Useful links: Using the variable font in Illustrator Working with a variable font in Photoshop TT Frantz is an experimental variable font, distinguished by its slimness and lightness. The variation in the font affects the change in the height of the mean line - by moving the axis adjustment slider you can easily raise or lower the mean line of the font. In TT Frantz, you can find small references to the art deco aesthetics, which are expressed in significantly lowered or, conversely, heightened waist of the letters. In addition, depending on the position of the axis adjustment slider, the closedness of the aperture changes for some letters. In order to preserve the main feature of the font—the change in the height of the main line—we made lowercase characters as tall as uppercase ones, but at the same time we kept small kerns. An interesting fact is that in Cyrillic letters з с а е, the variability of the aperture follows a different scenario in comparison with their Latin sisters. When working on TT Frantz, we tried to make it so that when changing the variability, the width of the characters would not change, and the font would remain monospaced. And in order to avoid holes in the set, we made contextual alternates and several ligatures. Frantz consists of 470 glyphs, and in addition to broad language support (Latin and Cyrillic) it can offer standard and old-style figures, including their tubular versions, as well as ligatures. Important clarification regarding variable fonts. At the moment, not all graphic editors, programs and browsers support variable fonts. You can check the status of support for the variability of your software here: v-fonts.com/support/ But do not despair—even if you do not have access to the necessary software, you still have the opportunity to use TT Frantz in your projects. Especially for you, we have prepared three separate non-variable styles (Frantz A, Frantz B, Frantz C), each of which is responsible for a certain location of the mean line of the font and where this line is already fixed in a certain position (high, medium and low).

Meet Ollie, a casual signage script whose friendly, bouncy exterior belies a heart of sophisticated OpenType programming. This font is designed to make the most of OpenType savvy applications, and as such is recommended for professional design use. Or to put it another way: Make sure that contextual alternates and ligatures are always turned on! Ollie includes about 900 glyphs, many of which are automagical substitutions to keep the text flowing smoothly, and to pseudo-randomly pick different glyphs to avoid repetition. With contextual alternates turned on (as they should be by default), most lowercase letters will alternate between at least two different forms. The powerful OpenType programming makes the font itself ‘look back’ (up to eight characters) on previously used letters; typing “banana” will give you three different a’s and two different n’s (the last a is a special ‘end form’ character). The calt feature controls many other ‘special effects’ which all add together to give a smooth-flowing, hand-lettered look. These effects include start and end forms (and indeed, ‘loner’ forms) of many letters, which are automatically substituted in at beginnings or ends of words, or when the previous or next letter doesn't connect. Another special feature tests to see if there is room for the crossbar of t (or tt ligature) to extend further over the previous or next letter, or both, as is often the case. The last main effect of the calt feature is to substitute certain letters typed before any ‘e’ character, to make for a more natural connection (see the pe combination in ‘Eclectotype’ in the first poster). Ligatures should be on by default, for a much nicer looking tt combination, and a few others besides. The swash feature should be used sparingly (one glyph at a time, really) to apply a more extravagant look to g,j and y in the lower case, and quite a few of the upper case too. Oldstyle figures are included, as well as the lining defaults. Now to delve into the stylistic alternates... These are all included in the salt feature, or for uses of applications that support them, separated into stylistic sets thus: ss01 - (with swash feature on) L and G swashes get even swashier. ss02 - standard s changes to a connected script s form. ss03 - r takes on a script form. ss04 - z also gets a scriptier look. [the previous three sets also change any versions of s, r or z with diacritics] ss05 - a useful underline function. When enabled, typing two or more underscores will extend a cool underline under the previous letters. More underscores = longer underline. ss06 - the Polish script lslash changes to its more standard form. ss07 - E, S and B change to a more top-heavy alternate form. ss08 - An alternate form for A characters. ss09 - Alterative rounder forms of M and N. ss10 - An alternate ampersand. That about wraps up the features. Now all that’s left is for you to license the font and get experimenting!

Introducing Mufferaw—a font that embodies the simple and endearing nature of the Ottawa Valley design. With its woodsy style, Mufferaw is a font that’s sure to charm and delight you. Its well-defined but expressive contours give it a unique personality that’s hard to resist. Mufferaw comes in two different weights and three widths, along with italics for added versatility. And if you’re looking to add a little extra depth to your design, be sure to check out the outline and 3D variations. Whether you’re designing a poster for a local event, a comic book, or anything in between, Mufferaw is the perfect font to add a touch of warmth and character to your work. So why not give it a try and see for yourself just how charming and uncomplicated this font can be? 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 Ahoura font family, designed by Naghi Naghashian, was developed considering specific research and analysis on Arabic characters and definition of their structure. The Ahoura innovation is a contribution to modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Ahoura supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Ahoura Font family is available in three weights; Light, Regular and Bold. Each has two different styles-- normal and italic. Ahoura is the first real italic Arabic typeface known until now and its intuitive design arrangement fulfils the following needs: - It is precisely crafted for use in electronic media and it fulfils the demands of electronic communication. Ahoura is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Ahoura is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Ahoura's simplified forms may be artificially obliqued with In Design or Illustrator, without any degradation of its quality for the effected text. - Ahoura is an eye-catching and classy typographic image that developed for multiple languages and writing conventions. - Ahoura uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Ahoura typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Rae's Monogram Family is a contemporary take on monograms. Rae's Monogram One letters are best used as the right and left letters. You can add Rae's Monogram Two for the middle letter. Rae's Monogram Doodles One are 50 small illustrations to use with the monogram. If you don't see the one you want take a look at over 1,000 others in Outside the Line's Doodle font library. Of course just because it was planned this way doesn't mean you have use them this way. Use your imagination! You can use just one font, or two or all three. Commercial Licensing: Rae's Monogram Doodles One uses Outside the Line's normal licensing if you are using an illustration alone or not in a monogram on commercial goods. Plz read the http://www.outside-the-line.com/license/ Rae's Monogram One and Two offers Impression Licensing. If you don't intend to sell any items made from these fonts you don't need an additional license. But if you do, to make it easier Outside the Line offers the added ability to buy this license upgrade at the time you place your order. Plz contact Rae directly to do that. By default, you're allowed to sell 250 items in total without any additional licensing required and should you intend to sell more items, additional levels of licensing can be purchased now or at any time in the future. To be clear, 250 items doesn't refer to how many different items you may create but rather refers to the number of total sales of any item or items created with these fonts. If you have any questions or need additional commercial licensing feel free to contact Rae at hello@outside-the-line.com She is always happy to hear from you.

The long awaited and much requested revival of Robert Hunter Middleton's very popular classic is finally here. Mayfair Cursive was an instant hit for Middleton in 1932, and it went on being used widely until late into the 1970s, in spite of it never having crossed over to film type technology. Like a few of its contemporary designs, most notably the work of Lucien Bernhard, Mayfair is a formal script that is somewhat based on traditional italic forms with swash uppercase, but also employs subsidiary hairline strokes in some of its lowercase as an emphasis to the script's cursive traits. Why these gorgeous letters never made the leap into photo typesetting is a mystery to us. But here they are now in digital form, almost three quarters of a century since they first saw the light in metal. Mayfair was redrawn from original 48 pt specimen. It also underwent a major expansion of character set. Plenty of swash characters and ligatures were added. An alternate set of lowercase was also made, in order to give the user a choice between connected and disconnected variations of the same elegant script. Mayfair ships in all popular font formats. While the Postscript Type 1 and True Type versions come in two fonts (Mayfair and Mayfair Alt), the OpenType version is a single font containing all the extra characters in conveniently programmed features that are easily accessible by OpenType-supporting software applications. We are quite sure today's graphic designers will be appreciative of having access to the face that all but defined menus, romance covers, wine and liquor labels and chocolate boxes for almost two 20th century generations.

Baystar Script is a high-quality script typeface. Drawn and created by Mans Greback in 2021, this calligraphic font has power, style and stamina. The type’s organic, handwritten lettering is well suited for a variety of applications: from happy, playful designs, to super sleek web graphics and vivid logotypes. It has velocity like a mustang, a brilliant look and–with its hundreds of alternates–is truly dynamic. It flows with quick turns, marking out brush strokes and connecting tails, like a genuine, hand-painted writing should. Write multiple underscores to make swashes of different lengths. Example: Corvette_______ Baystar Script is legible and professional while retaining the personality that is valued in handwriting. Drawn in accordance with the latest trends in design, but is inspired by retro logotype lettering such as Chevrolet Chevelle and Camaro. A modern calligraphy, fast as a sport race car or sharp as a stingray, the letters are characterized by thorny edges and tall ascenders. It comes in three weights; Light, Medium and Bold, making it useful in any size and context. The font is built with advanced OpenType auto-functionality and guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more automatic and manual features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europa to South Africa, from America to South-East Asia, as well as Cyrillic (Russian, Serbian, Bulgarian) and the Greek alphabet. It contains all characters and symbols you'll ever need, including all punctuation and numbers. Let this font help you to transform your professional work into an energetic piece of handmade art!

Beyond broadcast Like Truman Burbank, the star of The Truman Show, FS Truman was born for TV. You’ll know it from Sky One’s on-screen trails and announcements, but it’s just as at home in other media. Its starting point was the skeleton of a highly legible, space-saving, corporate font with some of FS Dillon’s geometric discipline built in. Its distinctive tone of voice and “ownability” are in its boxy but friendly shapes, and characters with hybrid features. FS Truman’s weights and widths were honed to work at TV screen resolutions. A face for TV it may have been, but this is a font that works on every level, on screen, in print, in headlines, in listings, in longer text, in tight corners and open spaces. The space-saver Compact, condensed but crystal clear, FS Truman comes into its own where a lot needs to be said in not a lot of space. Its letter spacing allows the type room to breathe, even at small sizes, while its fulsome x-height and diminutive descenders pave the way for tighter leading. A natural for headlines and titles over three or four lines. “Hybrid” features With every font, Fontsmith look for crafty new ways to imbue letterforms with a consistent character. The idea with FS Truman was to introduce “hybrid” features. In open letters such as “c” and “s”, for example, the top terminals have straight, vertical cuts while their lower terminals have a more angular, cursive finish. Boxy, spacious forms with unusual curves and angles create not just highly legible and efficient letters but strongly distinctive ones, too.

Burges Elbow - Playful Font In 2 Styles Created with the idea of bringing happiness and joy to any project, Burges Elbow is a perfect choice for those who want to add a touch of playfulness to their design. To use Burges Elbow to its full potential, it would be great for designs aimed towards children such as book covers, posters, and flyers. Its playful and quirky nature would also make it a great choice for branding aimed at a younger audience or products that want to add a sense of fun and whimsy. Burges Elbow comes with a variety of features, including uppercase and lowercase characters, opentype alternates and ligatures, and support for multiple languages. These features allow for a wide range of creative possibilities and make it easy to use in various projects. Included in the zip package are three different file types: OTF, TTF, and WOFF, which can be used in any design software that supports font installation. With these different file types, you can use Burges Elbow on any platform or device, making it a versatile choice for any project. Add a touch of fun and playfulness to your design with Burges Elbow. Its cute and whimsical nature will surely make your design stand out and bring a smile to anyone's face. In summary, Burges Elbow is a playful font in 2 styles that is perfect for designs aimed at children or those looking to add a sense of fun and whimsy to their branding. With its various features and file types, Burges Elbow is a versatile choice that can be used in any design project.

Introducing Monck, a modern display font that combines the best of modern typography and classic serif styles. With its sleek design and unique lettering options, Monck is perfect for a wide range of design projects. Whether you're creating logos, posters, quotes, or social media graphics, Monck offers a plethora of alternates and end swashes through its OpenType features. Monck comes with three different file formats - otf, ttf, and woff - making it compatible with various design software programs such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This means you can easily access and utilize the alternate glyphs in Monck to create eye-catching lettering compositions. The OpenType features in Monck allow you to access uppercase and lowercase letters, as well as alternates and ligatures, giving you endless possibilities for creative combinations. Additionally, Monck supports multiple languages, making it a versatile choice for designers around the world. In your zip package, you'll find the Monck font files in otf, ttf, and woff formats, providing flexibility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the tools you need to create stunning designs. Monck is a versatile font that can be used for various design purposes, such as logotypes, headings, covers, posters, product packaging, headers, merchandise, social media graphics, greeting cards, and more. Its modern and classic fusion style adds a unique and contemporary touch to your designs, making them stand out in any context. In summary, Monck is a modern display font that offers a wide range of alternates and ligatures through its OpenType features, making it a powerful tool for creative lettering compositions. With its multilingual support and compatibility with popular design software, Monck is a must-have font for any designer looking to add a touch of modernity and versatility to their projects. So why wait? Get Monck now and start creating stunning designs with ease!

Sparkster - Futuristic Font Introducing Sparkster, a bold and sleek futuristic font inspired by modern digital technology. This typeface is designed to create a cutting-edge and futuristic vibe for your design projects. The Sparkster font family includes both uppercase and lowercase characters, with Opentype features such as alternates and ligatures for a more customized look. The idea behind Sparkster was to create a typeface that captures the essence of digital technology and future-oriented design. With its bold and sleek appearance, it is perfect for a wide range of design projects, including logos, covers, posters, branding, UI, titles, and more. Whether you're designing for a tech company or a forward-thinking brand, Sparkster is sure to make a statement. For a futuristic and modern look, try using Sparkster for your branding and packaging projects. Its bold and sleek appearance is perfect for creating a cutting-edge and futuristic feel that will make your brand stand out. You can also use Sparkster for album covers, posters, and social media graphics to give your designs a high-tech and futuristic vibe. Sparkster comes with a range of features, including uppercase and lowercase characters, Opentype alternates and ligatures, and multilanguage support. It also includes numbers, punctuation, and symbols to make it versatile for a range of design projects. In the font package, you will receive three different file types: Sparkster OTF, Sparkster TTF, and Sparkster WOFF. This ensures that you can use the font on a range of devices and software programs. In summary, Sparkster is a bold and sleek futuristic font that is perfect for creating a cutting-edge and modern look for your design projects. With its unique and customizable features, you can make your designs stand out and make a statement. Try using Sparkster for your branding, packaging, logos, album covers, posters, and social media graphics to create a high-tech and futuristic feel.

Colour is more fun than black, but multicolour is even better. Let me introduce URLOP, a wide type family suitable for your fancy posters, headlines, covers, illustrations, websites, initials, blackmails, chronicles, signboards, poems and many others. Twelve basic styles, which make the overall construction, give a wide range of opportunities. All of them, being able to mix with each other, vary from a thin INSIDE, through a medium FILL, to a double-stem PLUS styles. And then comes a range of colour fonts, so you don’t have to waste any of your precious time for experiments, because I’ve already done it for you! URLOP is an all-caps display collection consisting of three sub-families of fonts, divided by the usage they are designed for. First of all, there is a wide range of alphabets made in the new OpenType-SVG colour fonts format. This is quite a novelty and a very promising technology at the same time. It allows designers to store colour information inside the font. Due to my experience with layered colour thinking that I explored in my first family - Epilepsja , I decided to make several preset layer combinations in this auspicious format. This sub-group is tagged RGB. Make sure that your field of usage and software support OT-SVG format. However, if you feel a need to experiment in the old-fashioned way, you may buy separate layers under the DIY tag. The last group is very similar to the DIY, but it was optimized to look better when standing without other layers. It’s called PRO*. All styles cover Latin alphabets of Europe, basic Cyrillic and Greek sets. Have fun! Before using the font, read the instructions and specimen attached to font files in the purchased package or download them from the Gallery tab on this site. This will help you avoid making unexpected mistakes when combining layers. *PRO subfamily release planned in 2019.

The FF Meta® design is a sans serif, humanist-style typeface that was designed by Erik Spiekermann for the West German Post Office (Deutsche Bundespost). It was subsequently released in 1991 by Spiekermann's company FontFont The FF Meta family, initially released as a commercial font in 1991, now comprises over sixty fonts. The FF Meta 2 family was released in 1992, the FF Meta Plus family in 1993, and in 1998 a facelift of the complete font family reclassified the FF Meta series and combined them into family-sets named FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black. These are all available in Roman, italic, small caps and italic small caps. Between 1998 and 2005, further light stroke weights and a condensed family were introduced by Tagir Safayev and Olga Chayeva and were named: FF Meta Light and FF Meta Hairline. The last addition to the growing FF Meta font family is FF Meta Serif released by FSI in 2007. FF Meta Variable Roman is a single font file that features two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Roman (upright) font is provided as an option to customers who do not need Italics, and want to keep file sizes to a minimum. FF Meta Variable Italic is a single font file that features an italic design with two axes: Weight and Width. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. This Italic font is provided as an option to customers who do not need Roman (uprights), and want to keep file sizes to a minimum. FF Meta Variable Set is a single font file that features three axes: Weight, Width and Italic. For your convenience, the Weight and Width axes have preset instances. The Weight axis has a range from Hairline to Black. The Width axis provides a range of condensed values. The Italic axis is a switch between upright and italic

New Lincoln Gothic is an elegant sanserif, generous in width and x-height. There are twelve weights ranging from Hairline to UltraBold and an italic for each weight. At the stroke ends are gentle flares, and some of the round characters possess an interesting and distinctive asymmetry. The character set supports Central Europe, and there are three figure sets, extended fractions, superior and inferior numbers, and a few alternates, all accessible via OpenType features. Back in 1965, Thomas Lincoln had an idea for a new sanserif typeface, a homage of sorts, to ancient Roman artisans. The Trajan Column in Rome, erected in 113 AD, has an inscription that is considered to be the basis for western European lettering. Lincoln admired these beautiful letterforms and so, being inspired, he set out to design a new sanserif typeface based on the proportions and subtleties of the letters found in the Trajan Inscription. Lincoln accomplished what he set out to do by creating Lincoln Gothic. The typeface consisted only of capital letters. Lincoln intentionally omitted a lowercase to keep true his reference to the Trajan Inscription, which contains only magiscule specimens. The design won him the first Visual Graphics Corporation (VGC) National Typeface Competition in 1965. The legendary Herb Lubalin even used it to design a promotional poster! All this was back in the day when typositor film strips and photo type were all the rage in setting headlines. Fast forward now to the next millennium. Thomas Lincoln has had a long, illustrious career as a graphic designer. Still, he has one project that feels incomplete; Lincoln Gothic does not have a lowercase. It is the need to finish the design that drives Lincoln to resurrect his prize winning design and create its digital incarnation. Thus, New Lincoln Gothic was born. Lacking the original drawings, Lincoln had to locate some old typositor strips in order to get started. He had them scanned and imported the data into Freehand where he refined the shapes and sketched out a lowercase. He then imported that data into Fontographer, where he worked the glyphs again and refined the spacing, and started generating additional weights and italics. His enthusiasm went unchecked and he created 14 weights! It was about that time that Lincoln contacted Bitstream about publishing the family. Lincoln worked with Bitstream to narrow down the family (only to twelve weights), interpolate the various weights using three masters, and extend the character set to support CE and some alternate figure sets. Bitstream handled the hinting and all production details and built the final CFF OpenType fonts using FontLab Studio 5.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

Caflisch Script was designed by Robert Slimbach in 1993. The design is based on the handwriting of Max Caflisch, one of the foremost graphic designers of this century. Caflisch, a teacher of graphic arts for over three decades in Zurich, is author of several books on typography and designer of the 1952 Columna typeface. Caflisch�s handwriting has a free flowing yet disciplined character, the result of years of practice and devotion to the calligraphic arts. Slimbach retained the subtleties and natural letter joins of Caflisch�s original handwriting while adapting it into a typographically sound and highly practical script typeface. Caflisch Script is a multiple master typeface with a weight axis that allows the typeface to transition smoothly from light to heavy weights, maintaining legibility and visual appeal at a full range of point sizes. Caflisch Script can be used anywhere the appearance of a fine hand is desired, as well as more sophisticated and practical situations such as display work in books and copysetting for advertisements.

Varietta is the result of my fascination with photographing the type designs of some marquees in Spanish markets. In them you can see many letter designs with reversed contrast and in different widths, probably based on the possibilities of photocomposition. At the same time I was working on the expansion of the Hastile typeface designed by Alessandro Butti for the Nebiolo foundry in Italy in the late 1930s, of which I had not seen any digitization. As I am not a fan of perfect revivals, I thought it could be interesting to connect Spain and Italy in a single typeface. The first step was to expand Butti's design to 27 styles, ranging from thin condensed to black expanded. To look for the Spanish connection and its characteristic inverse contrast I took advantage of the current technology that allows variable typefaces with many axes. From this, three scenarios of horizontal contrast were incorporated (top, bottom and mixed) which allows infinite possibilities of use. The final result is a collection of 108 static typefaces or a single variable file.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

The design of Futura seems to be timeless. This typeface family which had been developed in 1926 by Paul Renner for the Bauer Type Foundry in the style of constructivism and as part of the Bauhaus movement, experienced, however, in the course of the past 90 years, repeated time-appropriate revivals which guaranteed its on-going popularity. The version of the Futura EF Pro contains the original character constructions which Dennis Megaw described as the “first designs of Futura” in 1938 in “20th century sans serif types, Typography no. 7” (See: Dr. Christopher Burke: Paul Renner, Princeton Architectural Press, New York 1998). What makes it exceptional is the extension into three weights: “Text”, “Headline” and “Index” which came about as part of a degree dissertation at the Hochschule für Bildende Künste (HFBK) in Hamburg. In this context, the accompanying documentation “Die Kritik der reinen Futura” (“The Critique of the Pure Futura”) by Katharina Strauer was published by the Materialverlag, Hamburg, in 2003. Some copies are still available at Elsner+Flake.

Futura is a classic geometric sans serif, one of the crucial typefaces of the 20th century. It remains relevant today and is widely used in logos, headings, web and print. Futura was designed by Paul Renner for Bauersche Gießerei (Bauer) in 1927. The typeface is based on simple geometric forms and is close in the aesthetics to 1920s-30s constructivism and the Bauhaus. Futura PT is the most complete Cyrillic version of Futura. It’s a type system of 25 styles: 16 regular and 9 narrow, from Thin to Extrabold. Futura PT has linear and old style figures, subscripts and fractions. The typeface supports more than 100 languages: Western and Central European Latin and the Cyrillic-extended. The Cyrillic version of Futura was designed by Vladimir Yefimov in 1991–1995. He partially redesigned the typeface in 2007, making it a wholesome consistent system, and Isabella Chaeva added new styles. The typeface was released under the name Futura PT. Isabella Chaeva returned to work on Futura in 2022. The typeface has three new styles, old style figures and extended Cyrillic support.

The extensive Wolverton family was inspired by a turn of the 20th century luggage label designed by the London and North Western railway. The Wolverton family combines period flair and charm with respect for the modern need for legibility and purposefulness. The family has at its heart four Body text faces (regular, italic, bold and bold italic). These are complimented by three display text faces, offering upper and lower case letter forms, all offered in regular, oblique, bold and bold oblique forms. Four all-capital based display design are also included if offered in the same four style, making an extensive and flexible family suitable for a wide range of uses; everything from setting large amounts of text to large scale signage and poster work. Wolverton offers a unique blend of charm an modern flexibility, why not give it a try today? All faces include lining and old style numerals and are extensively kerned. Individual faces are all economically priced and substantial discounts offered for the purchase of larger sets of typefaces.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Relato Sans is the other face of Relato Serif (a typeface with much idiosyncrasy) nevertheless, the sans version of this typeface is more austere and aseptic. A humanistic type, with a contemporary cut, created for general use in texts and holders and with a great variety of weights, which allow enough flexibility for projects of great magnitude. Although leading with an independent family it maintains many of the characteristics of its homologous such as proportions, the “x” height, the construction based on air lines of the italic, ornaments and so on. These details show coherence with the serif version, and at the same time reinforce its personality. Being a multifunctional type, the “kerning” has been worked to function in small sizes as well as in larger ones such as holders. The contrast between weights, was optimized to be used in pairs (Light with Semibold, Regular with Bold and Medium with Black). Relato Sans is presented in 6 different weights, in Roman, Italic, Small Caps and Small Caps Italic with three different styles of numerals, Old style figures, Lining figures and Small Caps figures.

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Square was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

Éric de Berranger likes to multitask, and often works on two typeface families at once. Such was the case with Mosquito, a jaunty sans that was developed at the same time he was creating the more traditional Maxime. Mosquito represented a sort of recreation," says de Berranger. "When I grew tired of working on one design I could work on the other and then come back to the first, full of courage and desire!" Mosquito is built from simple, straightforward shapes, but its distinctive stroke terminals and slight oblique weight stress distinguish the design from more conventional sans serif faces. The relatively large x-height and open counters add to the legibility of the design. The capitals are straightforward (with just a hint of Peignot), while the lowercase has a softer, more inviting demeanor. "I drew Mosquito with the hope that it would be pleasant to look at and to read," says de Berranger. "I think the end result is almost feminine." Mosquito comes in three weights, with complementary italic designs and a suite of small caps, old style figures and alternate characters."

In Ancient Greek, Kuma means wave. This wavy, dynamic and poetic all-caps display typeface is useful for headlines or short texts. Kuma is the result of a graphic and perceptual game that, using experimentation as a working method, explores the possibilities of writing as an image. This grid-based typeface creates different shapes and directions, never predictable. There are different types of waves created by the wind. That's why there are three different versions of Kuma: Kuma, Kuma Rounded and Kuma Square. Each version is available in seven weights which can be combined together. In their black and white rhythm, they guarantee global readability and balance. Kuma Rounded was designed by Jérémy Ruiz. Supported languages: Afrikaans, Albanian, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Finnish, Flemish, French, Frisian, German, Greenlandic, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Latin, Latvian, Lithuanian, Malay, Maltese, Maori, Moldavian, Norwegian, Polish, Portuguese, Provençal, Romanian, Romany, Sámi (Inari), Sámi (Luli), Sámi (Northern), Sámi (Southern), Samoan, Scottish Gaelic, Slovak, Slovenian, Sorbian, Spanish, Swahili, Swedish, Tagalog, Turkish, Welsh.

ULGA Grid Solid is the sharp, blockier sibling of ULGA Grid and ULGA Grid Rounded. The typeface consists of three weights, regular, medium and bold, with corresponding oblique styles. Every character in the extended ULGA Grid family shares the same width. Forged from a box full of ninja throwing stars – props from the now-forgotten 1976 Japanese film, Gridzilla, Revenge of King Gridorah – the solid shapes and sharp, chamfered corners give the characters a hard, cut-from-metal feel. A versatile display typeface that can be used for a wide range of purposes including CD covers, posters, packaging, advertising, nameplates for tractors, brochures and film titles. Mix and match with ULGA Grid and ULGA Grid Rounded, use the alternatives, sneak in an oblique style to spice things up, but most of all this is a fun typeface family. But, please, don’t use the characters as throwing stars. That’s just dangerous, someone will get hurt and you’ll regret it. The character set supports Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Gorgonzola Gothic is a geometrically-inspired gothic sans serif family that's robust and versatile. Inspired by the geometric quirkiness of IxD (also by The Ampersand Forest), Gorgonzola Gothic expands into a thirty-style family that works for everything from branding to text. It further mitigates IxD's quirkiness by offering two options in the round and shouldered lowercase glyphs. The standard letterforms, like IxD, have notched joins, giving them an assertive, almost futuristic look. The alternates of those letterforms (housed in Stylistic Set 01, and available as immediate hoverable glyph options in the Adobe Suite) are more conventional (as are the SS01 ampersand, Q, S, a, and s). In this way, Gorgonzola Gothic offers the best of both worlds: a flavorful, slightly futuristic family (in the same world as geometric classics like Eurostile) and a workhorse gothic sans (like the Benton classics Franklin Gothic, News Gothic, etc.). Its three widths: Skinny, Slim, and Standard, give it a wide range of applications, from display to body. Gorgonzola Gothic makes a statement with strength and sureness.

Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sans-serif types and they use the primary function of serifs – keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto sub-families have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well.

Some years ago, a good friend and typophile, Gonzalo García Barcha, approached me with the idea of designing a typeface for his editorial project Blacamán Ediciones. He had just came across an hitherto unknown manuscript by Luis Lagarto, a colonial illuminator and scribe, working in Mexico City and Puebla in the late 1500s. The manuscript calligraphy was incredible and stunningly original. It featured three different hands by the scribe, intermingled in the text: a kind of baroque «Roman» roundhand; a very ornate, lively «Italic»; and some sort of irregular, playful, even funny «small caps». All imbued with an eccentric, convoluted zest and vivacious rhythm. Lagarto is the final result of translating these extraordinary hands into a digital type family. Since the manuscript had no numerals, math signs and many other characters now in use, part of the fun of the job was to infer them from the stylistic peculiarities of Luis Lagarto's calligraphy. Lagarto received an Award of Excellence at the Type Directors Club of New York annual competition.

Mosquito Formal, by Éric de Berranger, takes the original jaunty design of Mosquito and dresses it in a tuxedo. The stressed character strokes, simple, straightforward shapes, relatively large x-height, open counters and hint of Peignot are still there, but the cursive strokes and lively terminals have been replaced with traditional designs. The result is a more serious-and more sophisticated typeface. The idea," says Éric de Berranger, "was to assuage the drawing of Mosquito. To 'calm' it; and eliminate its idiosyncrasies while preserving character structure and general appearance." Although still distinctive, as Éric de Berranger puts it, "Mosquito Formal is more to be read than seen, it is more invisible and thus, more readable than my earlier design." He does, however, use both typefaces in his graphic design projects: Mosquito for headlines and in applications where the lively design is appropriate, and Mosquito Formal for those instances that require a quieter more sophisticated look. Mosquito Formal is available in three weights with complementary italic designs in addition to a suite of small caps and old style figures. "

Argentinean designer Eduardo Manso created the Bohemia type family in 2003. Bohemia's cunning and elegant essence shows off refined letters that evoke the Transitional style typefaces like Baskerville, though most Baskerville-like designs tend not to be as curvaceous as Manso's! True to form, Bohemia shines in smaller text sizes, like 9 point and above, while still maintaining a unique character and spirit. Bohemia is a great alternative to better-known text faces. The critics have been raving. Bohemia came to Linotype via its fourth International Type Design Contest (ITDC) [Link] in 2003, where it received one of the three top awards. Under the name Argot, this typeface received a Certificate of Excellence in Type Design from the Type Directors Club of New York in 2004. Bohemia was also selected for inclusion in the 21st International Biennale of Graphic Design 2004 in Brno, Czech Republic, and was later named one of the most relevant works in the Bienal Letras Latinas 2004 exhibition, which traveled through Buenos Aires, San Paolo, Santiago, and Vera Cruz."

VTC Bloke is a revival of Miller & Richard’s classic metal typeface, ‘Egyptian Expanded’, including the three-dimensional, ‘Open’ style that was later introduced to the family. The roots of this typeface stem from the UK, where William Miller and his son-in-law Richard had their initial foundry in Edinburgh, Scotland. In addition to the beautiful and timeless type designs, the foundry gained a reputation for offering super small type sizes, designed for Bibles, dictionaries, documents, etc. Slab Serifs (or Egyptian Serifs) started to gain popularity in the early 19th century. It’s around this time, due to emerging industrial technologies, and an ever-expanding advertising industry, that type designers started to really experiment with letterforms that could help their clients distinguish themselves from the competitor, and catch people's eyes. The size of posters and advertising space was getting bigger, and bigger, and so was the type. All original letterforms have been re-drawn and cleaned up, with some more modern glyphs and characters added in. VTC Bloke supports Adobe Latin 1 Language Support.

With five weights and four contrasts, all grouped in three version : sans-serif, slab, serif and all this doubled by a true italic, Oman regroup 120 different styles declined in four variables. Perfect from headlines to text, Oman will meet your needs with a many languages to support (Latin pro, Cyrillic), 14 OpenType features (Fraction, Numerator, Denominator, Tabular figure, Oldstyle figure, Small capital, Small capital from capital, Ordinal, Stylistic set, Case sensitive, Discretionary ligature, Contextual alternate and All access alternate). • Numerator and Denominator includes numerals and currency • Tabular Figure includes : numerals, currency, OldStyle numerals, small capital numerals, small capital currency. • Small Capital features includes the Latin & Cyrillic alphabet with the accents. • Ordinal feature includes the Latin & Cyrillic alphabet. • Two Stylistic set for “a” & “g” includes accents. • Discretionary Ligature includes “AE”, “AÉ”, “IJ”,“OE”, available in lowercase, small capital and ordinal. • Contextual Alternate includes ligatures for arrows : <-->^|v|<->v^|. Add n, d or +, for numerator, denominator or case arrows. All Case sensitive characters become after the uppercase and number.

Wakerobin takes its charming swagger from the hand-painted billboard, poster and signage lettering of the mid-19th century. These showy styles did everything they could to stand out from the background cacophony of advertising, with signwriters using sharp and high contrast serif letters, squared block shapes, or art nouveau forms to grab the attention of passersby. Wakerobin embraces the spirit of these letterforms, bringing these various styles together in one typeface - as if users had their own sign painter on hand. Just as lettering artists had to adapt to a variety of sizes - from wide streetcar lettering to compressed forms that squeezed into narrow Victorian windows - the variable version of Wakerobin scales up and down in width to fit whatever environment the user’s working in. The static fonts come in three widths and five weights. As well as its adaptability, Wakerobin is bursting with vintage flavour, making it hard to ignore. Its distinctive, spiky serifs would be right at home on food and drinks packaging, as well as shop windows, adverts, and any other place that calls for some typographic showmanship. It performs particularly well in busy environments, or anywhere with a lot of visual noise - just as its historic predecessors did. And while Wakerobin is first and foremost a display typeface, it’s surprisingly elegant when used at text size, or in the lighter end of the weight spectrum.

A couple of years before the second World War, Marcel Jacno, the popular French graphic designer who in the 1930s designed iconic posters for Gaumont and Paramount and famously illustrated the Gaulish helmet that first adorned the Gauloises cigarette packs in 1936, was asked by Deberny & Peignot to design a calligraphic typeface for the advertising market. Jacno's Scribe design, billed by D&P as a "virile ad writing" typeface, was released to some great fanfare in 1937, enjoyed some time of French spotlight, and was ready to make waves in the rest of Europe before the war broke out and snuffed its chances at international recognition. However, samples of it can still be found in some specialty post-war publications as an example of a trend that lasted a couple of decades, when Western European type manufacturers commissioned famous visual artists to design typefaces in order to capitalize on the artists' fame - the trend that brought us standards like Futura and the long list of Lucien Bernhard and Imre Reiner faces. This exclusive digital version of Jacno's design expands on the original concept with a large character set that includes plenty of alternates, a couple of different ways for seamless lowercase connections, three sets of figures, and extended Latin language support, adding up to over 540 characters in a one big, contextually-programmed font.

Sisters is a lively set of stencil display typefaces designed by Type-Ø-Tones’ co-founder Laura Meseguer. The family features four fresh fonts that share foundational principles of construction yet complement each other—as sisters do—by celebrating their differences. Variations in contrast, weight, and design characteristics result in four distinct styles dubbed One through Four. This cool quartet contains no lowercase, asserting the family’s rightful place in the titling typography space. Like many Type-Ø-Tones typefaces, Sisters was conceived as a custom lettering project—in this case, the design was crafted for the identity of an art exhibition. Laura initially drew only the limited character set the show required, but from the outset, she saw great potential for a fully developed type family based on her lettering concept. The first member of Laura’s new family was, naturally, Sisters One. She later added contrast to produce Sisters Two, then equalized the weight of Sisters Two to create Sisters Three. To round out the group, Laura added a deco touch to Sisters Two, resulting in the festive but retro-elegant Sisters Four. Each Sister shares DNA with the other members of the family, just as human siblings do :). Credit for the Sisters name goes to Eider Corral and we couldn’t imagine a more fitting moniker for this little family.

TG Riota Gothic is a brand new digital sans serif typeface in geometric style with many faces and possibilities with good proportions forms. TG Riota Gothic is outstanding for use in small text or even bigger sizes with seven weights, two axes & 14 styles, including the variable font. It comes with three alternative groups (single story alternates, no tail alternates & square dot alternates), which you can combine to maximize your needs—also supplied with a bunch of ligatures (standard & discretionary ligatures), lining figures (proportional, denominators, numerators, fractions, subscript & superscript), case-sensitive forms, symbol & Each typeface contains over 674 glyphs covered more than 90 languages Latin based. Language Supports: Afrikaans, Albanian, Asu, Azerbaijani, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, German, Gusii, Hungarian, Icelandic, Indonesian, Irish, Italian, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Low German, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss-German, Taita, Teso, Thai, Turkish, Turkmen, Upper Sorbian, Vunjo, Walser, Welsh, Western Frisian, Zulu. Typeface Designed by Iqbal Firdaus Published by Tegamitype® Foundry Presentation Design by Eunike Agatha & Dennise Nathalie

Le Havre Rough. It’s high-resolution, hand-crafted letterpress to the core. Based on insigne’s popular Le Havre typeface, this new heat-treated, weathered face of all caps joins the realism and appeal of the top-quality Le Havre family. Rough’s eroded, printed look is extremely customizable, offering eleven distressed choices that appear fantastic even at large output sizes. Go ahead. Try it on, say, a billboard. Maybe even Times Square. The font includes hand-printed texture and distinctive shadow choices, too. Options include three inline versions, two shadow layers, and a clean primary version. Combine and match the options easily as you need, layering normal and shadow variations to alter appearance and texture. You can activate Art Deco alternates by using OpenType contextual alternates. Rough has an extra-large character set for many languages. Additionally, the typeface offers 62 extra ornaments like arrows, emblems, numbers & lines. Use its full texture and grit to capture the classic, genuine print feel that you need in your project. A few suggestions for use: - In Photoshop, jigger with various 'anti-aliasing' options for best outcomes. Smooth or strong is generally best. - In Illustrator, the shadow layer occasionally doesn't align when using the regular layer. To fix the alignment, open the type drop-down menu and choose Area Type Options > Em Box Height. Learn more about the using layered type styles on this informative video.