Varese Outlined is the perfect font for giving content a retro, dimensional, and playful feel. Use it for headlines or short body text for an optimistic or nostalgic tone. It comes in two variations, outlined and shadow. It has standard uncolored and colored options. Please see the slides to know what each color font is named. This geometric and modular typeface was inspired by Italian posters of the 1920s and 1930s. Its design playfully explores the boundaries between unity and variety. The blocky characteristics lend it well to tightly composed text either horizontally or vertically. The lowercase is similar in form to the uppercase, yet many of the lowercase letters have interior spaces (counterforms). It comes with standard ligatures; ff, fi, fl, ffl and three alternate glyphs for number 1. The color fonts in Varese Outlined are vector-based and in the fully scalable SVG OpenType format. Color fonts are supported by Photoshop 2017, Illustrator and InDesign 2018, and QuarkXPress 2018 (and later versions). Those who do not want a color font should purchase the files simply named “Regular” and “Outlined”. These will not have any color words in the names. Varese Outlined has two siblings; Varese and Varese Soft. The designer suggests pairing Varese Outlined with his ornamental fonts FormPattern or FormPattern Color Two, Three, or Six.

Drummer is a large futuristic font family inspired by the Expansion TV series, old science fiction book covers and Honda Prelude and Porsche logos. The family contains a large number of styles and a lot of language support. 54 styles, 6 in width (Ultra Condensed, Condensed, Normal, Expanded, Extra Expanded, Ultra Expanded) and 9 in weight (Thin, Extra Light, Light, Regular, Medium, Semi Bold, Bold, ExtraBold, Black). The font also has a variable version. 573 glyphs, including 40 alternate characters. A lot of work has been done on the font. The fillets on the symbols have been well worked out and tested for a better visual and practical experience. The font combines the monospacing of many characters combined with kerning, which makes it very convenient for many purposes, such as vertical typography. The font is good in all sizes, both small and large, which makes it possible to use it anywhere. Branding, logos, titles, posters, texts, covers, merch, prints, web, titles, banners, games and design in games and much more. In the near future, it is planned to add another axis of variability - the slant. Consequently, the family itself will increase. It is also planned to add a small case (capital). If you want to say something about the font or get a font in other formats, then write to the mail: bunineugene@gmail.com .

Rubiesque is the sans serif version of Rubis, these two families share the same skeleton and weights. Rubiesque is a sans combining humanist and grotesk references which give this typeface an interesting & unique personnality. The regular and medium weights are perfect for text while the italic give an interesting texture to the text. The range of style give a good flexibility to this family. It’s a perfect family for editorial use. Rubiesque consists in a 10 styles family, from Light to Black with their corresponding italics. Each font includes OpenType Features such as Small Caps, Proportional Figure, Tabular Figures, Numerators, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Fractions and ligatures. Rubiesque family supports Latin and Cyrillic, all these languages are covered: Latin language support: Afar, Afrikaans, Albanian, Asturian, Azeri, Basque, Bosnian, Breton, Bulgarian, Catalan, Cornish, Corsican, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Filipino, Finnish, Flemish, French, Frisian, Friulian, Gaelic, Galician, German, Greenlandic, Hungarian, Icelandic, Indonesian, Irish, Italian, Kurdish, Latin, Latvian, Lithuanian, Luxembourgish, Malagasy, Malay, Maltese, Maori, Moldavian, Norwegian, Occitan, Polish, Portuguese, Provençal, Romanian, Romansch, Saami, Samoan, Scots, Scottish, Serbian, Slovak, Slovenian, Spanish, Swahili, Swedish, Tagalog, Turkish, Walloon, Welsh, Wolof Cyrillic language support: Adyghe, Avar, Belarusian, Bulgarian, Buryat, Chechen, Erzya, Ingush, Kabardian, Kalmyk, Karachay-Balkar, Karakalpak, Kazakh, Komi, Kyrgyz, Lak, Macedonian, Moldovan, Mongol, Permyak, Russian, Rusyn, Serbian, Tatar, Tofa, Tuvan, Ukrainian, Uzbek

The Metro Office family is designed after the model of the original sans serif family – Metro No.1 – produced by W.A. Dwiggins and Mergenthaler Linotype’s design studio during the late 1920s and 1930s. A distinctly new interpretation of the sans serif idea, Metro was a thoroughly “American” sans serif when it was released. However, over the ensuing decades, it became a favorite the world over. Moreover, it is one of the first “humanist” sans serif typefaces designed. While redesigning Metro in 2006, Linotype’s Type Director Akira Kobayashi drew from his own knowledge of humanistic letterforms. The result is a redefined Metro; a typeface that is finally ready for heavy text setting. The original Linotype Metro No.1 never had italic variants. Kobayashi has created oblique variants, extending its use in document setting. A double-storey a and g, as well as a wider w were features of Dwiggins’ original Metro design that were filtered out by Mergenthaler Linotype in the 1930s. Kobayashi remedied this historical slight, retooling Dwiggins’ original forms and optimizing their legibility. Kobayashi has additionally retooled some of Metro’s more troublesome letters, which has black elements that became too dense. By opening up the troublesome joins (like that on the Q), Kobayashi has given his new Metro a more even color in text, improving its legibility while retaining its original spirit.

Swiss 721™ is a sans serif family that ranges in style from thin to black while mixing in a few unexpected, but beautifully made and ironically flattering, outline weights that spice up the grotesque design. Couple these upstanding letterforms with matching italic styles and you have yourself a beautiful tool that is as legible on screen as it is off, has the technical prowess to conquer even the trickiest of design riddles and will work in a myriad of projects. Swiss 721 is a staple sans serif that you’ll never be sorry you have in your library. It’s been said that a simple sans serif is one of the most difficult typefaces to design. This is because when letters are reduced to their most basic details, irregularities and inconsistencies in design become immediately visible. The Swiss 721 typeface family is a quintessential example of letterforms distilled to their essence while still possessing warmth and verve. Based on mid-century sans serif typefaces, Swiss 721 is a versatile family of weights and proportions ideally suited to a wide variety of print and interactive design projects and is equally at home as headlines on billboards as it is navigation content on small screens. Swiss 721 takes the essence of mid 20th century sans serif typefaces and melds it with modern design consistency and a systematic weight range.

Shocka Family is a confident serif. Designed to reflect nature, it creates a sense of softness and natural expression. We pushed the concept in a usability-focused direction, to work as a bold tool and a beautiful communicator. Variable Shocka enables fluid design in 9 weights, italics and 2 styles with major latin based languages. The right slant advances aesthetics, brings energy and makes it suitable for modern designs. The type family blends organic curves and soft repetition into strong and harmonious types. At large dot sizes you can appreciate the shape of the letters, while the same control and focus creates an even texture for small dot sizes and long reads. Fonts extend their use by giving weights ranging from light to black. The natural curve, a swollen and sloping stem, grows in character as the font gains weight. While the thinner weight has lowered contrast and optical correction to create a warm and soft look. The Shocka Family character set combines additional symbols, style alternatives, unique binding, and case sensitive punctuation - resulting in a stable, hard-working family ready to tackle projects of any size. I can't wait to see what you do with Shocka Family! Feel free to use the #Skinny_Type and #Shocka Family font tags to show what you've done visit my Instagram : https://www.instagram.com/skinny.type/ Thank you!

The Core Sans G Family is a part of the Core Sans Series, such as Core Sans N SC, Core Sans N, Core Sans NR, and Core Sans M. Core Sans G is constructed of straight, circular or square shapes. These geometric shapes are inspired by classic geometric sans (Futura, Avenir, Avant Garde etc.). Every stem is a rectangle or a straight line and every letter, lowercase or uppercase, seems to be in perfect geometric form and even weighted. The small x-height makes readability clean and clear. Core Sans G can be used equally well in headings or in body copy. The Core Sans G Family consists of 9 weights (Thin, Extra Light, Light, Regular, Medium, Bold, Extra Bold, Heavy, Black), 3 for rounded (Medium, Bold, Extra Bold) with matching Italics. It also includes 4 effects fonts (Outline, Neon, Shadow, Dimensional), Alternate Characters (a,g,t) and a bunch of ligatures. The Core Sans G provides a wide range of character sets to support (Cyrillic, Central and Eastern European characters) and advanced typographical support with features such as proportional Figures, tabular Figures, numerators, denominators, superscript, scientific Inferiors, subscript, fractions, standard ligatures, discretionary ligatures and stylistic alternates. Core Sans G is an ideal font family for use in magazines, web pages, screens, displays, and so on.

The word Text" in Goudy Text™ is short for Textura, and textura is the style of blackletter or gothic writing developed in Northern Europe in the middle ages. The use of space in blackletter is quite different from what we know about Roman letterforms. Lowercase forms in blackletter writing and typefaces must be evenly textured with black and white elements, like the texture of weaving or fabric. Capital letters can provide either an integration of the even texture (by the use of decoration in their construction) or, if they are wide and open and filled with white, they provide bright spots of visual emphasis. Goudy, despite being an American in the twentieth century, understood well the fundamental texture of medieval blackletter and the importance of both density and light. He designed Goudy Text in 1928 for Lanston Monotype after studying the type in Gutenberg's 42-line bible; still one of the best models for designers of blackletter typefaces. The lowercase of Goudy Text has impact and medieval authenticity. The standard caps have some Victorian eccentricities but are mostly well drawn. The alternate, or "Lombardic" caps are spectacular - they set beautifully with the lowercase letters, providing the proverbial shafts of light through the Gothic cathedral's stained glass windows. Use this potent font in sizes 14 point or larger, for Christmas greetings, certificates, wedding invitations, advertising, or music collateral pieces."

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

New from the Monotype Studio’s Creative Type Director, Emilios Theofanous, Touvlo – meaning brick in Greek – is an homage to London and the view from his studio window. A zestful, modern interpretation of a classic genre, Touvlo skillfully captures the spirit of early British grotesque typefaces through playful terminals and lively curves. Touvlo offers an array of styles, from clean uprights to characterful Italics, and exuberant Backslants. Its regular upright weights are optimized for long text, with prominent and visible vertical contrast, creating rhythm and texture for comfortable reading. The Italics are designed to be visibly distinct, with narrower proportions and calligraphic shapes, offering brightness and emphasis wherever needed. The Backslants are an unexpected and energetic addition, providing an element of surprise while following similar design choices as the Italics, packing a particular punch. With a total of 24 weights in 3 styles across 3 variable fonts, Touvlo’s variety adds flavor in any use case, and can withstand complex typographic layouts or unexpected and peculiar settings. Touvlo’s weights range from Thin to Black, giving it an expressive edge for headlines. Its lyrical Drop caps are the finishing touch, featuring exquisite birds and creatures inspired from ornaments found in type specimen books. Touvlo’s spirit is radiant; becoming more than a voice; a reimagining of a classic genre and a must have for every designer's typographic palette.

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. Most of the shapes contained in TessieMiscellaneous are Escher-like tessellations. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Jumper is an optimistic sans-serif typeface family. Drawn and created by Mans Greback between 2019 and 2021, Jumper is a speedy, naive type for logotypes, headlines and body text. The geometric components merge seamlessly with the organic shapes, resulting in a professional but genuine lettering. With a sport character reminiscent of typography in famous brands such as Nike and Adidas, this type is active, happy and has great velocity. The twelve complementing styles gives great variety to your design: Thin, Light, Regular, Bold, Extra-Bold, Black, and each weight as Italic. Also includes a variable font! Only one font file, but the file contains multiple styles. Use the sliders in Illustrator, Photoshop or InDesign to manually set any weight and slant. This gives you not only the 16 predefined styles, but instead more than a thousand ways to customize the type to the exact look your project requires. More info about Variable Fonts: https://www.mansgreback.com/variable-fonts The font is built with advanced OpenType functionality and has a guaranteed top-notch quality, containing stylistic and contextual alternates, ligatures and more features; all to give you full control and customizability. It has extensive lingual support, covering all Latin-based languages, from North Europe to South Africa. It contains all characters and symbols you'll ever need, including all punctuation and numbers.

Engria is a type family of four weights with corresponding italics that treads the fine line between sans and serif. There are serifs, of a sort, inspired by the brush. Not the marks made by a brush, but the actual splayed shape the bristles make when clamped together. Wedge-like chunks that resemble engraved forms, as the name Engria hints at. But it also has the appearance of a stressed, flared sans. This mixed approach lends a unique voice. Highly legible at text sizes, as indeed it is optimized for, Engria does however shine at display sizes thanks to its characteristic details – flared stems, angular counterforms, rugged ink traps and fluid curves. (I would recommend tracking it a little tighter at larger sizes.) Engria started life way back in 2014, and has been worked and reworked tirelessly to get to this finished product. My intent was to really push the idea of the white shapes being as important, if not more so, than the black. Engria is equipped for typographically demanding applications, boasting as it does an array of OpenType features, including small caps, automatic fractions, stylistic sets, various figure styles, arrows, case sensitive forms and more. It will make a very useful addition to your typographic arsenal, with a flare (ahem) for editorial work, but the individuality for packaging, branding, and logo work.

This is Range Sans, the sans-serif counterpart to Range Serif . It can be categorized as a grotesque, with the idiosyncratic angular details from the serif family making themselves known in the arches and bowls of the lower case. The range of weights is larger than Range Serif, with two more weights at the lighter end of the spectrum. The weights from light to black correspond to their seriffed sisters, so can be interchanged with them freely while maintaining a similar text color and vertical metrics. This is useful for adding emphasis; Range Sans is deliberately lacking an italic, but the italics from Range Serif work better than you might expect in running text, particularly for the light and regular weights. Range Sans has a contemporary, somewhat geometric look that lends itself to uses such as corporate identities, minimalist graphic design, and logos. The middle weights do work well in running text, however, with the angled details being less noticeable at small sizes. Designed for demanding typography, supporting most Latin-based languages, Range Sans is equipped with true small caps for all weights, an array of numeral styles (proportional- and tabular- lining and oldstyle figures, small cap figures, numerators, denominators, superscripts and subscripts/scientific inferiors), automatic fractions, a set of useful arrows, case-sensitive forms, and a range of currency symbols including recent additions: Turkish Lira, Indian Rupee and Russian Ruble.

A font from the tube: an individual handwriting with a slightly wet character. In this case, the “pen” was a tube of black paint. It’s easy to see that you can’t really write “beautifully” with it. Nevertheless, the “Tube Script” is a beautiful, personal handwriting whose clumsy origins are not at all obvious in small font sizes. But if it’s big enough, then all the peculiarities of the paint container misused as a writing implement become apparent. Sometimes the line is very thin and delicate, sometimes it’s just a thick blob meant to represent a letter, depending on how hard the tube was squeezed. A few spills are inevitable. These coincidences of painterly writing are what make this font so appealing. This creates organic forms, random effects, breaks, streaks, where the writer normally determines the form. As such, this font is a great match for anything organic, picturesque, handmade, personal, or even random, unpredictable, or just plain natural. Hundreds of ligatures make the letters appear in a different form each time depending on it’s combination. And more than a hundred alternate characters can be selected using the corresponding OpenType features, thus enabling even more variety in the typeface. This creates the typically restless, extremely varied impression of a really individual script – almost as if it were really handwritten.

A tessellation is a shape that can be used to completely fill the plane. Simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble animals including horses, goats, rabbits, fish, frogs, and other vertebrates. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, coloring books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Evanston Tavern is a square typeface and the sans-serif version to Evanston Alehouse. Inspired by the years that prefaced the ratification of the American Prohibition, this typeface mimics the signage commonly seen outside of saloons, taverns and alehouses during that time. Back to the modern era, Evanston Tavern is more than just a vintage inspired typeface. It works in modern and futuristic settings with multiple styles, opentype alternatives and ornamentation. The family provides a robust 61 total fonts, within it's 3 styles of regular, stencil and inline. Each sub family includes 4 weights and 5 widths. It has special features that add depth to the typeface, with discretionary ligatures and stylistic alternatives. It also includes a complimentary set of ornaments, including a vintage graphic set from the era, as well as modern frames, borders and icons. This typeface works great at logos, packaging, and other display settings. Pair this font with Evanston Alehouse and have a great combination of serif and sans-serif square letterforms and a large array of ornaments! Here’s a snapshot of what you get with Evanston Tavern: - 3 Styles: Regular, Stencil and Inline - 4 Weights: Light, Regular, Medium and Black - 5 Widths: 1826 (condensed), 1846 ( narrow) 1858 (regular), 1893 (wide) and 1919 (expanded) - 2 capital Heights: Capitals and small caps - 2 Alternatives: Discretionary Ligatures and Stylistic Alternatives - 1 Ornaments font with over 100 graphic extras

A tessellation is a shape that can be used to completely fill the plane—simple examples are isosceles triangles, squares, and hexagons. Tessellation patterns are eye-catching and visually appealing, which is the reason that they have long been popular in a variety of decorative situations. These Tessie fonts have two family members, a solid style that must have different colors when used and an outline style. They can be used separately or they can be used in layers with the outline style on top of the solid style. For rows to align properly, leading must be the same as point size. To see how patterns can be constructed, see the “Samples” file here. Shapes that tessellate and also resemble real-world objects are often called Escher-like tessellations. This typeface contains many Escher-like tessellations that resemble flying birds. Most or all of these shapes were discovered/created by the font designer during the past twenty years in the process of designing maze books, colorings books, and a book about tessellations. (Earlier tessellation fonts from IngrimayneType, the TessieDingies fonts, lack a black or filled version so cannot do colored patterns. The addition of a solid style that must be colored makes these new fonts a bit more difficult to use but offers far greater possibilities in getting visually interesting results.)

Duddy is a “friendly” sans-serif typography designed by Eleonora Lana and the Letritas team. The shape of Duddy was created based on sketches that looked after carrying the concept of kindness as far as possible, keeping always in mind the readability and functionality of the font. In the stage of brainstorming, the team started listing things that were friendly to the touch or sight, such as a candy gum, or marshmallow, to become acquainted with the intended goal. Although slowly, as the letters were being created, the objects associated with the forms were not satisfactory, since when forming words a special personality of its own appeared. By reconceptualizing everything, the personality of the letter the team wanted to work with had to be redefined. Thus it went from "caramel" to "teddy bear", from "teddy bear" to "puppy" and from "puppy" to "dolphin". And Duddy is the perfect name for a dolphin. Duddy was a sound idea: friendly, intelligent, social. Once the concept was nailed, the design of graceful and “soft” shapes started. Almost chewable, almost huggable, as if composing words was a game. Duddy has a slanted version with "real italics". These italics are slightly more condensed than the regular version, in order to give it a different text texture. The typeface has 9 weights, ranging from “thin” to “heavy”, and two versions: "regular" and "italic". Its 18 files contain 729 characters with ligatures, alternates, small caps, oldstyle and tabular numbers, fractions, case sensitive, and unicase figures. It supports 219 Latin-based languages, spanning through 212 different countries. Duddy supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Wood Type Catalogs of the 19th century often offered tools and accessories alongside alphabets of wood type. Probably the most closely related was wood type borders and ornaments. Decorative Borders were often sold by the foot and accompanied by corner pieces that matched the designs. These borders could be assembled in almost any size dimensions as needed. The digital version uses the same principals of modular assembly to create the exact size border that is needed. Along with the borders, included in this font are a selection of "streamers". These banners would have been made to order with the font designs reversed out along a horizontal banner with decorative end caps. The digital version allows for a modular assembly by selecting choice of end caps and then typing the = as many times as needed to achieve the desired length. 10 styles of 9 piece borders can be created in any size variations as well as 8 styles of streamers in any desired length. Some of the designs can be mixed and matched for unusual contemporary design interpretations of these historic styles. It is recommended that the line height (leading) is set to the same size as the point size setting, this will visually lock all elements together.

Rahere Roman Display is an elegant design with flared stems and subtle old style features, influenced by Berthold Wolpe’s wonderful Albertus font and (to a lesser extent) fonts based on Roman square capitals. It’s a classic design for the modern age, appealing to serious typographers, graphic designers and anyone looking for a beautiful, multipurpose font that also offers value for money. Originally conceived as a display companion for the Rahere Sans typeface family, Rahere Roman harmonizes perfectly with its sans counterpart: use it for headings, sub-headings or pull-out quotes. Want an eye-catching introduction? The small caps have been sized to optically align with the x-height of Rahere Sans or start a paragraph with a swash drop cap. There are also ornaments and devices on hand to spice things up. Of course, Rahere Roman Display works beautifully as a standalone font too. Although predominantly a display font, with a quick flick of its lowercase switch, Rahere Roman transforms effortlessly into a readable text font. Like a Swiss Army Knife, this is a hugely versatile font, capable of conveying different messages from classic and romantic to historical and modern. It’s suitable for a wide range of applications including: branding, posters, advertising, packaging, labels, signage, wedding stationery, museums, art galleries and book covers. Weighing in at well over 2,000 glyphs, Rahere Roman contains a myriad of alternative characters (mostly capitals) including two sets of small caps that allow certain letter combinations - such as RO, LA, LI, TY, etc. - to mimic ligatures. The advantage of this is that if letter spacing is increased or decreased, the letter combinations aren’t fixed and can move too, which helps the space between letters to remain even. However, for lovers of ligatures there is still a bucketload of goodies to play with, including the obligatory ‘OO’ ligature. If that’s not enough, the font also contains start & end swashes, alternative numerals, seven ampersands, ornaments and devices. .ss01 - Initial swash capitals .ss06 - Superior small capitals (aligned to the cap height) .ss07 - Small capitals (sitting on the baseline)

Suddenly...it’s the World of Tomorrow! With the push of a button Dynatype automates your typesetting experience. Dynatype is actually Two fonts in One–without switching fonts you can instantly change from Dynatype’s “regular” style to its alternate connecting version with the simple push of a button. For more details download “The Dynatype Manual” from the Gallery Section. What is Dynatype? Dynatype is the upright, slightly more formal cousin of Dynascript. It shares many of the characteristics of it’s slightly older relation, but is drawn entirely from scratch and has it’s own unique character. Dynatype may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. Its design also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this notion, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a font unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynatype’s 677 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynatype one should ALWAYS select the “Standard Ligatures” and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Dr. Gerard Unger expands the concept of Sanserata to a sans type family with Sanserata, adding specific characteristics which improve reading. Sanserata’s originality does not overtly present itself at text sizes. Rather, at those sizes, it draws upon its enormous x-height, short extenders, and articulated terminals to improve readability, especially on screens. Having articulated terminals means characters flare as they near their end, but readers likely won’t notice. What they would notice is that their ability to take in more content in a line of text is improved because the lettershapes are more defined. Articulation also makes clearer text from digital sources, where rectangular endings tend to get rounded by the emission of light from the screen. Lately there seems a whispered discontent with the lack of progress in the sans serif category. Designs can either stretch too far beyond what is accepted or be too bland to be considered new. Sanserata’s strength is in being vivid and unique without being off-putting. This bodes well for designers of paragraphs and of branding schemes since, with Sanserata’s two flavors, it is well able to capture attention or simply set the tone. Sanserata’s first voice is a generous, friendly, and even cheerful sans serif. But when using the alternate letterforms its voice becomes more businesslike, though still with nice curves, generous proportions, and a pleasant character. Sanserata comes in seven weights with matching italics, covers the Latin Extended character set, and is loaded with extras. Its OpenType features allow for the implementation of typographic niceties such as small caps, both tabular and proportional lining and oldstyle figures, ligatures, alternate characters, case-sensitive variants, and fractions. The complete Sanserata family, along with our entire catalogue, has been optimised for today’s varied screen uses. Dr Unger worked with Tom Grace on the production of Sanserata. For extended branding use with Sanserata, check out Sanserata, the contemporary, eclectic typeface drawn from roots in Romanesque Europe.

Introducing Sixty Niners - a retro display font that draws inspiration from unique typography and lettering found in vintage magazines, combined with modern typography styles. This font features modern ligatures that allow you to create beautiful lettering and artwork. With its open type features, including a variety of alternates and end swashes, Sixty Niners provides ample options for customization and creativity. Sixty Niners is perfect for a wide range of design purposes, including logotypes, headings, covers, posters, logos, quotes, product packaging, headers, merchandise, social media posts, greeting cards, and more. Its distinctive retro style adds a touch of nostalgia and elegance to your designs, making them stand out and capture attention. To access the alternate glyphs in Sixty Niners, you can use design programs that support OpenType features, such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe InDesign, and Corel Draw. This allows you to easily switch between uppercase and lowercase letters, apply alternates and ligatures, and create unique and customized lettering compositions that suit your design needs. In your zip package, you'll find the Sixty Niners font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Sixty Niners also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Sixty Niners has got you covered. In summary, Sixty Niners is a retro display font that combines vintage and modern typography styles, providing a unique and elegant look to your designs. With its open type features, multilingual support, and versatile design options, Sixty Niners is perfect for various design purposes. So, elevate your designs with Sixty Niners and create stunning artwork that captures attention and stands out from the crowd! Thank you for choosing Sixty Niners from our collection. Happy designing!

Introducing Draghord, a bold and dynamic typeface that embodies the essence of superheroic power and adventure. This font is a visual journey into the realm of fire, swords, skulls, and wings, capturing the spirit of mighty heroes and formidable villains alike. Characteristics: Flaming Elements: Each letter of Draghord is adorned with fiery accents, reminiscent of a blazing inferno. The flames dance around the characters, conveying a sense of untamed power and intensity. Sword-Inspired Strokes: The letterforms draw inspiration from the sleek and sharp edges of legendary swords. The angular and precise strokes give the font a cutting-edge aesthetic, symbolizing strength and precision. Skull Motifs: Intricately integrated skull motifs within the font add an element of danger and mystery. The skulls serve as a visual reminder of the challenges faced by our superheroic characters, embodying both mortality and defiance. Dynamic Winged Elements: The font incorporates dynamic winged elements that soar across certain letters, emphasizing the theme of flight and freedom. These wings symbolize the superhero's ability to rise above adversity and transcend limitations. Usage Scenarios: Comic Books: Draghord is perfect for comic book titles, captions, and speech bubbles, adding a dramatic and visually striking element to the narrative. Movie Posters: Use Draghord to create attention-grabbing titles and taglines for superhero movies. Its bold and adventurous design will set the tone for epic storytelling. Gaming Graphics: Ideal for in-game text, Draghord adds a heroic touch to video game interfaces, especially in fantasy or superhero-themed games. Event Promotion: For superhero-themed events, Draghord can be utilized in promotional materials, posters, and banners to convey a sense of excitement and power. In Conclusion: Draghord is not just a font; it's a visual experience that transports you into the heart of superheroic tales. With its fiery, sword-inspired design, skull motifs, and dynamic wings, Draghord is the perfect typographic companion for any project seeking to channel the thrilling energy of the superhero genre. Unleash the power of Draghord and let your words ignite the imagination!

10 years later, one of the first geometric typefaces in our portfolio and a popular favorite of yours is rising to a whole new level! We’re revealing the stand-alone type family Code Next—a staggering evolution from Code Pro in functionality, versatility, and application. The transformation includes 6 new weights, 10 new Italics, full support of Extended Cyrillic and Greek, full redesign and glyphs refinement, 2 variable fonts, to name but a few. Going back to 2011, the grotesque-inspired Code Pro was designed to complement memorable pieces that make a statement. Balancing between stylization and simplification, it was encoded with the distinct voice of basic organic shapes to stand the test of time. Little did we know, it would expand and live up to the potential of a “font from the future” as the new Code Next. Today, a type family of 22 styles, this geometric sans solidifies its relevance and carries a strong constructive aesthetic through simplified forms with a twist. These fit any modern design in print, web, and display visualization. Developed to go above and beyond, Code Next comes prepared for multi-script projects with Extended Latin, Extended Cyrillic, and Greek. Explore Code Next’s versatility and switch things up with the help of 2 variable fonts, more than 1280 glyphs, and an extensive OpenType features set including small caps, standard and discretionary ligatures, contextual and stylistic alternates, stylistic sets, case sensitive forms, and much more. Overview: • Font family of 22 fonts • 10 weights • Languages - Full support of Extended Latin; Extended Cyrillic; Greek • Entirely refined design and metrics • Glyph count - 1288 • Variable fonts - 2 fonts OpenType features: • Small Caps • Standard Ligatures • Discretionary Ligatures • Contextual Alternates • Stylistic Alternates • Stylistic Sets • Case-Sensitive Forms • Ordinals • Localized Forms • Lining Figures • Proportional Figures • Tabular Figures • Oldstyle Figures • Subscripts • Scientific Inferiors • Superscripts • Numerators and Denominators • Fractions • Roman figures • Extensive mathematical support • Navigation symbols

Welcome to the world of Zolasixx, an angular techno typeface inspired by the diagonal strokes and sharp angles of the iconic Zaxxon logo, bringing a retro, arcade-style aesthetic to your designs. With Zolasixx, you can unlock a whole new level of customization thanks to our interlocking letter combinations, which can be switched up using OpenType-savvy programs. This feature allows you to personalize the font and make it truly your own, creating a look that is both unique and professional. Zolasixx’s high-tech, harsh angularity will lend your message an aggressive technological voice that is sure to stand out from the crowd. But there’s also a whimsical sense of creativity to our font, giving you the perfect balance between playfulness and professionalism. Whether you’re designing a video game, a website, or a marketing campaign, Zolasixx is the perfect choice for anyone looking to make a bold statement. So why settle for boring, cliché fonts when you can take your designs to the next level with Zolasixx? Download it today and start creating! 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.

ZX Spectrum In 1982, a home computer came on the market that would launch the UK IT industry. The ZX Spectrum sold five million units and spawned thousands of software titles. It was the must-have gadget for every teen. FS Sinclair is inspired by the memory of Sir Clive Sinclair’s greatest creation: the experience of entering its clunky command codes and reading its simple, grid-placed type. Smart, switched-on, great in text and display, FS Sinclair is a modern grid-based font, drawn with the Spectrum in mind and brought to life by well thought-out design. Formula Having completed the font for Channel 4’s brand update, the Fontsmith team defined the formula for its next font: the creative essence of the C4 work but with more structural discipline, more rigid form and a little more seriousness. The new font wouldn’t look self-consciously retro but it would reference the past and, it was hoped, influence the future. Readability Like the ZX Spectrum, it took a while for the new font to do exactly what it was meant to do. Many of the early concepts by Phil Garnham and Jason Smith were too jagged – the result of an awareness of getting too close to existing fonts of the same ilk, such as Wim Crouwel’s Gridnik. Eventually, FS Sinclair evolved into a more readable, functional grid-based type design that answered Phil and Jason’s original, self-set brief. Idiosyncratic There’s a technological, systems feel to FS Sinclair but ultimately, humans are in charge. The lowercase “a”, “n”, “m” and “r” have clean-cut “ears”, and the square-ish design is softened by round joins on the inside of the letterforms. The idiosyncratic design of letters such as “g”, “j”, “k”, “v”, “w” and “y” bring the design up to date. This is a modular font with character, and a range of weights that allow varied application.

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

Typography enters the Space Age! Dynascript brings the ease of “Pushbutton Automatic” to your typesetting experience. Dynascript is actually Two fonts in One–without switching fonts you can instantly change from Dynascript’s connecting font to the non-connecting italic with the simple push of a button. For more details download “The Dynascript Manual” from the Gallery Section. What is Dynascript? Dynascript is the slanted script cousin of Dynatype. It shares many of the characteristics of it’s sibling, but is drawn entirely from scratch and has it’s own unique character. To some it may be reminiscent of various mid-century neon signage, and of sign writing, Speedball alphabets and even baseball scripts. The design of Dynascript also takes some cues from a historical typographic curiosity that began in Germany in the ‘20s and which lasted into the ‘60s—when Photo-Lettering gave it the name "Zip-Top". Basically it was believed to be the wave of the future—that by weighting an alphabet heavier in its top half, one could increase legibility and reading speed. The jury’s still out on whether or not there’s any validity to this claim, but I think you’ll agree that in the context of this design, the heavier weighting at the top of the letters helps to create some uniquely pleasing forms, and a script unlike any other. Typesetters across the planet will also be able to set copy in their language of choice. Dynascript’s 694 glyphs can be used to set copy in: Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh—and of course English. Sorry! Off-world languages not yet supported. PLEASE NOTE: When setting Dynascript one should ALWAYS select the “Standard Ligatures" and “Contextual Alternates” buttons in your OpenType palette. See the “Read Me First!” file in the Gallery section.

Introducing Nipsey - a unique display font inspired by vintage albums and posters from 1970s music bands. With its classic typeface and groovy impression, Nipsey brings a fun and retro vibe to your designs. What sets Nipsey apart is the combination of various alternates, such as swashes, stylistic sets, stylistic alternates, contextual alternates, and ligatures, making this font even more distinctive and versatile. Nipsey is perfect for a wide range of display purposes, including album covers, posters, labels, t-shirts, apparel, signage, quotes, logos, greeting cards, logotypes, and more. Its eye-catching design adds a touch of nostalgia and personality to any project, making it stand out in a crowd. To access the alternative characters in Nipsey, you can use OpenType savvy programs such as Adobe Illustrator, Adobe InDesign, Adobe Photoshop, Corel Draw X version, and Microsoft Word. The OpenType features allow you to easily switch between uppercase and lowercase letters, as well as apply alternates and ligatures to create unique and customized lettering compositions. In your zip package, you'll find the Nipsey font files in otf, ttf, and woff formats, providing versatility for different design projects. The font includes uppercase and lowercase letters, numerals, punctuation, and symbols, ensuring that you have all the elements you need for your designs. Nipsey also offers multilingual support, making it accessible for designers around the world to create designs in different languages. Whether you're designing for English, Spanish, French, or any other language, Nipsey has got you covered. If you have any questions, feedback, or comments, feel free to reach out to PutraCetol Design Studio via PM or email. The team is happy to assist you in your creative endeavors. In conclusion, Nipsey is a unique and versatile display font that brings a fun and retro vibe to your designs. With its alternative characters and multilingual support, Nipsey offers endless possibilities for creating eye-catching designs for various display purposes. So, let your creativity flow with Nipsey and elevate your design projects to the next level! Thanks for choosing Nipsey from PutraCetol Design Studio. Happy Creating!

The Salden fonts are our tribute to the man who was dubbed the face of the Dutch book, and whose work is considered essential in 20th century Dutch design history. Helmut Salden’s exquisite book cover designs were the gold standard in the Netherlands for more than four decades. His influence over Dutch lettering artists and book designers ranges far and wide, and his work continues to be used commercially and exhibited to this very day. At the root of Salden’s design work was a unique eye for counter space and incredible lettering skills that never failed to awe, regardless of category or genre. This made our attention to his lettering all the more focused within our appreciation to his overall aesthetic. Though Salden never designed alphabets to be turned into typefaces (he drew sets of letters which he sometimes recycled and modified to fit various projects), we thought there was enough there to deduce what a few different typefaces by Salden would have looked like. The man was prolific, so there were certainly enough forms to guide us, and enough variation in style to push our excitement even further. And so we contacted the right people, obtained access to the relevant material, and had a lot of fun from there. This set covers the gamut of Salden’s lettering talents. Included are his famous caps, his untamed, chunky flare sans serif in two widths, his unique Roman letters and an italic companion and, most recognizable of all, his one-of-a-kind scripty upright italic lowercase shapes, which he used alongside Roman caps drawn specifically for that kind of combination titling. All the fonts in this set include Pan-European glyph sets. They’re also loaded with extras. Salden Roman (908 glyphs) and Salden Italic (976 glyphs) each come with built-in small caps (and caps-to-small-caps), quite a few ligatures, and two different sets of alternates. Salden Black and Salden Black Condensed (636 glyphs each) come with a set of alternates, and both lining and oldstyle figures. Salden Caps (597 glyphs) comes with a set of alternates, and Salden Titling (886 glyphs) comes with a quite a lot of swashed forms and alternates (including as many six variants for some forms), a few discretionary ligatures, and two sets of figures. There are also some form alternates for the Cyrillic and Greek sets included in all six fonts. These alphabets were enjoyably studied and meticulously developed over the past ten years or so. We consider ourselves very fortunate to be the ones bringing them to the world as our contribution to maintaining the legacy of a legendary talent and a great designer. The majority of the work was based on Salden’s original drawings, access to which was graciously provided by Museum Meermanno in The Hague. The Salden fonts were done in agreement with Stichting 1940-1945, and their sale will in part benefit Museum Meermanno.