A sturdy workhorse with the grace of a gazelle, the FF Pastoral typeface family marries pure craftsmanship with rapturous excesses of form. With his fifteenth release under the FontFont brand, prolific French designer Xavier Dupré has filled a typographic toolbox with plentiful options ranging from a tender, feathery Thin to a robust, healthy Black. At a glance, FF Pastoral appears deceptively simple, particularly in the middle weights. That surface serenity is intentional and allows for easy reading and quick comprehension of short blocks of copy. Upon closer inspection, FF Pastoral is complex and nuanced, carrying a balanced tension in its forms. This plays particularly well in magazine spreads and corporate logos, where uniqueness is a virtue. In creating his latest design, Dupré drew inspiration from a tasteful mix of references, combining diverse elements with a deft hand. While its letter shapes were informed by humanist-geometric hybrid Gill Sans, FF Pastoral’s proportions have been optimized for contemporary typography. Slightly condensed but generously spaced, FF Pastoral features a tall x-height, open counters, and subtle, sprightly italics slanted at just 5°. Proportional oldstyle figures are the default in the family, with tabular and lining numbers and fractions accessible through OpenType features. Elegant details evocative of calligraphy judiciously pepper the FF Pastoral glyph set. The ‘e’ bears an oblique crossbar, while the right leg of the ‘K’ and the ‘R’ are insouciantly curved in both the upright and italic variants. Further flourishes appear throughout the italics, notably in the ‘T’ and the ‘Z’, the gloriously looped tail of the ‘G’, and an extraordinary ampersand. Sharp-eyed fans of Dupré’s work may feel like they’re in familiar territory, and they would be right. An early version of FF Pastoral sprang to life in 2017 as Malis, a family in four weights on the heavier side of the spectrum. Over time, Dupré refined his original design, expanding it with four lighter styles and including true italics for all. The lightest weights are ethereal, with exquisitely delicate strokes drawing the eye in and across a line of type. The most substantial styles are tremendous in their power, allowing text to make a deep impression in print or on screen. Fully fleshed out, FF Pastoral works sublimely in a vast array of text and display settings. Dupré sees his latest FontFont offering as a ‘cultural’ typeface, perfect for the pages of an oversized coffee-table book or business communications where warmth and informality will win the day. Born in Aubenas, France (1977), Xavier Dupré is a gifted user of type as well as an award-winning type designer and lettering artist. After training in graphic design in Paris, Dupré studied calligraphy and typography at the Scriptorium de Toulouse. Since releasing FF Parango in 2001, Dupré has published such FontFont classics as the FF Absara and FF Sanuk superfamilies, FF Megano, FF Tartine, and FF Yoga. A designer of Khmer fonts as well as Latin typefaces, Dupré splits his time between Europe and Asia.

Raffia is derived from the Raffia initials designed by Henk Krijger and issued by the Typefoundry Amsterdam in 1952. Nine ornamental dashes based on designs by Crous-Vidal and issued by Amsterdam are included.

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

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

Upton is a modern and condensed sans serif. The initial inspiration for its design came from lettering Wim Crouwel created for a poster design. It also takes some cues from neutral grotesks like Helvetica and Akzidenz. Because of its narrow letterforms, Upton is best applied to headlines and poster-sized typography. Upton’s italics were designed with high-quality compensation for all circles and strokes. Upton ships in two different formats. Depending on your preference, you can install the typeface as two Variable Fonts or use the family’s 14 static OpenType font files instead. Those weights run from Extralight to Extrabold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The weight axes in Upton’s Variable Fonts allow users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. In its fonts, Upton has several ligatures. That includes optional “discretionary ligatures,” which bring a unique tone to display usage. For instance, the fonts include optional ligatures for the letter combinations “E-T”, “F-l”, “L-E-T-T-E”, “L-E-T-T”, “L-E-T”, “L-E-L-O”, “L-U”, “i-j”. and “m-m”. There are also many alternate glyphs. Stylistic Set 1 substitutes in new forms for “G”, “R”, “a”, “f”, “g”, “i”, “r”, “t”, and “y”. Six more Stylistic Sets have alternates for the “æ”, “g”, “k”, “o”, “K”, “O”, and “Q”. Additional OpenType features activate other useful features, such as fractions, numbers in circles, or symbols.

A charming confidant. Italic, but without the slant. Campuni is a sans-serif typeface that can be described as an “upright italic”: its letters are modeled on the handwritten forms of italics—but without the slant. This gives Campuni a contemporary, charming, and trustworthy character. As with most modern sans-serif typefaces, Campuni’s design is based on low-contrast, almost monolinear strokes with a neat and clear appearance. This is where Campuni’s steep and tapered joints come in: with a bit of contrast, they provide the perfect foundation for a steady rhythm between characters—just like you’d find in meticulous handwriting. Careful spacing ensures that this rhythmic character is preserved on the page and on screen, making for a pleasant reading experience. It’s not just the letterforms that gain from Campuni’s calligraphic heritage, though. This typeface is packed with calligraphy-style swash capitals and end swashes on lowercase letters, as well as discretionary ligatures. These are available via OpenType, allowing you to spice up your logo or headline with a hint of calligraphy in a breeze. Despite its flawless legibility in body text, Campuni is definitely eye-catching in display sizes. (Decrease letterspacing for some additional punch.) Besides logo design, Campuni is a great choice for branding, advertising, packaging, corporate design, or even signage and wayfinding. The range of topics that Campuni excels in varies from food, leisure, retail, e-commerce, music, and travel to games, toys, childcare, and family-themed events. Campuni has got an Extended Latin character set, seven sets of figures, case-sensitive forms, arrows, and a few other advanced typographic features—622 glyphs in total. Its eight weights span from Thin to Black.

Kaytek™ Slab is a fresh take on the correspondence typefaces of the 90s - which were originally designed for the demands of office environments. Just like its predecessors, this text typeface is robust and hard-working - meaning it works well in challenging design or printing environments - but it’s not without personality. Look closer at the lowercase g and a, especially in the italic, and you can see some unexpected elements of subversiveness within the design. This blend of sturdiness and quirkiness means it’s just as relevant for information-heavy projects, such as annual reports, as it is in more expressive environments. Although first and foremost designed for text, Kaytek Slab’s details shine through in its heavier weights and larger sizes, meaning it also has display potential. Every style of the typeface takes up exactly the same amount of space, thanks to the way Radek Łukasiewicz created the design. He based the entire typeface on a single, master set of proportions. This means designers can switch between styles without the text being reflowed, making it particularly useful in magazines, where space might be limited, and also on the internet, where hover links appear in a different style. As well as its roots in the office, Kaytek Slab draws on a little bit more 90s nostalgia. It’s named for the first and only Polish walkman, and embodies the same solid, no-nonsense shapes that made the analogue technology of the era so charming. Kaytek Slab is robust and solid. Kaytek Slab comes in 12 weights, from Thin to Black Italic, and offers multi-language support. Kaytek Sans, Kaytek Headline and Kaytek Rounded, are also available.

Taca is a typeface built around a shape that Portuguese designer Rúben R Dias calls a “squircle” — neither square nor circle. We usually associate the rounded, convex box with the television screens of the 1960s and Aldo Novarese’s classic typeface, Eurostile. But whereas Eurostile is cold and machined, Taca is warm and rugged, as if it was molded from clay or carved from stone. Taca’s organic nature is also derived from another unique feature: rounded crotches at the right angles where perpendicular strokes meet. This subtle finish, along with blunt stroke endings, softens the otherwise rigid skeleton. With such a strong conceptual vision, Taca could be relegated to the bin of experimental designs, severely limited in their application. But that fate is usually born of a less experienced maker. As a teacher, designer, and letterpress printer, Dias is a type user, keenly aware of the functional requirements of good type. Taca is therefore not a slave to its concept, but a working font family, effective in various sizes and environments. Its lettershapes break away from the base shape whenever it makes sense for legibility, while still maintaining the flavor of the design as a whole. That said, a set of squircle-shaped alternates give the user the flexibility to get more stylized if the situation calls for it. Fitting to its functional aims, Taca has many of the features one expects of a proper text font: upper and lowercase figures, case-sensitive punctuation, and Extended Latin language support. The simplicity, openness, and squareness of Taca’s forms also make it an ideal design for the pixel grid of screen displays.

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

Few projects are outside the range of PMN Caecilia® Sans. Drawn specifically for on-screen imaging, the family benefits from a large suite of weights, each with several stylistic variations. This is a design ideally suited to building digital interfaces, complex websites, apps, games, kiosks, HTML ads and large-scale brand identities. “My goal was to create a, friendly, versatile, ageless, yet discerning typeface family that will serve the needs of many users,” says Peter Matthias Noordzij. the typeface’s designer. “It is not intended to be eye-catching, but generous: enabling numerous visual and typographical expressions.” The use of Noordzij’s earlier design, PMN Caecilia, in Amazon’s Kindle® wireless reading devices, gave him the opportunity to study the behavior of the slab serif typeface in an on-screen environment. Although based on his earlier design, Noordzij incorporated fundamental changes to optimize PMN Caecilia® Sans’ digital performance. While PMN Caecilia has proven to be a steadfast serif typeface in print and on screen, the addition of a sans serif counterpart gives designers more flexibility when creating complex hierarchies. The combination of serif and sans serif makes the PMN Caecilia family a good choice for everything from print editorial projects to complicated web sites. A broad range of typefaces pair well with PMN Caecilia Sans. Humanist serif typefaces, such as Agmena™, Dante®, and Frutiger® Serif, set up dynamic typographic harmony, while designs like ITC New Veljovic™ Masqualero™ and Perpetua®, will create a striking counterpoint. And, of course, PMN Caecilia is a natural design partner – as are other slab serif typefaces, like the Aptifer™ Slab, Joanna® Nova and Soho® families.

Astrid Grotesk is a normalized version of Schizotype Grotesk. Normalized; not neutralized. Where many neo-grotesks appear cold with their harsh neutrality, Astrid has a warmth, eminating from its (for want of a better word) clunkiness. With the latest update, it becomes a true workhorse, with a range of widths and italics for the normal widths. Astrid Grotesk, while being clearly a neo-grotesk in appearance, has a personality all of its own. Standout characters include the f and t, and the default binocular g, unusual in neo-grotesks. And the right angled terminals on c, e and s. Stylistic sets offer up alternate forms of a, g, y, I, @, dutch IJ, german eszett and l. A full complement of numerals is included: proportional and tabular, lining and oldstyle, plus fractions, subscript and superscript. Note also that the tabular figures are duplexed across weights - very useful when highlighting specific entries in tables. The tabular figures feature also substitutes in fixed width (across all weights) comma and period, so your decimals line up perfectly always. Lastly, case sensitive forms of certain glyphs are included for all-cap settings. This typeface will be useful for corporate identities and branding work. It’s spaced more for text settings in the normal width, and gets more display-optimized as the width decreases, but with careful tracking, all styles can sing at display sizes. Bored of those other Swiss style typefaces? Astrid Grotesk could be the face you need to breathe new life into your designs. Coupled with Schizotype Grotesk, its more eccentric cousin, you've got an unorthodox branding system ready to use straight out of the box.

Preta, portuguese for a very pure kind of black, has its name very related to its concept: I wanted to make the fattest/darkest script ever. People who follow my work may notice its forms are very related to works of my past (1) but this time the challenge was to be very cautious with the white spaces between letters. Not only I followed some rules and ductus of the copperplate style of calligraphy but also I took a lot of inspiration in posters of the early Art Nouveau (specially in Alfred Roller of the Vienna Secession) where letters forms looked like black squares if not looked from a close distance. With Preta, I wanted to achieve that same idea of “darkness” and thanks to the always welcomed question -what if?- the font grew a lot. The result is a very fat font, that looks delicious. Due to possible customer needs, I designed Preta Small, so it can be used in smaller sizes. Preta Ao Sol (which literally means under the sun!) is a style with those lovely tiny details to give the sensation of bright. Preta Ao Sol Solo was made to be used as a layered font with Preta. Finally, Preta Capitals serves as a company for Preta. Hope you enjoy the font as much as I did when designing it: The fact that it’s full of alternates, swashes, ligatures and swirls makes it really pleasurable at the moment of using it. Give it a try and dance with Preta! TIPS For better results, use Preta with the ‘standard ligatures’ feature activated. NOTES (1) Beatle in 2014. Seventies in 2015.

Vette Letters are thrilled to add maverick designer Dirk Uhlenbrock to the family, with the release of VLNL Bromfiets. Bromfiets (the Dutch word for moped) is a ‘holiday child’, the basic idea coming from a stop at a road junction in the Dutch coastal province of Zeeland. The Dutch signage, the black and white rings of traffic light poles, the symbols for brom- and snorfiets have always appealed to Dirk. While on vacation in Zeeland the first scribbles and digital drafts were created, always in mind that the typeface had to be striking, clear and friendly. The end result is more than that, a strong and instantly recognisable font with a matching dingbat weight full of icons and arrows. Stencil fonts have always interested Dirk, the informal character and the possible universal use as a paint- or spray-stencil on a wide variety of surfaces makes this type of font so interesting for me. The technically necessary dissolution of closed font contours always ensures a special aesthetic: What’HAT and HOW MUCH has to be removed or left, in order to make words easy to read and to avoid a fractal impression. Dirk Uhlenbrock has been working as graphic designer and illustrator in his hometown Essen, Germany for over 30 years. Always interested in typedesign he got in contact with Fontographer in 1996 and started to create and distribute loads of free fonts through his online platforms ‘Eyesaw’ and ‘Fontomas’. A bunch of these type experiments have been extented on request to complete fonts. Still located in Essen in 2009 Dirk started his second owner-based business erste liga büro für gestaltung - ersteliga.de

Torcao is one of the sporks of the font universe, a useful and functional outlier. Half square, half circle, this uncommon squircle of a family with its asymmetry of curved and angular shapes drives through headlines and body copy with forward velocity. The robust, technical appearance is light-hearted and inviting, and its organic nature plays off of its one-of-a-kind kinks and hybrid forms. Torcao is not merely an experimental font, though. The figures have been crafted and refined into a functional, hard-working typeface that lends itself to many sizes and environments. The font family features a tall x-height and light modulation, which give the typography its unique color highly effective in headlines but still quite legible in longer text. This family contains a comprehensive range of nine weights--slender to black--and features condensed and extender selections for a complete set of forty-eight fonts. The font has been decked out for experienced typographers, together with swash alternates and simplified titling. The typeface also contains a range of numeral sets, together with fractions and old-style figures. OpenType-capable programs including Quark or the Adobe suite allow quick changes to ligatures and alternates. Previews of these options can be found in the .pdf brochure. Torcao also features the glyphs to enable all Central, Eastern, and Western European languages. In all, the font supports around forty languages that utilize the prolonged Latin script, making it an excellent option for multi-lingual publications and packaging. Simple, technical, and open, the Torcao type family could just be the perfect choice for your web type or print project.

In the tradition of Goudy Old Style and Goudy Modern, Chong Wah drew Chong Old Style™ and Chong Modern™ as visually different – but complementary – designs. According to Chong Wah, “The extended family of typefaces started as a concept rather than a preconceived design. The concept is different sans serif type styles with a common underlying structure and a clear lineage to traditional serif designs. While there are similarities between the designs, each typeface was drawn as a separate entity.” Chong Old Style has the flavor of traditional old style designs without slavishly replicating the earlier design traits. It has the heft and color of an old style design but lacks the serifs and inclined stroke axis customarily seen in these typefaces. The result is a versatile suite of typefaces that deliver a straightforward message in large or small sizes. Chong Modern is a sans serif interpretation of the classic modern, or neoclassical, designs of Bodoni and Didot. More than a Bodoni without serifs, Chong Modern also has an elegant, Art Deco demeanor. This is a design that walks the line between traditional and contemporary with grace and aplomb. Chong Wah drew his Old Style and Modern designs in Light, Regular and Bold weights, adding an Extra Bold to the Old Style. All designs benefit from harmonizing italic counterparts. Both branches of the Chong family are also available as OpenType Pro fonts, allowing graphic communicators to take advantage of OpenType’s diverse capabilities. These fonts, in addition to providing for the automatic insertion of old style figures, ligatures and small caps, also offer an extended character set supporting most Central European and many Eastern European languages

Inheriting the beauty and style of old type classics from this genre, Jeles is blended with very elegant modern approach featuring soft corners, round slab serifs and tasty ball terminals. Jeles is designed mostly for display use and it is highly recommended to get the whole family if you want to get the best result. It is designed in two styles Condensed and Normal. The Condensed version is developed in two weights each coming with corresponding italics. While the Normal styles are three ranging from Regular, Bold and Black. The total of 7 separate fonts inside the family are quite enough if you look for diversity and flexibility at one place. You could use the uprights for more serious and strong headlines while the Italics work perfectly for more fresh and live subheads. Of course editorial design is only one of the many directions where Jeles family could be used successfully as we all know typefaces with so visible contrast between thin and thick and combined with classic elegance, could be easily used in every design of cosmetic industry, fashion, food, jewelry, etc. Try to design a stylish boutique shop signboard and you will surely discover its beauty and potential. Easy-to-read, it is good for print design, revealing its authentic letterpress-like character as well as perfect for screen use note that the thin strokes and serifs are not that thin to vanish on a low resolution monitor. Professionally designed, they are solid enough yet very elegant and even gentle making Jeles a desired family design of attractive web banners, web sites, apps and e-books.

TT Tricks useful links: Specimen | Graphic presentation | Customization options TT Tricks is a modern serif font family whose design refers us to the style of transitional serifs. The distinctive features of TT Tricks are the relatively low contrast of strokes, the slightly squarish shapes of round characters and the emphasized businesslike nature. The original idea of TT Tricks is based on the graduation project of student Sofia Yasenkova, who chose to create a daily planner font as her final project. This led to many stylistic decisions, for example, the large and asymmetrical serifs, low contrast strokes, and the presence of interesting details. In the process of working on TT Tricks, we have significantly revised the initial idea and expanded the areas of possible font application, while maintaining the original spirit of the project. Despite the large number of display details, the typeface looks great in a small point size, and also when it is used in large text arrays. TT Tricks features an original stylistic set which, when turned on, adds features of typical pointed-pen serifs to some of the lowercase characters. In addition, TT Tricks has small capitals for Latin and Cyrillic alphabets, as well as several interesting ligatures. The TT Tricks font family consists of two font subfamilies, these are the main version and the version with the original stencil cutting. Each subfamily consists of 12 fonts: Light, Regular, DemiBold, Bold, ExtraBold, Black + True Italics. Following a good tradition, TT Tricks supports a large number of OpenType features: ordn, case, c2sc, smcp, frac, sinf, sups, numr, dnom, onum, tnum, pnum, dlig, liga, calt, salt (ss01).

Mono-Spec Stencil is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width, which is immediately noticeable for its condensed nature. Mono-Spec Stencil is a sibling of a non-stencil family, simply named Mono-Spec. Characters in each are just as wide, allowing Mono-Spec Stencil to be used together with Mono-Spec, as a secondary typeface. As a typeface whose characters are stencil-shaped, this design channels the spirit of resistance and street culture. When you look at the family, remember that it ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Stencil Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec Stencil fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec Stencil’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

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.

A family of fonts with rhythm. Natom Pro is a modern and geometric font family adapted to the professional requirements of graphic designers, web designers and mobile application developers. Comprised of 19 styles including 8 styles designed especially for the design of headlines, Natom Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This font, with a resolutely contemporary aspect, also hides a unique typographic design since it has 2 distinct styles (Title and Roman) which have 2 different typographic rhythms in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of rhythmically differentiated glyphs according to the styles, the headlines have a very graphic aspect while the long texts have a more classic aspect in order to keep optimal readability in all scenarios. Its architecture is also very modern since it was designed and drawn with particular attention to the geometry of the forms with clear and open endings cut at 90 degrees. The number of styles has also been simplified with the most used thicknesses (Extra Light, Light, Regular, Medium, Bold and Black) in order to speed up your graphic design process. For the more experienced designers, Natom Pro is also available in a variable version. Natom Pro is also equipped with powerful OpenType features like case sensitivity, true small caps, full ligature set, tabular figures for tables, « old styles figures » to elegantly insert figures into your sentences, numbers circled or even alternative characters to satisfy the most demanding professionals.

Discover Deadfall, the ultimate horror display font that will send shivers down your spine! What sets Deadfall apart is its unique blend of fear-inducing aesthetics and multilingual capabilities. This Monospace typeface exudes a captivating dripped and splash style, adding an extra layer of terror to your designs. Notably, Deadfall supports the Cyrillic alphabet, making it an ideal choice for a global audience. Deadfall offers both regular and italic variations, granting you even more creative possibilities. Whether you're designing posters, crafting marketing materials, conjuring chilling movie titles, creating Death metal logotypes, or working on Halloween-themed crafts, Deadfall will infuse your projects with a bone-chilling atmosphere. To ensure versatility, consider pairing Deadfall with related font families or other typefaces that complement its macabre charm. Its functional aspects include an extensive character set and special features, making it suitable for a wide range of applications. The design concept behind Deadfall revolves around the idea of capturing the essence of horror. The font's distinctive dripped and splash style adds a sense of chaos and unease to any composition, immersing the viewer in a world of terror. The inclusion of the Cyrillic alphabet reflects our commitment to providing a font that caters to diverse audiences, bringing fear to every corner of the globe. We created Deadfall to meet the demand for a truly spine-tingling font that conveys a sense of horror and foreboding. Whether you're a graphic designer looking to evoke fear or a Halloween enthusiast seeking to amplify the spooky atmosphere, Deadfall is here to unleash terror in your designs. Get ready to embrace the darkness with Deadfall - the ultimate font for all things haunting and macabre!

This font has been described as "one of the cutest fonts I've ever seen. I can imagine a beautiful, young 22-year-old fashion design student from Los Angeles, CA with this handwriting as she's writing in her journal." I have cleaned it up a bit, increased the size of all the dots slightly and then designed all the diacritics and expanded the character set. The lowercase "f" has a big overhang and the lowercase "j" goes really far to the left - I have programmed automatic (OpenType) Contextual Alternate versions that automatically substitute with shorter variants when letters collide. These alternate letters can also be switched on using the OpenType palette's Stylistic Alternates or Stylistic set 01 ("j") and 02 ("f"). ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual "western" glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

Introducing Bubble Brown, an exciting and playful bubble display font that will add a touch of whimsy to your designs. This font features a unique alternate ligature style that combines bubbles and letters, creating a fun and engaging visual experience. With its lively appearance, Bubble Brown is perfect for various design projects, especially those aimed at children, toys, games, or anything that requires a cheerful and vibrant aesthetic. This font is carefully crafted with 710 characters, ensuring versatility and multilingual support. Whether you're designing in English, French, Spanish, German, or any other language, Bubble Brown has got you covered. The font includes special characters, punctuation marks, numerals, and a wide range of glyphs, allowing you to express your creativity without limitations. One of the standout features of Bubble Brown is its support for PUA Unicode. This means that you can access the font's extensive character set through private use area codes, giving you even more freedom to customize and personalize your designs. Let your imagination run wild as you combine different characters and ligatures to create captivating typographic compositions. Bubble Brown will bring joy and excitement to any project it graces. Whether you're designing posters, logos, packaging, websites, or any other creative endeavor, this bubble display font is bound to make a lasting impression. Its alternate ligature style adds a touch of uniqueness and flair, setting your designs apart from the crowd. So why wait? Get your hands on Bubble Brown today and unlock a world of creativity, fun, and boundless possibilities. Let this font take your designs to new heights and bring smiles to the faces of your audience.

Genovaite Baroniene is former school teacher and a native of Lithuania who loves fancy letters. When she writes, she likes to add extra flourishes to her handwriting and printing. It simply appeals to her to do so. While living in the United States a few years ago and working in the health care field, she put pen to paper to provide a specimen of her writing from which a font could be developed. The process has taken longer than either of us expected. Now we are finally able to present Baroniene ML, a stylishly unique example of what we call Lithuanian Folk Baroque. Baroniene ML has a total of 362 glyphs, including the Unicode Latin Extended-A glyphs (0100 to 017F), covering the more widely-used Central European languages. To resolve the cedilla/undercomma conundrum, we have chosen to design a hybrid disconnected accent for use with C, G, K, L, N, R, S & T. We hope this solution is acceptable to users of Albanian, Catalan, French, Latvian, Portuguese, Romanian and Turkish. Baroniene ML also comes with four ligatures: gh, Th, th and Ch (167, 172, 177 and 181). Baroniene ML is certainly not the polished script of a professional calligrapher. It is very personal. The human source is still visible in its form. The letter spacing is uneven. Some of the curves are not quite perfect. In sum, the individuality has not been refined out of it. That is why it is so charming. If you want for a font that has a very different look, perhaps Baroniene ML is what you need.

At VetteLetters we like food but we also appreciate our drinks. Yes, of the non-alcoholic kind as well. Like milk. Contrary to what Arnold Schwartzenegger once said, Milk is not just for babies. It contains a whole lot of stuff that is genuinely good for you. Like proteins, carbohydrates, minerals (calcium a.o.) and many vitamins. One time visiting The Hague, Donald DBXL spotted a tile tableau on a brick wall, advertising a dairy factory called ‘De Sierkan’. Yellow sans serif letters on a bright blue background, dating back to the late 19th century, immediately grabbed DBXL’s attention. Especially because the tableau showed both regular and bold letters with some lovely peculiarities here and there. De Sierkan appeared to have been a milk factory solely operating in The Hague from 1879 until 1961. A number of these wall adverts are still to be seen in The Hague streets today. Photos were taken for later reference. Later is now, the lettering has been digitized, missing characters added, and VLNL Melk sees the light of day. VLNL Melk is an all-caps geometric display sans serif family of three weights, Regular, Bold and Black. The basic shape of the letters is a rectangle with rounded corners, leaving a sturdy no-nonsense look and feel. It has a distinct historic aura, but with both feet in this digital day and age. It can equally well be used for the logo of a hipster coffee place, as the cover of a historic novel. Actually, VLNL Melk kan be applied in a wide range of designs like logos, posters, flyers, book covers and magazine headlines.

Conspired Lovers is based on five years of love-letter writing. A font to capture the intentions of love letters more than any other font. How did the Project start? In the last five years I wrote love letters with two persons. I became used to the joy of handwriting with ink and nib on fine paper. Through practice a experimentation my style continuously refined. As life moves on, suddenly I found myself with no one to write love letters to. It's a luxury to have someone to write letters to. Missing the joy of writing and listening to Gregory Porter’s “Be Good”, the decision was made to take this 5 years of writing and make this dance on paper a font. A handwritten typeface for everyone to use. This font was created in July, 2012 and named Conspired Lovers. A font to capture and convey your message in a special way to the beloved one close to your heart. With a long practice of writing crafted into the unique design I hope that you and the recipient of your writing will soon enjoy this design. The Open-type version features 350+ glyphs including alternates and ligatures. All lowercase and most uppercase letters are connected, to create a realistic hand-writing-calligraphy on your creations. Conspired Lovers is international and supports a wide range of eastern european languages with accented letters to reach everyone in Sweden, France, Hungary and almost everywhere around the globe. A trailer for Conspired Lovers can be seen here: http://vimeo.com/haraldgeisler/conspired-lovers If you're looking for more heart related fonts also check out my other fonts.

Hello! Let me introduce Cohen – a handwritten font named in memory of the great poet and singer Leonard Cohen. On the day he passed away I did my routine calligraphy practice and wrote a part of his song 'Night Comes On'. You may see this work in presentation pictures, and after time I designed a font based on this calligraphy. Cohen signature font is perfect for logos, branding, web, blog headlines, invitations, magazine and book design, product packaging – or for any text on postcards and on your favorite photos. Cohen includes: a standard set of characters with wide multilingual support: Western-, Central- and Eastern-European, Baltic, Turkish, Latin-type Africans, and Asian (94 languages in total) two additional character sets: lowercase letters with alternates shapes and lowercase letters with a little end-swash - for the position at the end of a word 39 ligatures for double letters and frequent combinations Cohen has a large number of embedded context-dependent auto-replacement features that give the text a natural, handwritten look and correct inharmonious combinations of letters. These features work well in many apps (even simple ones like Notepad/TextEdit), and if you need to customize their application – you could use programs that support OpenType features (for example, Adobe apps or CorelDraw). All these additional glyphs are PUA-encoded, so if your software does not support OpenType — you could access them through Character Map (Windows) or Font Book (Mac). I hope you will like Cohen and create great designs with it! And if you have any questions, feel free to contact me via e-mail: triple.hely@gmail.com

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.

Dick Jensen (USA) designed Serpentine, is a contemporary-looking display font, for the Visual Graphics Corporation in 1972. With the rise of digital typesetting and desktop publishing, this typeface quickly became both popular and ubiquitous. This dynamic, wide, boxy design is identifiable via tiny triangular swellings at the stroke endings - what might be called semi-serifs. Serpentine is available in six different font styles: Light, Light Oblique, Medium, Medium Oblique, Bold, and Bold Oblique. Serpentine" is a greenish rock that sometimes resembles a serpent's skin, and is often used as a decorative stone in architecture. Though this font doesn't seem at all snaky or sinuous, it does have an architectural, stone-like solidity. The subtle, almost non-existent curves and semi-serifs keep it from being too stern or cold. Although the underlying strokes of each weight are similar, the six members of the Serpentine font family all present their own individual personalities. Serpentine Light lends itself well to text for onscreen displays, for instance, while the numbers from typeface's heavier weights are seen around the world on soccer jerseys! Additionally, the oblique styles convey a streamlined sense of speed, furthermore lending Serpentine well to sport and athletic applications (especially the faster, high-speed varieties). Because of its 1970s pedigree, Serpentine has come to be known as a genuine "retro" face. This makes the typeface even more appropriate for display usage, in applications such as logo design, magazine headlines, and party flyers. If you like Serpentine, check out the following similar fonts in the Linotype portfolio: Copperplate Gothic (similar serifs) Eurostile (similar width) Princetown (another "athletic" font) Insignia (similar "techno" feeling)"

EUROPEAN SOFT PRO ABOUT FAMILY: What makes "European Soft Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Soft Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Soft Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Soft Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimited fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Take your typography to the next level with Super Sabretooth. A vigorous, rebellious brush font designed to bring the noise, start the fun, and leave any inhibitions at the door. It pushes lettering limits to the extreme and breaks down any boundaries on it's journey there. Super Sabretooth is packed full of great features & added extras, providing everything you need to create highly charged typography designs. Here's what this family consists of: Super Sabretooth • A high energy brush font containing upper & lowercase characters, numerals and a large range of punctuation. Super Sabretooth All Caps • This is a second version of Super Sabretooth, with all lowercase characters replaced with a brand new set of small-caps. Use this font as a larger & louder alternative to the regular version. Quick Tip! If you want more freedom, you can combine the two font sets together to create truly awesome customised typography, they will work in harmony as well as being strong standalone fonts. There are no rules with it - play around, mix it up, have fun, and enjoy the ride! Super Sabretooth Swashes • Still looking for even MORE features? Alrighty, check out this extra font containing 17 swashes and 9 paint splatters, designed to add the perfect finishing touch to underline & exaggerate your Super Sabretooth lettering. Simply type any a-z character in this font to generate the extras. Fonts include multilingual support for the following languages; English, French, Italian, Spanish, Portuguese, German, Swedish, Norweigen, Danish, Dutch, Turkish, Polish, Finnish, Romanian, Hungarian, Estonian, Filipino, Indonesian, Icelandic, Romansh, Welsh Thanks for checking it out, and remember: Push the Limits.

EUROPEAN SANS PRO ABOUT FAMILY: What makes "European Sans Pro" elegant, friendly and contemporary is its very rounded curves with very open terminals. "European Sans Pro" has been designed with a higher "x-height" than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. This typeface is also equipped with powerful OpenType features to satisfy the most demanding professionals. It has solid features like case sensitivity, small, true capitals, full ligatures, tabular figures for tables, old style figures to elegantly insert numbers into your sentences and more alternative characters to give personality to your projects. The extended, "European Sans Pro" supports around 85 languages in the Latin, Cyrillic and Greek scripts, and its non-Latin components were developed with native consultants. With over 1200+ glyphs per style, "European Sans Pro" cares about localised letterforms and has the OpenType features to match. FEATURE SUMMARY: - 9 weights: Thin, ExtraLight, Light, Book, Regular, Medium, Bold, ExtraBold, and Black. - 4 widths: Normal, Narrow, Condensed, and Extra Condensed. - Matching italics (12º) for all weights and widths . - Matching small caps for all weights and widths. - Lining and old style figures (proportional and tabular). - Alternate characters (A, G, M, N, R, U, a, g, l, m, n, u, y). - Unlimeted fractions. - Automatic ordinals (1st, 2nd, 3rd, etc.). - 24 Dingbats + 19 Social Media and Block Chain icons. - Extended language support: Most Latin-based scripts (including Vietnamese), Cyrillic, and Greek. - Extended currency support. You can contact me at buyuksel@hotmail.com, pre-purchase and post-purchase with questions and for technical support. You can enjoy using it.

Since the beginning, Palsam was intended to be a super multilingual family, with a real cursive Arabic companion, and a display cut. The typeface was designed to be used for setting text and titles of contemporary Arabic content, specially magazines, and websites. The Arabic and Latin scripts were designed at the same time, to make a true authentic bilingual typeface. Both scripts have affected each other in several ways through the entire design process, which happened within ten years. Palsam has an inviting, approachable, fashionable and humanist look. Thanks to its low contrast, open apertures, detailed calligraphic strokes, and smooth counters, which also make it easy to read at smaller sizes. The main highlight for Palsam was the Cursive companion. For the first time, the calligraphic Ijaza style was used as a model for designing the Arabic cursive. Since the Ijaza is a hyper combination of Naskh and Thuluth, which makes it perfect to be a companion for the upright Naskh. Moreover this script was used in margins, and to highlight specific content inside a paragraph in older manuscripts. With true cursive companions in five weights, and many opentype features, Palsam grants all the tools needed to set complex information and editorial designs applications. More than 1000 characters are included per weight, including small caps, fractions, old style and lining numbers, ligatures, contextual ligatures, and discretionary ligatures. It supports over 40 languages that use the Latin extended, as well as Arabic, Farsi, and Urdu Languages. PalsamArabic only covers the Arabic script. The latin script was designed in collaboration with the Slovenian type designer Alja Herlah.

TT Fors useful links: Specimen | Graphic presentation | Customization options TT Fors is a modern geometric sans serif with characters and shapes contrasting in width, as close as possible to the basic geometric shapes (circle, square, triangle). TT Fors is a great addition to TypeType's line of functional sans serifs, which already includes such fonts as TT Norms Pro, TT Commons, TT Hoves and TT Interphases. The main inspiration for the creation of TT Fors was the study of geometric grotesques of the early to mid-20th century (Futura, Neuzeit Grotesk, Twentieth Century, Avantgarde Gothic, etc.), and the analysis of the contribution they made to the visual environment of that time. We gave ourselves the task to create the most versatile functional typeface that draws inspiration from the visual environment of the early to mid-20th century, but at the same time is aimed at uninterrupted use in all modern media, from branding and packaging design to work in interfaces and applications. This versatility is reflected in the title TT Fors (for), a typeface for a wide range of uses. The rounded characters in the font family tend to be shaped as the correct circle as much as possible, while the rest of the characters have narrower proportions. For more functionality, the typeface has rather high lowercase characters. Thanks to the correct and precisely selected geometric shapes and uniform construction rules, TT Fors works great both in the format of large headings and in very small text sizes used in book printing and in web design. In addition, the TT Fors family has a display subfamily TT Fors Display, which is a trendy pair for the text fonts. The main feature of the display subfamily is high contrast in horizontal or vertical strokes. When choosing a contrasting stroke, we paid attention that the shape of the letter would not go into reverse contrast and become a stressed sans serif. The subtle strokes in TT Fors Display have added sufficient display vibe to give the font a vibrant character, while remaining intelligent and serious. In total, TT Fors family includes 34 fonts: 9 weights and 9 italic styles in the text subfamily, 6 weights and 6 italic styles in the display subfamily, 2 outline styles and 2 variable fonts for both subfamilies. TT Fors has stylistic alternatives, ligatures, small caps (text family only), numbers in circles, arrows and a set of alternative round full stops and punctuation marks (text family only), slashed zero, and other useful features. More details about all OpenType features can be found in the font specimen. And, by good tradition, TT Fors has two variable fonts, for each of the subfamilies. Each variable font supports two axes of variability—thickness and slant. An important clarification—not all programs support variable technologies yet, you can check the support status here: https://v-fonts.com/support/. To use the variable font with two variable axes on Mac you will need MacOS 10.14 or higher. TT Fors supports more than 180+ languages, such as: Acehnese, Afar, Albanian+, Aleut (lat), Alsatian, Aragonese, Arumanian+, Asu, Aymara, Azerbaijani+, Banjar, Basque+, Belarusian (lat), Bemba, Bena, Betawi, Bislama+, Boholano+, Bosnian (lat), Breton+, Catalan+, Cebuano+, Chamorro+, Chichewa, Chiga, Colognian+, Cornish, Corsican+, Cree, Croatian, Czech+, Danish, Dutch+, Embu, English+, Esperanto, Estonian+, Faroese+, Fijian, Filipino+, Finnish, French, Frisian, Friulian+, Gaelic, Gagauz (lat), Galician+, Ganda, German+, Gusii, Haitian Creole, Hawaiian, Hiri Motu, Hungarian+, Icelandic+, Ilocano, Indonesian+, Innu-aimun, Interlingua, Irish, Italian+, Javanese, Jola-Fonyi, Judaeo-Spanish, Kabuverdianu, Kalenjin, Karachay-Balkar (lat), Karaim (lat), Karakalpak (lat), Karelian, Kashubian, Kazakh (lat), Khasi, Kinyarwanda, Kirundi, Kongo, Kurdish (lat), Ladin, Latvian, Leonese, Lithuanian, Livvi-Karelian, Luba-Kasai, Ludic, Luganda+, Luo, Luxembourgish+, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Malay+, Maltese, Manx, Maori, Marshallese, Mauritian Creole, Minangkabau+, Moldavian (lat), Montenegrin (lat), Morisyen, Nahuatl, Nauruan, Ndebele, Nias, Norwegian, Nyankole, Occitan, Oromo, Palauan, Polish+, Portuguese+, Quechua+, Rheto-Romance, Rohingya, Romanian +, Romansh+, Rombo, Rundi, Rwa, Salar, Samburu, Samoan, Sango, Sangu, Sasak, Scots, Sena, Serbian (lat)+, Seychellois Creole, Shambala, Shona, Silesian, Slovak+, Slovenian+, Soga, Somali, Sorbian, Sotho+, Spanish+, Sundanese, Swahili, Swazi, Swedish+, Swiss German+, Tagalog+, Tahitian, Taita, Talysh (lat), Tatar+, Teso, Tetum, Tok Pisin, Tongan+, Tsakhur (Azerbaijan), Tsonga, Tswana+, Turkish+, Turkmen (lat), Uyghur, Valencian+, Vastese, Vepsian, Volapük, Võro, Vunjo, Walloon, Welsh+, Wolof, Xhosa, Zaza, Zulu+, Belarusian (cyr), Bosnian (cyr), Bulgarian (not localization), Erzya, Karachay-Balkar (cyr), Khvarshi, Kumyk, Macedonian, Montenegrin (cyr), Mordvin-moksha, Nogai, Russian+, Rusyn, Serbian (cyr)+, Ukrainian

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.

Designed by Les Usherwood. Digitally engineered by Steve Jackaman.