Kako, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk (Cyrillic), Kamba, Kanuri, Kaonde, Kapampangan (Latin), Kaqchikel, Karachay (Cyrillic), Karakalpak (Latin), Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Khalkha (Cyrillic), Khasi, Khoekhoe, K’iche’, Kikuyu, Kimbundu, Kinyarwanda (Ruanda), Kiribati, Kirmanjki, Kirundi (Rundi), Kissi, Kituba, Klingon, Kölsch, Kongo, Konzo, Koyra Chiini, Koyraboro Senni, Kpelle, Krio, Kuanyama, Kumyk, Kurdish, Kven Finnish, Kwasio, Kyrgyz (Cyrillic), Ladin, Ladino, Lakota, Lamnso’, Langi, Latgalian, Latin, Latino sine Flexione, Latvian, Ligurian, Limba, Lingala, Lithuanian, Lobi, Lojban, Lombard, Low German, Lozi, Luba-Katanga, Luba-Lulua, Luo, Luxembourgish, Luyia, Maasai, Maasina Fulfulde, Macedonian, Machame, Madurese (Latin), Makhuwa, Makonde, Makwe, Malagasy (Latin), Malaysian Malay (Latin), Maltese, Mam, Maninkakan, Manx, Maore Comorian, Māori, Mapudungun, Marquesan, Marshallese, Masai, Matsés, Mauritian Creole, Mbelime, Megleno-Romanian, Mende, Meriam Mir, Meru, Meta’ (Latin), Metlatónoc Mixtec, Mezquital Otomi, Mi’kmaq, Minangkabau, Mirandese, Mískito, Miyobe, Mizo, Mohawk, Moksha, Moldovan, Mongolian (Cyrillic), Montagnais, Montenegrin (Latin, Cyrillic), Mossi, Mundang, Munsee, Murrinh-Patha, Murui Huitoto, Mwani, Naga Pidgin, Nagamese Creole, Nahuatl, Nama, Nateni, Navajo, Ndebele, Ndonga, Neapolitan, Ngazidja Comorian, Ngiemboon, Ngiyambaa, Ngomba, Nigerian Fulfulde, Niuean, Nobiin, Nomatsiguenga, Noongar, Norwegian (Bokmål, Nynorsk), Novial, Nuer, Nyamwezi, Nyanja, Nyankole, Nyemba, Nzima, Occidental (Interlingue), Occitan, Ojitlán Chinantec, Old Icelandic, Old Norse, Onĕipŏt, Oromo, Oroqen, Oshiwambo (Ovambo), Ossetian (Latin, Cyrillic), Otuho, Páez, Palauan, Paluan, Pampanga, Papantla Totonac, Papiamentu, Pedi, Picard, Pichis Ashéninka, Piedmontese, Pijin, Pintupi-Luritja, Pipil, Pohnpeian, Polish, Portuguese, Potawatomi, Prussian, Pulaar, Pular, Purepecha, Qiandong Miao, Quechua, Rarotongan, Romani, Romanian, Romansh, Rombo, Rotokas, Russian, Rusyn, Rwa, Sakha, Samburu, Sami (Inari, Lule, Northern, Southern, Pite, Skolt, Ume), Samoan, Sango, Sangu, Saramaccan, Sardinian, Scottish Gaelic, Secoya, Sena, Serbian, Seri, Seychellois Creole, Shambala, Sharanahua, Shawnee, Shilluk, Shipibo-Conibo, Shona, Shuar, Sicilian, Silesian, Siona, Slovak, Slovene (Slovenian), Slovio (Latin), Soga, Somali, Soninke, Sorbian (Lower, Upper), Sotho (Nothern, Southern), Spanish, Sranan, Sukuma, Sundanese (Latin), Susu, Swahili, Swazi, Swedish, Swiss German, Tachelhit (Latin), Tagalog, Tahitian, Taita, Tajik (Cyrillic), Talysh, Tasawaq, Tatar (Cyrillic, Latin), Tedim Chin, Teso, Tetum, Ticuna, Timne, Tiv, Toba, Tojolabal, Tok Pisin, Tokelauan, Tonga, Tongan, Tosk, Totontepec Mixe, Tsafiki, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin, Cyrillic), Tuvaluan, Tuvan, Twi, Tzeltal, Tzotzil, Uab Meto, Ukrainian, Ulithian, Umbundu, Urarina, Uyghur (Cyrillic), Uzbek (Latin, Cyrillic), Vai, Venda, Venetian, Veps, Vietnamese, Volapük, Võro, Vunjo, Waama, Waci Gbe, Wallisian, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waorani, Waray, Warlpiri, Wasa, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof (Latin), Xavante, Xhosa, Xwela Gbe, Yagua, Yanesha’, Yangben, Yanomamö, Yao, Yapese, Yindjibarndi, Yoruba (Latin), Yucateco, Záparo, Zapotec, Zarma, Zazaki, Zulu, Zuni. The promo images used photos of Cottonbro, Maria Lindsey from Pexels, and Andreea Popa, Wyron A from Unsplash.

Now even more design possibilities with the popular DIN Next. With its technical and neutral character, DIN Next has earned a permanent place in contemporary typography. Now, DIN Next Slab expands the font family further, offering new design potential. Now comes the next step, DIN Next Slab, also produced under the direction of Akira Kobayashi. On a team with Sandra Winter and Tom Grace, Kobayashi is creating the new font variant based on the optimized shapes of DIN Next. The expansion will make the popular font all the more flexible and versatile. Apart from that, the geometric slab serifs underline the technical and formal nature of the font and emphasize a central design element of DIN Next. However, the team did have some challenges to overcome. While it is relatively easy to imagine DIN Next Light with slab serifs, the amount of available space quickly disappears when it comes to the Black styles. Winter explains that many tests and trials were necessary to find a compromise between space, letters and the serif shapes. Experiments with modified contrast in the weight or only one-sided serifs were quickly abandoned. The central, technical and powerful character of the font changed too much. Nevertheless, it was necessary to simplify slightly the shape of some letters, such as the ‘k’ or ‘x’, for example. These changes, first developed in the Black styles, were applied to all weights in order to lend the font a consistent appearance. Like DIN Next, DIN Next Slab also has seven weights, which cover the range from Ultralight to Black, each with matching italic. There are various character sets in all of the styles and the four middle weights have small capitals available. DIN Next Slab harmonizes perfectly with the styles of DIN Next: the basic letterforms and weights are identical. Both versions of the font can work together perfectly, not just in headlines and body text, but also within a text; they complement each other very well as design variations. With the new DIN Next Slab, Monotype expands the DIN Next super family consistently. With DIN Next Slab, you can underscore the technical and formal nature of the understated font not only in headlines, but in texts, as well. In this way, you have new and diverse potential for application, thanks to the way the different styles of DIN Next combine perfectly.

We’re excited to introduce Report, a geometric sans-serif typeface with rounded ends that takes inspiration from handwriting practice worksheets. Report is designed with legibility in mind, making it an excellent choice for students and educators alike. With its simple yet distinctive letterforms, Report prioritizes readability over austere geometry, making it a top choice for educators looking to create instructional materials that are both engaging and informative. One of the most exciting features of Report is its ability to access alternate characters using OpenType-savvy tools like InDesign, Illustrator, or Photoshop. With these tools, you can access lowercase “q” with a curl, lowercase “f” and “j” with tighter curls, capital “J” with a serif, and a “9” with a tilted stem. These stylistic alternates add personality and flair to your designs, making them stand out from the crowd. For even more versatility, check out Report School, a square-ended version of the typeface, and Sweater School, a more casual version with playful strokes. With three weights and italics included, you’ll have everything you need to create beautiful, engaging educational materials that your students will love. So why settle for boring, hard-to-read typefaces when you can choose Report? Whether you’re creating handouts, worksheets, or other instructional materials, Report’s legible letterforms and stylistic alternates make it the perfect choice for educators who want to create beautiful, engaging designs that inspire their students. 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.

Lyra is an Italian Renaissance script that might have developed if metal type had not broken the evolution of broad pen calligraphy. It lies in the area between the humanist bookhand and the chancery cursive, combining the fullness and articulation of the Roman letters with a moderate italic slant and condensation. A steep pen-angle allows use of a broader pen relative to the x-height, giving the letters more contrast with light verticals and heavy curves. Lyra embodies the Renaissance spirit of refining technical advances of the late middle ages with reintroduction of ancient classical principles. Based on the moving penstroke with constantly changing pen-angle, it brings the vitality of handwriting to the ordered legibility of type. Lyra is a formal italic, too slow for copying books. By eliminating the element of speed, digital technology opens up a new level of calligraphy, bringing it into the sphere of typography as would naturally have happened if metalworkers had not controlled the process. If classical Western traditions are respected, digital calligraphy has the potential to recapture the work of the past and restart its stalled evolution. There is of course no substitute for the charm of actual writing, with each letter made for its space; but the tradeoff is for the formal harmony of classical calligraphy as every curve resonates in tune with every other. This three-weight font family marks Philip Bouwsma's much-requested return from a three year hiatus. It also reminds us of his solid vision in regards to how calligraphy, typography and technology can interact to produce digital beauty and vesatility. Each of the three Lyra fonts contains almost three character sets in a single file. Aside from the usual wealth of alternates normally built into Bouwsma's work, Lyra offers two unique features for the user who appreciates the availability of handy solutions to subtle design space issues: At least three (and as many as six) length variations on ascending and descending forms, and 65 snap-on swashes which can be attached to either end of the majuscules or minuscules. The series also offers 24 dividers and ornaments built into each weight, and a stand-alone font containing 90 stars/snowflakes/flowers, symmetric contstructs for building frames or separators, masking, watermarking, or just good old psychedelia.

Introducing Good Times, the techno-inspired typeface that will take your designs to the next level. With its wide, capsule-shaped design, Good Times is perfect for high-tech, sports, and scientific themes. The letterforms were inspired by the lettering used on Pontiac cars from 1989-1994 and is designed with straight lines, simple forms, and unconnected strokes. Whether you’re designing for a futuristic tech company or a cutting-edge sports brand, Good Times has you covered. The font comes in seven different weights, including oblique styles, so you can choose the perfect weight for your project. For a more edgy look, check out Good Times Bad Times, a rusty texture variant that adds a rugged feel to your designs. And with OpenType technology, you can automatically substitute common letter pairings with customized ones for a genuine chipped metal aesthetic. But that’s not all. If you’re looking for lowercase letters, be sure to check out Good Timing, the follow-up to Good Times. With its sleek, modern look, Good Timing is the perfect complement to Good Times, offering even more design possibilities. So whether you’re creating a high-tech ad campaign or a scientific presentation, Good Times is the font that will make your design stand out. With its distinctive capsule-shaped design and versatile weights, you can create designs that are both bold and sophisticated. So why wait? Try Good Times today and see the difference for yourself! 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.

Meposa is more than just a typeface; it is a bold statement of individuality and creativity. It’s a unique, tough, and quirky design that defies convention. Meposa’s mixed-case letters with open apertures deviate from the traditional roots of wood-block typography, bringing a fresh and modern twist to an old-school classic. This hybrid typeface is an amalgamation of various design elements from different eras and cultures. The result is a unique and mesmerizing typeface that defies categorization. Meposa also draws inspiration from the 1970s custom van culture, where artists and designers would showcase their creativity by customizing their vehicles with bold and colorful graphics. This typeface channels that same spirit of creativity and individuality, inviting you to break the mold and think outside the box. With historical wood type influences, Meposa pays homage to the timeless and authentic craft of typography. Yet, it also features retro-tech and modern design elements, resulting in a truly one-of-a-kind typeface that bridges the past and the present. In summary, Meposa is a unique and tough display typeface that is both historical and modern, quirky and bold. Its mix of design influences makes it an ideal choice for anyone looking to break the mold and stand out from the crowd. Whether you’re a graphic designer or a creative professional, Meposa is sure to leave a lasting impression. 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 GGX89, the ultimate display typeface with a minimalist look that exudes Swiss-style sophistication. With its tight spacing and sleek lines, GGX89 is perfect for creating eye-catching headlines, logotypes, and titles that demand attention. Inspired by the iconic mid-20th-century sans-serif typefaces like Helvetica and Univers, GGX89 embodies the essence of Swiss graphic design, a style known for its simplicity, clarity, and precision. Its clean and straightforward design is sure to make any project look polished and professional. But GGX89 isn’t just all looks. It’s also incredibly versatile, making it a top choice for a wide range of design applications. Whether you’re creating marketing materials, advertising campaigns, or editorial designs, GGX89 has got you covered. And if you’re looking for a font that’s equally impressive for body text, look no further than GGX88. Together, these two typefaces offer a complete and cohesive design solution that will elevate your work to the next level. So why settle for anything less than the best? Choose GGX89 and GGX88 for your next design project and experience the timeless elegance of Swiss-style typography at its finest. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

TT Fellows useful links: Specimen | Graphic presentation | Customization options There can't be too many universal fonts! Meet TT Fellows, a new workhorse whose functionality allows you to comfortably use the font in a variety of projects. Calm and neutral at first glance, the mood of TT Fellows can change. Working with the typeface, you can reveal its soft and friendly nature, or even the brutal one, for example, by typing the text exclusively in capital letters in the bold style. TT Fellows is easy to use and perfect for setting large text arrays. Thanks to the font's uniwidth and versatility, the font is ideal for use on websites or in periodicals. Bold styles will work harmoniously in headlines or as accents in print or on packaging. TT Fellows is a humanist sans serif with a mechanical touch. With its open shapes, the friendly neutral character of thin weights and an even softer character in bold weights, the new typeface differs in character from the classic TT Norms® and TT Commons sans serifs, while still offering the same functionality. Calm regular styles differ from bold, deliberately display and more expressive ones. By the way, TT Fellows is a unwidth typeface. It was important for us that the user could change the styles, knowing that the layout will not suffer. The typeface features equal width proportions, open apertures, and slightly squared ovals, which associatively brings it closer to other popular modern fonts. Since the idea of the typeface was focused on it being a uniwidth typeface, we needed to fit the bold styles into the regular em squares, which led to interesting graphic solutions that are noticeable, for example, in the k and ж characters, in which the branches are cut directly into the stems. TT Fellows consists of 19 styles: 9 upright, 9 italic and 1 variable, each with over 700 glyphs. The font has 26 useful OpenType features. For example, there is a switch to single-part versions of letters a and y, fractions, tabular characters, case versions of punctuation, and localized versions of characters for different languages. There is a ligature for a combination of two characters of a complex design fl. TT Fellows font field guide including best practices, font pairings and alternatives.

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

In a future world where technology reigns supreme, communication must adapt to convey the cold and calculated efficiency of machines. Pirulen is the answer to this need. This hi-tech headliner is a futuristic marvel that transcends the limitations of traditional typography. Pirulen takes inspiration from the bold and daring style of 1930s Bank Gothic, but with a unique and revolutionary twist. It strips away any hint of warmth or humanity and replaces it with a cold and calculated design that perfectly captures the feeling of machines and technology. The result is a typeface that is both imposing and captivating. One of the most striking features of Pirulen is the lambda-style “Λ”, which adds to its already bold and robust appearance. This iconic symbol is a clear indicator of Pirulen’s futuristic design and sets it apart from other typefaces. And if you’re looking for even more variation, Pirulen offers barred “A” and accented variants that can be easily accessed through your application’s stylistic alternates function. With six different weights and italics, Pirulen is a versatile typeface that can adapt to any situation. Whether you’re creating sleek and modern designs or gritty and industrial ones, Pirulen can help you convey the cold and calculated efficiency of the future. So don’t be left behind—embrace the future with Pirulen. 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.

Welcome, esteemed customers, to our magnificent array of fonts! It is with great pleasure that we present to you the rusticized Steelfish Hammer, a variation of the popular Steelfish typeface. Its rugged appearance embodies the sincere and trustworthy nature of your message, evoking sentiments of the utmost assurance. With three textured letter variations that are shuffled automatically in OpenType-savvy applications, the Steelfish Hammer typeface creates an unparalleled realistic impression. To disable this effect, simply toggle the “standard ligatures” feature in your application. And oh, the compact letterforms of the Steelfish Hammer! They are nothing short of exquisite. Each of the five weights and italics of this typeface is a testament to the power and resilience of your message, with every character carefully crafted to achieve the desired effect. There are other kinds of Steelfish too: Steelfish Regular, Steelfish Rounded, Steelfish Steeled and Steelfish Unleaded. Come, delve into the world of typography with us and experience the unmatched beauty of the Steelfish Hammer. Let your message speak with confidence and authenticity, as it is our utmost priority to provide you with the best tools to achieve your goals. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Welcome to the world of Evensong—the perfect art deco geometric typeface for those who want to make a statement. With its dramatic and unusual contrast, this font is sure to catch the eye of anyone who sees it. One of the things that sets Evensong apart from other typefaces is its extreme thick/thin letters. But it’s not just that—it’s the way Evensong makes dramatic choices with its contrast that really makes it stand out. With Evensong, you can deliver your message with a stylistic flair that’s sure to get noticed. Whether you choose to use the Solid and Hollow styles independently or stack layers of Solid and Fill, you have the flexibility to experiment with different color combinations and layers to create the perfect retro-fashion look. Embrace the boldness of Evensong and make a statement that’s impossible to ignore. This font is perfect for those who want to stand out from the crowd and make a lasting impression. Try it out today and see how this one-of-a-kind typeface can take your design to the next level! Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Introducing Retrio. Original glyphs with echoed behind. As if the letters were moved, but the kinetic trail remained. Colored, gradient, with transparency or solid - many options in one family for any task and for every taste. The font will emphasize the style of the 20th century in illustration. Discos, electro music, records, nostalgia - these are the associations that this font family evokes, which is very important in design. At the same time, the Retrio font is not outdated, it was created taking into account modern trends in retro themes. A unique family in which there are both color and classic monochrome versions. Great versatility in use is provided by the many fonts in the set. Great for ad designs, posters, headlines and covers. Check the quality before purchasing and try the FREE DEMO version of the font to make sure your software supports color fonts. P.s. Have suggestions for color combinations? Write me an email with the subject "Retrio Color" on: ld.luxfont@gmail.com Features: - Free Demo font to check it works. - Uppercase and lowercase the same size. - With transparency and without. - Mega high-quality gradients in letters. - Kerning. IMPORTANT: - Multicolor version of this font will show up only in apps that are compatible with color fonts, like Adobe Photoshop CC 2017.0.1 and above, Illustrator CC 2018. Learn more about color fonts & their support in third-party apps on www.colorfonts.wtf -Don't worry about what you can't see the preview of the font in the tab "Individual Styles" - all fonts are working and have passed technical inspection, but not displayed, they just because the website MyFonts is not yet able to show a preview of colored fonts. Then if you have software with support colored fonts - you can be sure that after installing fonts into the system you will be able to use them like every other classic font. Question/answer: How to install a font? The procedure for installing the font in the system has not changed. Install the font as you would install the classic fonts. How can I change the font color to my color? · Adobe Illustrator: Convert text to outline and easily change color to your taste as if you were repainting a simple vector shape. · Adobe Photoshop: You can easily repaint text layer with Layer effects and color overlay. ld.luxfont@gmail.com

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.

🌿 Embrace the beauty of the natural world and the sophistication of elegant design with the Garmony Typeface. This exquisite font is a harmonious blend of nature-inspired decorative leaf illustrations and a versatile typeface that effortlessly combines two styles: Serif and Elegant Script. Whether you're working on a project for your wedding, branding, or any creative endeavor, Garmony brings the perfect balance of organic charm and refined aesthetics. ✒️ Serif Meets Script: Garmony Typeface seamlessly marries two distinct design styles. The serif characters exude a timeless and classical feel, while the elegant script elements add a touch of fluidity and grace. This dynamic fusion makes Garmony Typeface exceptionally versatile, suitable for various applications and themes. 🌱 Nature-Inspired Decorative Leaves: Each character within Garmony Typeface is adorned with delicate decorative leaf illustrations, reminiscent of lush foliage. These charming details infuse your text with a touch of nature, making it ideal for eco-friendly, organic, or natural-themed projects. 🎨 Dynamic Ligatures and Alternatives: Garmony Typeface includes an array of dynamic ligatures and alternative characters, enhancing the fluidity and elegance of your designs. With these options at your disposal, you can create text that appears hand-crafted and truly unique. 🌐 PUA Unicode and Multilingual Support: No matter where your project takes you, Garmony Typeface is fully equipped to meet your linguistic needs. It includes PUA (Private Use Area) Unicode, ensuring compatibility with various design software and providing support for multiple languages. This international versatility ensures your message reaches a global audience with style. 🌾 Swash and Swirl Delight: Elevate your design with Garmony's swash and swirl elements, perfect for adding an extra dash of sophistication to headlines, titles, and logos. These intricate details showcase the font's elegance, making it stand out in any context. 🌏 Versatility and Style: From wedding invitations to logos, product packaging to blog headers, Garmony Typeface brings unparalleled versatility and style to your creative projects. It's the perfect choice for designers, creatives, and individuals seeking a font that combines the beauty of the natural world with the grace of elegant design. Embrace the harmony of nature and elegance with Garmony Typeface. Unleash your creativity and let your designs flourish with the timeless charm and artistic sophistication that only Garmony can provide. Experience the magic of Garmony Typeface today and elevate your projects to a new level of style and allure.

JT Collect is a hybrid sans-serif typeface for the 21st century that takes a playful approach to the type design heritages of Germany and Switzerland. Confidently built on a geometric structure and infused with elements from traditional grotesque typefaces, it hits the sweet spot between geo and grot. I developed JT Collect purely digitally, drawing from years of experience with analog type design. The letters aren’t based on one particular source but seek to merge different type genres from the first half of the 20th century and lift them to a contemporary quality level. JT Collect is less reserved than strictly geometric designs and brings some industrial workmanship and honesty into the game. The six weights plus three optical sizes of JT Collect offer what you need to make an impact. While cool and elegant in the Light weight, the fonts show more presence on the page as they grow bolder. To this end, I drew the letterforms with a slightly unrefined, brawny air in the bolder weights. This sets them apart from the perceived purity of more geometric designs. The Book weight is ideal for short texts and medium-length copy, and the forceful Bold makes wordmarks look crisp and lets headlines radiate cosmopolitan self-confidence. JT Collect is suitable as a primary typeface for branding, advertising, packaging, stationery, posters, documents, and websites from trades and industries as diverse as food & fashion, media & makers, culture & creators, games & gems, sports & startups. Use JT Collect for film titles or watch faces, for leaflets or store signs, for business cards or billboards: this font family is as adaptable as a chameleon (and like a chameleon, it’s never boring). Try it in different contexts. You won’t be disappointed. Its adaptability also makes JT Collect a great starting point for poised and persuasive font combinations. Even a sans/sans pairing is possible due to hybrid nature of JT Collect—something that’d be hard to achieve with most other sans-serif typefaces on the market. You can add to it a heavy slab from the OGJ library, like Temper Wide. You might go for a geometric or a grotesque typeface as secondary (text) typeface. Or you could set your body copy in a classic serif typeface such as Caslon, Sabon, or Plantin. That’s right: JT Collect is a true team player. Whether you need a grotesque or a geometric sans: try JT Collect. You can get the best of both worlds.

Welcome to the world of Zekton. This typeface is not for the faint of heart. With its square letterforms and sharp edges, Zekton brings a brave, industrial look to your designs. The uniform line widths and smooth curves give this typeface a serious and professional feel, perfect for the world of consumer electronics. When you use the Zekton typeface, you’ll bring a fresh and modern AM/FM portable stereo fragrance to your designs. It’s like having a pocketful of transistors at your fingertips, ready to power up your creativity. And with a twinkle in its eye, Zekton promises to add a touch of excitement to every project. Zekton is available in seven weights, two widths, and italics for a total of 42 styles. This versatility makes it easy to find the perfect fit for your project. Whether you’re designing a sleek product brochure, a cutting-edge website, or a tech manual, Zekton has the style and range to help you stand out. So if you’re ready to take your designs to the next level, give Zekton a try. It’s the typeface that’s built to handle the toughest industrial challenges, and it’s ready to help you make a bold statement in the world of consumer electronics. Most Latin-based European, and some Cyrillic-based writing systems are supported, including the following languages. A Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, 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, Komi-Permyak, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, 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.

The Mashq script is the oldest documented Arabic Jazm calligraphy style. It was invented by the early Muslims in the Arabian cities of Mecca and Medina, exclusively for writing the Quran and other Islamic religious texts. The Mashq style employed complex ligature and multi-level baseline rules, and therefore it went through a continuous simplification process. Around the time period Mashq was developed, the early Arab Muslims experimented with another short-lived Mashq-like style with heavily slanted vertical stems, which closely resembled the common Ḥijazi style. This style is commonly referred to as the Ma’il (slanted) style. Eventually, the early complex Mashq style was replaced as the main Islamic Arabic script, by a more simplified Mashq-derived calligraphy style that was developed in the city of Kufa, modern day Iraq, which was commonly referred to as Kufi. The Kufic style became the official Arabic script style for centuries before it was replaced by the more developed Naskh, the modern Arabic script style used today. The Mashq font family by Arabetics includes three styles of Mashq. The first is Mashq regular, which closely follows the script style of Musḥaf ‘Uthman (currently displayed in the Topkapi Museum in Turkey) with only the initial and final Haa’ baselines shifting. The second is Mashq Maail, which emphasizes the features of the Ma’il style shared with Mashq. The third is Mashq Kufi, which closely follows the script style in an adequate sample from the Quran manuscripts of the Bergstraesser Archive. All three fonts include two styles, with and without Tashkeel (dots). The Mashq and Mashq Kufi fonts include two more styles, with and without Harakat (soft vowels), and Hamza. Only three soft vowels are implemented along with their Tanween (double) forms. The Sukoon vowel is the default shape before inserting a soft vowel. Hamza was treated as a vowel in the Mashq and early Kufi manuscripts. Kashida is a zero width character. In the Mashq fonts, inserting one Kashida before the final ‘Ayn glyph group will trigger alternative shapes. In the Mashq Kufi fonts, inserting one Kashida (or two) before the final Yaa’, ‘Ayn, and Ḥaa’ glyph groups will trigger alternative shapes. The Mashq font family by Arabetics was designed to be as compatible as possible with the Arabic keyboard and Unicode alphabet used in computers today. Calligraphic variations were implemented only when they marked significant and permanent script features.

The Wavetable typeface is not your ordinary run-of-the-mill typeface. Its unique rectangular letterforms and sophisticated techno look sets it apart from other fonts in its category. This ultramodern typeface has been designed with the utmost attention to detail, inspired by the sleek designs of electronic musical instruments. One cannot help but admire the intricate details of the Wavetable typeface. Its unorthodox letterforms are reminiscent of the precision and finesse of a well-tuned musical instrument. Each character is carefully crafted to create a harmonious balance between form and function. But the Wavetable typeface is not just about looks. Its OpenType fractions, primes, and all currency symbols make it a versatile font suitable for a wide range of design applications. Whether you’re designing a sleek and modern logo or a futuristic poster, Wavetable has got you covered. In summary, the Wavetable typeface is a masterpiece of modern design, inspired by the world of electronic music. Its sophisticated techno look and unique rectangular letterforms make it a standout headliner that is sure to capture the attention of any audience. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

The Adelle Sans font family by José Scaglione and Veronika Burian provides a more clean and spirited take on the traditional grotesque sans. As is typical with TypeTogether typefaces, the most demanding editorial design problems were taken into consideration during its creation. The combination of lively character and unobtrusive appearance inherent to grotesque sans serifs make it an utterly versatile tool for every imaginable situation. Whether for global branding, screens, signage and advertising, or UI, the keyword behind Adelle Sans’s use is flexibility. To save space and keep legibility high, Adelle Sans is available in eight weights with matching italics and includes a condensed width of seven weights with their matching italics. Each of these 30 styles hits the perfect tone as a headline punch or subdued background hum, and the condensed widths are adept at setting short texts while retaining the expected personality. Rooted in the belief that broad language support is crucial to modern global type design, the Latin-matching variants are yet another push in TypeTogether’s ongoing multilingual efforts. The Latin script may have been first, but Adelle Sans has thus far been expanded into an exhaustive nine script family with extensive language support. Careful research and close collaboration with type experts yielded typographic consistency, legibility, and cultural awareness among all scripts, as well as filling the need for quality editorial typefaces in Arabic, Armenian, Chinese, Cyrillic, Devanagari, Latin Extended, Greek, and Thai, with more planned for the future. In addition to the 30 Latin styles, all other scripts have between seven and fourteen styles, each of which has been engineered to optically match the proportions of its counterparts. And each script comes bundled with the Latin script to ensure an harmonious fit amongst any two or more Adelle Sans families in the same block of text. The full Adelle Sans family delivers consistent, flexible, and personable results in multilingual documents, in apps, and multicultural branding worldwide. Its wide character set includes typographic niceties, small caps, several sets of figures, icons, and support for over 245 Latin-based languages. Be sure to check out the companions for Adelle Sans: Adelle, for a versatile and authoritative slab serif with no shortage of personality; and Adelle Mono, a two-width family flexible enough for developers and graphic designers alike.

Sortie Super is a take on one of the kings of display lettering - Caslon's high-contrast, reversed stress 'Italian' style. It looks great at big sizes and in short flurries... and shouldn't be used in confined spaces.  When compared with the original face, the weight and contrast of Sortie Super has been exaggerated. To add gravity to the letters I've increased their width overall and reduced the spacing to a hair-line fracture for added visual impact. Characters like 'S', 'E','O' and 'Z' are relatively close to their historical precedents - however the terminals on the 'C-G-S-З-Є', which have been drawn so to be more consistent. Other aspects, such as the leg of the 'R' and 'Я', the apex of the 'A' and the spur of the 'G' are revised and simplified, to help spacing and optical weight across the alphabet. Also, to reduce visual noise terminals in characters like 'C', 'J' and 'R'' are horizontally aligned. Meanwhile, the central horizontal strokes in the 'B', 'P' and 'R' etc are reduced to a hairline, so as to create a more simplified system of thick-to-thin.  The temptation when drawing this kind of esoteric display alphabet is to start to rely on modular components. Which, while copy-paste-repeat is a sure-fire way to make the face more visually consistent, it's a lazy method that risks allowing the font become soulless and mechanical. An early experiment I made was making a monospaced version, which was useful in headlines, but it lost that loving feeling. So, by maintaining a handful of flourishes – the tail of the '?', the inky drop of the '!', the bulbous gloop of arms of the 'Ж' and 'К', the swirling legs in the 'R', 'Я' and 'Л', the big-bowling weight of the 'J' and 'U' – plus a few in-built inconsistencies and a bit of its own silliness, Sortie Super retains some of the organic warmth of its ancestor. Conversely, the counters, apertures and negative space are largely rigidly geometric, which helps give the revival font a bit of a modern touch. Sortie Super is an uppercase-only display font that comes with Western, Central and East European Latin, extended Cyrillic, Pinyin, as well as a set of hairline graphic features and symbols.

Klothilde is a handwriting font which came to life in one of my doodling sessions (I must admit I still doodle with pen and paper). The idea was to create a font which resembles writing with a quill on paper with exaggerated ball terminals. Sometimes there is too much ink which makes the letters fat and the strokes uneven. The paper soaks the ink resulting in blurred line crossings. The form gets blurry. On the other hand, when the quill runs out of ink the stroke gets thinner looking like the light version of Klothilde. In order to emulate the different looks, I created six fonts with a common skeleton but different appearance which can be altered seamlessly by using the Variable Fonts technology (e.g. in latest Adobe apps or CorelDRAW Graphics Suite) along the Weight and Blurred sliders. But even without, Klothilde can be used even in longer copy. Use it from 18 pt upwards, flush left with tight leading and intersecting ascenders and descenders. Due to extensive manual kerning, it gives your text an even colour. To my knowledge, Klothilde is one of the first script Variable fonts in different weights. No, Klothilde’s letters are not connecting. But I added a whole bunch of connecting ligatures which are simply activated by the ligature feature of your app. Even Microsoft Word can do that. Thus Klothilde comes to life, as it should be expected from a handwriting font. In order to add to variety there are additional glyphs for some critical initial and standalone letters. Repeating letter combinations like nn, mm or rr are avoided by replacing the second letter by an alternative form. All features are activated by the standard ligature feature. Ligatures are available for most European languages, some even in Cyrillic (some special Serbo-Croat letters included and accessible through localization or Style Set 08 features). Romanian comma-accent characters and ligatures are accessible through the OpenType locl feature. For the topping on the cake, I added an alternate ampersand (stylistic set 1) and asterisk (ss04), an alternate Cyrillic b (ss02) and t (ss03), a few fleurons, arrows and a skull (OpenType feature ornm), fractions (frac feature), circled numbers (ss06) and an interrobang (ss07) which result in exactly 900 glyphs in each of the six fonts. There should be enough to play with. Should you be missing a special character, do give me a hint.

Step back in time with Marion, the transitional serif typeface that exudes a nineteenth-century flair. With its classic structure reminiscent of Century Roman, Marion stands out with a stroke treatment that’s closer to the timeless elegance of Baskerville. The inspiration for Marion comes from a diverse array of old metal typefaces, resulting in a design that’s uniquely historic and fascinating. One of the most distinctive features of Marion is the hammer claw shape of the serifs, adding a touch of industrial charm and a smokestack vibe. The font is available in Regular, Italic, Bold, and Bold Italic, allowing for a range of possibilities when it comes to design. With old-style numerals and standard f-ligatures, Marion offers the perfect balance between historical design and modern-day functionality. Additionally, it includes some eccentric discretionary ligatures and chirpy swash letters, adding a whimsical touch to your graphic design projects. Take your design to the next level with Marion. Its historically inspired design and unique features are sure to add a touch of elegance and sophistication to any project, making it the perfect choice for designers looking to create something truly remarkable. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

Flaminia is a typeface family of 4 members designed by Carlos Fabián Camargo G. The central idea started as Dingbats and titles labeled with fine-tipped brushes and flat tip for graphic design related restaurant menus, instructions, packaging, food containers and labels. Thus began the process of drawings and letters integrated by shapes and counterblocks that seem inaccurate yet but at the same time clean and attractive. For this reason each variable suggests fresh brushstrokes that combine ideas from Roman and italic calligraphy. Flaminia members work separately or together by solving needs in different scenarios. This will enhance its properties in order to control and diagram titles, subtitles and short paragraphs with an effusive and manuscript character. Flaminia is useful for generating a flavor of "hand lettered by skilled artists lettering." In conclusion, Flaminia Regular and Italic are used to write short paragraphs. His ascending and downs are lower that the X height. Its width is imperceptibly condensed to save horizontal space. Its smooth lines and finishes simulating a crescent moon have been made with fine-tipped brush. The contrast between thick and thin has medium intensity. Its complement is an ideal italic to emphasize words and phrases. Its conceptual characteristics are similar with foundation's handwriting, except for his companion who takes ideas from the ornamental italic calligraphy. Flaminia Black is compact and ideal for ranking information such as words and titles. Its personality is based on ornamental penmanship italics mixed with humanistic ideas outlined with contrast-type, flat-tipped brush thickness. Its overall width is slightly condensed, rising and falling are short compared to an exaggerated X height. Its smooth lines and terminations as in a crescent moon simulate the path of a broad brush. Its amount of contrast between strokes have average intensity. In brief, push to the limit parameters such as the type and amount of contrast, size, backward, forward, overall width, etc. And finally, Flaminia Dingbats offers three sets of different illustrations, a total of almost 90 drawings useful in communications related to: Food, Clothes and Sketchy. Each carefully wrought through research, testing, analytical design, visual strategy and high-definition of Bezier paths, optimizing time and work to their users. And in conclusion, I have plans to continue expanding the family with more complete versions in the future.

Introducing Deception—the sub-pixel typeface that’s about to blow your mind! With ten captivating effects, this font is a must-have for anyone looking to create unique and eye-catching designs. Deception Array is the perfect choice for modern architectural themes, with wide blocks reminiscent of a digital VU meter. Deception Bars gives your text a mesmerizing look, like it’s being viewed through lenticular glass. Deception Blocks approximates the heavy JPEG degradation and pixel sharpening glitch effects that are all the rage right now. Looking for something flashy and prestigious? Try Deception Diamonds with a glow effect. Deception Lines can produce a grayscale effect or banding depending on resolution and rendering type, so keep experimenting to see what works best for you. Deception Particles echoes the look of impact printers or laser-etched sell-by dates, giving your text a vintage feel. Deception Plusses radiates positivity with its energetic design. Deception Process simulates grayscale LCD text or a thermal printer on the fritz, perfect for creating a unique and edgy look. Deception Scanline duplicates the appearance of television picture tube text rendering, ideal for recreating a videogame or retro computing vibe. And if you’re feeling daring, Deception System smacks of 1-bit dithering gone completely haywire! Each style of Deception is available in Regular and Bold, with OpenType fractions, numeric ordinals, and plenty of currency symbols included. So what are you waiting for? Try out Deception 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.

Nulshock, the name itself invokes images of a bold, industrial design, with sleek, precise lines and curves that scream of the latest high-tech advancements. This typeface is not for the faint of heart, as it delivers your message with an unapologetic, explosive impact that will leave a lasting impression. Designed with the utmost attention to detail, Nulshock’s precise mechanical curves and accurate optical adjustments make it a natural fit for even the most demanding of high-tech environments. Its ultra-modern design and wide, industrial style set it apart from other fonts, making it the perfect choice for headlines, labels, indicators, logos, product names, and titles. And with a range of seven weights to choose from, you can fine-tune Nulshock’s visual impact to suit your specific needs. From the lightest weight for a more delicate touch, to the heaviest weight for maximum impact, Nulshock has you covered. But Nulshock isn’t just a pretty face—it’s also highly functional. With a wide range of symbols, including mathematical symbols, monetary symbols, fractions, and numeric ordinals, Nulshock is a versatile tool for any design project. In short, Nulshock is a font that demands attention, and it delivers on that demand with an ultra-modern, wide design that is optimized for high-tech environments. So if you’re looking to make a bold statement with your next design project, Nulshock is the typeface for you. 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.

FF Real is a convincing re-interpretation of the German grotesque style from between 1998 and 1908, but with much more warmth and improved legibility as well as a hint towards the warmer American grotesques. Later on, not just slanted styles, but a “proper” italic version was added inspired by the way Roman and Italic are distinguished in traditional serif faces. NEW: a specially created set of obliques were added in 2018 to give designers more design flexibility, for those looking for a less calligraphic look. In 2020 the family was extended with matching condensed weights. FF Real was originally conceived by Erik Spiekermann as one text weight and one headline weight to be used as the only faces in his biography ‘Hello I am Erik’, edited by Johannes Erler, published in 2014. While Spiekermann drew the alphabets, he passed on the font data to Ralph du Carrois and Anja Meiners who cleaned it up and completed it. In the meantime, FF Real has been extended to a family of two styles and 65 weights each. The design of FF Real is rooted in early static grotesques from the turn of the century. Several German type foundries – among them the Berlin-based foundries Theinhardt and H. Berthold AG – released such designs between 1898 and 1908. The semi-bold weight of a poster-size typeface that was lighter than most of the according semi-bolds in metal type at the time, gave the impetus to FF Real’s regular weight. In the words of Spiekermann, the historical example is “the real, non-fake version, as it were, the royal sans serif face“, thus giving his new typeface the name “Real” (which is also in keeping with his four-letter names, i.e. FF Meta, FF Unit). FF Real is a convincing re-interpretation of the German grotesque style, but with much more warmth and improved legibility. With a hint towards the warmer American grotesques, Spiekermann added those typical Anglo-American features such as a three-story ‘g’ and an ‘8’ with a more defined loop. To better distinguish characters in small text sizes, FF Real Text comes in old style figures, ‘f’ and ‘t’ are wider, the capital ‘I’ is equipped with serifs, as is the lowercase ‘l’. What’s more, i-dots and all punctuation are round.

Picture this: You’re sitting at your desk, staring at the same old boring font on your screen, and you can feel your eyes glaze over as you read yet another tedious document. Enter Squirty, the typeface that injects a much-needed dose of life into your words. Inspired by the vibrant promotional visuals of Japanese nightclubs from back in the day, Squirty is like a breath of fresh air in a stale room. Its hand-painted letterforms are quirky and playful, with a personality all their own. And don’t worry about being too rigid—Squirty’s unconventional style gives you permission to let your hair down and loosen up a bit. But that’s not all. If you’re lucky enough to have access to OpenType ligatures, Squirty takes things to the next level. Letter and numeral variations shuffle around automatically, so your words flow more naturally, like a conversation with an old friend. No more stuffy, robotic language—Squirty lets you be yourself. So why settle for boring when you can have brave? Give your words a personality all their own with Squirty—your new wingman in the design world. Most Latin-based European, Vietnamese, Greek, and most Cyrillic-based writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Azerbaijani, Bashkir, Bashkir (Latin), Basque, Belarusian, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Bulgarian, Buryat, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dungan, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Igbo, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaingang, Khalkha, Kalmyk, Kanuri, Kaqchikel, Karakalpak (Latin), Kashubian, Kazakh, Kikongo, Kinyarwanda, Kirundi, Komi-Permyak, Kurdish, Kurdish (Latin), Kyrgyz, Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Macedonian, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Nahuatl, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Russian, Rusyn, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tajik, Tatar, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Ukrainian, Uzbek, Uzbek (Latin), Venda, Venetian, Vepsian, Vietnamese, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xavante, Xhosa, Yapese, Zapotec, Zarma, Zazaki, Zulu and Zuni.

A friend once jokingly told me that what I really do is mine extinct arts for parts to use in modern things, like going to the scrapyard to pick up bumpers, quarter-panels and dashboards off of Datsuns and Ponies to build a shiny new Ferrari. I still kind of grin at that, but I certainly do spend a lot of time looking at old things and imagining ways they would work today. This shiny new Ferrari here is called Bibliophile, and it contains scrap heap parts from various pages by Louis Prang, the Prussian-American printer and publisher who inspired my Prangs fonts. This is my second engagement with the late 19th century man, and it’s quite a bit more intricate than just an italic Didone with a connected lowercase. Bibliophile marries Round Hand calligraphy with Italian capitals, two styles not often relayed in the same alphabet, but work together beautifully when combined well. When you combine them well with a few long-practised tricks of the trade, then mix in a few trusted features from my previous work over the years, you get my usual crazy exuberance, like 17 different shapes for the d, 21 different forms for the y, endings, beginnings, swashes, ornaments, and so on. It’s no secret that I can get carried away when I’m so consumed by an idea. — Bibliophile comes in 2 weights, each of them with over 900 glyphs covering all the latin languages. Bibliophile also comes with a bold weight, something I’m always reluctant to do with something as adventurous and complex as the structure of this historical mashup. But I couldn’t chase away the idea of increasing the contrast while maintaining the hairlines in a lowercase this narrow. Part of it was the curiosity about the outcome, and part was the sheer challenge of it. I think it turned out OK. Words set in either weight will show delicateness and elegance, and the more time you spend inside the font and micro-manage the setting, the more ways you will find to magnify either. Bibliophile can be as muted or luxurious as you want it to be. This is the kind of alphabet that fits well in fashion marketing and high-end packaging, from the very subdued to the super-exquisite. Enjoy the gleaming new vehicle made with freshly polished old parts.

Introducing Catwing—the typeface that takes inspiration from the old school manual typewriters that dominated offices and homes alike. With its unique blend of sleek and clean lines, Catwing is the perfect typeface for any project that requires a touch of vintage charm. With its proportionally spaced letters, Catwing sets itself apart from the other scripts out there. It’s a typeface that’s versatile and perfect for all kinds of designs. You can use it in all caps, making it perfect for headlines and titles that need to grab the reader’s attention. The Regular style of Catwing is a clean and classic design that will add a touch of elegance to any project. But for those who want to add a bit more texture and character, there’s the Fuzz style. This version features a unique texture that gives your project a more authentic and genuine feel. One of the most exciting features of Catwing Fuzz is its custom letter pairs. These pairs are automatically swapped to produce a more realistic look that’s reminiscent of the old manual typewriters. With Catwing Fuzz, you can add a bit of history and character to your project. So, whether you’re designing a retro poster or a vintage-inspired logo, Catwing is the perfect choice. It’s a typeface that captures the essence of a bygone era and brings it to the modern world. Give your project that touch of nostalgia with Catwing—the typeface that’s as timeless as the typewriter itself. 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.

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

Schism is a modulated sans-serif, originally developed from our Alias Didot typeface, as a serif-less version of the same design. It was expanded to three sub-families, with the thin stroke getting progressively heavier from Schism One to Schism Three. The different versions explore how this change in contrast between thick and thin strokes changes the character of the letterforms. The shape is maintained, but the emphasis shifts from rounded to angular, elegant to incised. Schism One has high contrast, and the same weight of thin stroke from Light to Black. Letter endings are at horizontal or vertical, giving a pinched, constricted shape for characters such as a, c, e and s. The h, m, n and u have a sharp connection between curve and vertical, and are high shouldered, giving a slightly square shape. The r and y have a thick stress at their horizontal endings, which makes them impactful and striking at bolder weights. Though derived from an elegant, classic form, Schism feels austere rather than flowery. It doesn’t have the flourishes of other modulated sans typefaces, its aesthetic more a kind of graphic-tinged utility. While in Schism Two and Three the thin stroke gets progressively heavier, the connections between vertical and curves — in a, b, n etc — remain cut to an incised point throughout. The effect is that Schism looks chiselled and textural across all weights. Forms maintain a clear, defined shape even in Bold and Black, and don’t have the bloated, wide and heavy appearance heavy weights can have. The change in the thickness of the thin stroke in different versions of the same weight of a typeface is called grading. This is often used when the types are to used in problematic print surfaces such as newsprint, or at small sizes — where thin strokes might bleed, and counters fill in and lose clarity, or detail might be lost or be too thin to register. The different gradings are incremental and can be quite subtle. In Schism it is extreme, and used as a design device, giving three connected but separate styles, from Sans-Didot to almost-Grotesk. The name Schism suggests the differences in shape and style in Schism One, Two and Three. Three styles with distinct differences, from the same start point.

The Snasm typeface is a versatile and futuristic typeface that incorporates modular letter shapes from the late twentieth century, with a focus on wide letterforms. This typeface draws inspiration from the instrumental typeface designs of Donald Handel, known for their clean lines and sharp angles. But that’s not all—Snasm also pays homage to the sleek, high-tech design strategy of the late 1970s through the early 1990s, as seen in logos for Pepsi and the Nintendo Super Famicom. The Snasm font is not just visually appealing, but it also includes a range of weights and meticulously constructed obliques, making it a valuable asset in any design project. With its stable, sparse caps and roomy lowercase, Snasm is perfect for conveying concepts of science, technology, and high-tech accuracy. This font keeps pace with the latest digital gadgetry and user interface trends, making it an excellent choice for designers who want to stay ahead of the curve. Using Snasm in your designs can add a futuristic and modern touch to any project, whether you’re creating a new website, designing a mobile app, or working on a digital marketing campaign. Overall, Snasm is a typeface that is as functional as it is aesthetically pleasing, making it a must-have for any designer looking to create high-tech designs that stand out from the crowd. 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.

Welcome to the winter wonderland of typography, where the letters are as crisp and chilly as the winter breeze! Introducing Snowa, the perfect typeface for your holiday projects. Whether you’re designing a greeting card, creating an advertisement for a winter resort, or simply adding some frosty flair to your designs, Snowa is the perfect choice. With its snow-capped letterforms, Snowa captures the essence of the winter season. The elegant curves of each letter are topped with a layer of shimmering snow, making your text stand out like a snowflake in a blizzard. It’s perfect for creating a festive and inviting atmosphere for your audience. But that’s not all—Snowa comes with a snowless version as well as independent layers for constructing your own layered snow effects. You can customize your designs to suit your needs and create the perfect snowy effect. Whether you want a light dusting of snow or a heavy blizzard, Snowa has you covered. So don’t let your designs be as dull as a snowless winter day. Add some winter magic with Snowa. Let the snowy letters create a wonderland of typography, and let your imagination take you to a winter wonderland of your own. With Snowa, your designs will be as cool as ice and as dazzling as freshly fallen snow. Happy Holidays! 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.

Picture this: a wild and zany world filled with popping colors, energetic beats, and a touch of surrealism. That’s the world of Earwig Factory, a font that’s as vibrant and playful as it is versatile. With its jumbled cut-outs and scattered letters and numerals, Earwig Factory is a font that defies convention. But that’s not all: when you use it in OpenType-savvy programs, the letters and numerals become even more dynamic, pseudorandomized to create a more realistic and unpredictable feel. It’s like every time you use the font, you’re getting a new and unique experience. But why stop there? With Earwig Factory, you can also create your own color and texture layers using the “letters” and “cards” styles. Want to make your font even more eye-catching? Simply add an additional “cards” layer and offset it slightly to create a drop shadow effect. The possibilities are endless, and the results are always electric. So why settle for a boring, predictable font when you can unleash the zany power of Earwig Factory? Whether you’re designing a poster, a logo, or anything in between, this font will add a touch of irreverence and excitement that’s impossible to ignore. So go ahead, let your creativity run wild, and see what Earwig Factory can do for you! 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.

Bunyan Pro is the synthesis of Bunyan, the last face Eric Gill designed for hand setting in 1934 and Pilgrim, the machine face based on it, issued by British Linotype in the early 1950s — the most popular Gill text face in Britain from its release until well into the 1980s. Gill’s last face doesn't date itself anywhere near as obviously as Gill’s other serif faces, which were all really products of their time, heavily influenced by the richly ornamental and constantly changing aesthetic trends of the interwar period. When compared to Gill’s previous work, Bunyan seems like a revolution in the way he thought and drew. It’s as if he was shrugging off all heavy burden of what was popular, and going back to the basics of older standards. Bunyan had no bells and whistles, doesn't risk functionality with contrasts that are too high or too low, and didn't venture far outside the comfortable oldstyle rhythm Gill grew up with. By interbellum standards, this was utter austerity, a veritable denial of deco excess. Surprisingly, even without all the cloying trivialities, Bunyan still stood indisputably as an aesthetically pleasing, space saving design that could have been made only by Eric Gill. Bunyan Pro comes in three weights and their italics. The main font is intended for use between 8 and 14 points. The medium and the bold are great for emphasis but also have good merit in larger sizes, so can make effective display types as well. All six fonts include small caps, ligatures, alternates, six sets of figures, and three original Gill manicules. We tried to keep the best features of the handset (Bunyan) and machine (Pilgrim) versions while building a text face that can function in today’s immersive reading media. Deciding on which useful letterpress features to preserve for aesthetic importance was hell on our eyeballs — which lead to complex and painstaking ways of ironing out irregularities and inconsistencies related to metal technologies, in order to provide something with authenticity. The result is a unique typeface based on a Gill design that, to a much greater extent than any of his other faces, works well as a text face that can be used for entire books and magazines. For more information on Bunyan Pro’s character set, features, development process and some print tests, please consult the PDF in the gallery section of this page.

IMPORTANT – Please consider the superior Carrig Pro before making a purchase decision. Carrig started its life in 1998. I was working for a design agency in Cork, Ireland and was given a new brand identity project for a lakeside hotel in County Kerry. While visiting the hotel I made various sketches of the surroundings and upon returning to the studio, it was clear that my strongest ideas for the identity would be based on these freehand drawings. I wanted a classic, rough, hand-drawn typeface to complement this style but at that time, the studio didn’t have anything suitable, so I decided to draw my own. I found a Trajan-esque typeface that I really liked the look of in an old calligraphy workbook. I set about drawing my own version and then digitised it. Once the client had seen and approved my design, I began working on creating a complete all caps typeface to use for the hotel’s stationery. With ‘carrig’ being the Gaelic word for ‘rock’, my new typeface was all the more appropriate as it had the appearance of letterforms that had been carved into stone and weathered by time. With the project completed and the client happy, Carrig then sat in my unused fonts folder for several years... but there was always a nagging feeling at the back of my mind that I should do something more with it. So, in the autumn of 2014, I finally set about doing just that and created the font family you now find at MyFonts. Carrig’s form and structure was influenced by a hybrid of Classic Roman and Garalde typeface designs. The original calligraphic elements from the 1998 version of Carrig have been retained to add personality—as can be seen in the serifs, strokes, spurs, terminals and open bowls. Perhaps its most distinctive trait is a high x-height combined with relatively short ascenders. I wanted Carrig to immediately resonate with the reader and have designed it to be familiar and friendly. I imagine designers might choose Carrig as an alternative to such typefaces as Trajan, Garamond and Baskerville. I see Carrig as primarily a display typeface for titles/headlines in printed materials. I would also love to see it being used for branding, packaging and promotional material and am keen to hear from designers who use it in their own work.