In Issue Number 84 of Push Pin Graphic, Seymour Chwast offered up this rather odd variant of his own extrablack, superbold in-your-(type)face, Blimp. Not recommended for body copy, but makes interesting and unusual headlines. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Based on a old standard, Tudor Black, this version offers a dramatic inline treatment that adds sparkle and grace. The typeface takes its name from Ford Motor Company's old designation for a sedan. Both versions of the font include 1252 Latin and 1250 CE (with localization for Romanian and Moldovan) character sets.

This cheerful charmer is based on Glass-Antiqua, designed by Franz Paul Glass for the Genzsch & Heyse foundry of Hamburg in 1912. Great for engaging headlines with a playful twist. Both versions feature the complete Latin 1252, Central European 1250 and Turskish 1254 character sets, with localization for Lithuanian, Moldovan and Romanian.

Our old friend Carl Holmes, in another offering from his ABC of Lettering, takes the blacks to the max with this commanding face. A perfect choice for can't-miss headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

Geometric font inspired by shop signs in 4 styles Anisette has sprouted as a way to test some ideas of designs. It has started with a simple line construction (not outlines as usual) that can be easily expanded and condensed in its width in Illustrator. Subsequently, this principle of multiple widths and extreme weights permitted to Jean François Porchez to have a better understanding with the limitations associated with the use of MultipleMaster to create intermediate font weights. Anisette built around the idea of two widths capitals can be described as a geometric sanserif typeface influenced by the 30s and the Art Deco movement. Its design relies on multiple sources, from Banjo through Cassandre posters, but especially lettering of Paul Iribe. In France, at that time, the Art Deco spirit is mainly capitals. Gérard Blanchard has pointed to Jean Francois that Art Nouveau typefaces designed by Bellery-Desfontaines was featured before the Banjo with this principle of two widths capitals. The complementarity between the two typefaces are these wide capitals mixed with narrow capitals for the Anisette while the Anisette Petite – in its latest version proposes capitals on a square proportions, intermediate between the two others sets. Of course, the Anisette Petite fonts also includes lowercases too. Anisette Petite, a geometric font inspired by shop signs in 4 styles So, when Jean François Porchez has decided to create lowercases the story became more complicated. His stylistic references couldn’t be restricted anymore to the French Art-déco period but to the shop signs present in our cities throughout the twentieth century. These signs, lettering pieces aren’t the typical foundry typefaces. Simply because the influences of these painted letters are different, not directly connected to foundry roots which generally follow typography history. The outcome is a palette of slightly strange shapes, without strictly not following geometrical, mechanical and historical principles such as those that typically appear in typefaces marketed by foundries. As an example, the Anisette Petite r starts with a small and visible sort of apex that no other similar glyphs such as n or m feature, but present at the end of the l and y. The famous g loop is actually inspired by Chancery scripts, which has nothing to do with the lettering. The goal is of course to mix forms without direct reports, in order to properly celebrate this lettering spirit. This is why the e almost finishes horizontally as the Rotis – and the top a which must logically follow this principle and is drawn more round-curly. This weird choice seemed so odd to its designer that he shared his doubts and asked for advise to Jeremy Tankard who immediately was reassuring: “Oddly, your new top a is fine, it brings roundness to the typeface, when the previous pushes towards Anisette Petite to unwanted austerity.” The Anisette Petite, since its early days, is a mixture of non-consistent but charming shapes. Anisette, an Art Déco typeface Anisette Petite Club des directeurs artistiques, 46e palmarès Bukva:raz 2001

Buntypes Bunaero™ combines classical and contemporary characteristics to a unique and distinctive font family with extravagant but also harmonious appearance. The characters are clear, open and sometimes bellied. Especially the caps have a very high waistline. Based on this, four main states with different moods have been composed: The original Bunaero™, the more conservative “Classic”, the elegant and curvy “Up” and the matching ”Italic”. All states offer weights from a considerably thin „Hair“ to a real fat „Heavy“, so the family consist of 34 Styles, all with rather narrow width and very good legibility. The font was manually hinted and contains extensive handcrafted kerning tables to ensure flawless appearance in all media. It supports at least 99 languages incl. Vietnamese and provides ligatures, alternative glyphs, special localized forms and even more enjoyable OpenType® features. This Pro version of Bunaero also includes a lot of features for sophisticated users: Lining figures for headline setting; Intermediate linings and oldstyle figures for text setting; Tabular versions of all figures; Superiors, inferiors, numerators, denominators and automated fractions; Language specialities like a capital Eszett for the german language and extra characters with a polish kreska instead an acute; And many more. Further information: Bunaero™ Pro Specimen PDF Bunaero™ Pro OpenType® Quickguide Feature Summary*: -4 Moods: Normal, Classic, Up and Italic -9 weights: Hair, Light, Thin, SemiLight, Regular, SemiBold, Bold, ExtraBold and Heavy -Supports at least 99 Languages incl. eastern european and vietnamese languages -Overall width: Narrow or Space-Saving -Advanced f- ligature set including fb -Discretionary s- and c- ligatures -Alternative Characters: a, e, f, g, i, k, l, t, v, w, y, J, K, Q, R, and more -6 sets of figures: -Capital sized figures, oldstyle figures and intermediate figures, each in proportional and carefully adjusted tabular versions -Superiors, inferiors, numerators and denominators -Circled and negative circled figures -Capital German Eszett -Extra characters with Polish Kreska -Catalan Punt Volat -Extra characters with alternate minmalistic Cedille -Arrows -Automated feature for fractions as well as extended fraction character set -More than 1000 characters per font * Some features may only be available in OpenType®-savvy applications

Inlines that go over, under sideways, down! Deck out your headlines in grand style with this unusual inline face, based on Dektiv, a seventies-style classic from "Homage to the Alphabet." Both versions include the complete Latin 1252, Central European 1250 and Turkish 1254 character sets, as well as localization for Moldovan and Romanian.

The pattern for this elegant, if slightly quirky, Art Deco typeface was drawn by Gustav Jensen for the 1931 classic, American Alphabets. Perfect for suggesting the exotic, the font also includes several graphic elements in Jensen’s inimitable style. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

Based on lettering on a poster for an 1907 art exhibition by Joseph Maria Olbrich. Use uppercase characters for headlines, and lowercase letters for text use. For “dotted” spaces, use the underscore, and brackets or braces for framing characters. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This typeface takes its inspiration from Will Bradley's Ultra Modern Initials, released by American Type Founders in 1934. Unlike the caps-only original version, both versions of this font contain complete Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan, and the Macintosh Roman character set, as well.

Ross F. George, master of the Speedball pen, called this rather rugged typeface "Personality Script", which might be a suitable name if you had the personality of a porcupine. It does grab your attention, though! Both versions of the font include the 1252 Latin and 1250 CE character sets (with localization for Romanian and Moldovan).

Scaffold is the sans serif family created for people who love well balanced kerning and weight. With a rectangular shaped structure and solid weight that makes it look strong and elegant. From hairline to heavy Scaffold comes with multiple languages and OpenType features such as ligatures, localized forms, fraction, ordinal, superscript, numerator, dnominator and subscript.

This elegant monoline script is based on a typeface called "Médicis" from a Deberny and Peignot catalog, circa 1920. Graceful but robust, it is equally suited for invitations, announcements and headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

The 1912 American Type Founders specimen catalog carried the pattern for this typeface, under the rather unimaginative name of "Pen Print". Its irrepressible insouciance makes it equally suitable for downtown or down home applications. Both versions of this font include the complete Latin 1252 and CE 1250 character sets, with localization for Romanian and Moldovan.

In his compilation of stencil alphabets, Dan X. Solo called this one simply "Concave Stencil". Excellent for marking cases of whiskey or gunpowder, or for setting strikingly up-to-date headlines. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

An old Art Nouveau typeface named "Daphne" provided the inspiration for this decidely different font. This version is upright, but the linocut treatment employed visually suggests the slight rightward slant of the original typeface. Bold, unusual and distinctive. Both versions of the font include 1252 Latin, 1250 CE (with localization for Romanian and Moldovan).

This typeface is patterned after lettering on a 1931 poster for a German Spa by Fritz Loehr. Informal and idiosyncratic, it will lend its own peculiar charm to any project it graces. Both versions of this font contain the Unicode 1252 (Latin) and Unicode 1250 (Central European) character sets, with localization for Romanian and Moldovan.

A travel poster from the 1940s for Mexican tourism provided the inspiration for this voluptuous font with a strong architectural feel. A few unexpected idiosynracies in the letterforms add to its charm. Both versions of this font contain the Unicode 1252 Latin and Unicode 1250 Central European character sets, with localization for Romanian and Moldovan.

Helsa is a slim and eccentric serif for headings and short texts. It’s a modern interpretation of the narrow Elseviers of the early 20th century. The letterforms are based on Dutch samples, and in the details there are references to both American type catalogs and letters from the foundries of Wolf and Herbeck. Due to the compact proportions of characters and the high contrast of strokes, Helsa doesn’t take up much space in the line and allows you to increase the type size freely, drawing the viewer's attention to the text. The typeface is suitable for branding museums and exhibitions, alternative music bands, independent clothing and perfume brands, and for any topic related to design or history. Helsa’s character set has more than 1600 characters. It supports hundreds of languages, including extended Cyrillic, Greek, and Vietnamese, as well as many OpenType features: fractions, ligatures, old style and tabular numerals, titular letter alternates, and more. There are variants of dashes and other punctuation marks specifically for uppercase typing. In addition to letters, the typeface contains arrows, numbers in circles (in fact, in ovals), symbols of various types of plastic, card suits and much more. Helsa typeface was made at Paratype in 2020-2022.

Graphic designers of any nationality and background know very well that the art of composing titles correctly is not easy, Especially when it comes to periodical publications where there is need for both flexibility and graphic coherence. Tablet Gothic was originally engineered as a titling type family, meant to help designers working on publications that require output as hard copies and a variety of digital platforms at the same time. As such, it is a grotesque sans serif that looks to the future of publishing with a clear understanding of its history, and reminiscences that go back to nineteenth century Britain and Germany. Tablet Gothic delivers the sturdy, straightforward and clean appearance expected from a grotesque, but it allows itself a good measure of personality to make it stand out on the page. Its 84 styles –six series of condensation and seven weights in each series plus obliques– guarantee that, whatever the publication format is, there's a Tablet Gothic font that will do the job and perform well both technically and aesthetically. Furthermore, the rounder styles, Tablet Gothic Wide, Normal and Narrow achieved amazing results at very small sizes, producing  a beautiful texture and highly readable text blocks. Tablet Gothic fonts can be purchased individually, by series or as a complete bundle (best value!)

Sament is a Japanese Style typeface that is ideal for projects that require a distinctly Japanese and Asian touch. This typeface will add uniqueness and creativity to your work with its exquisite style and eye-catching appearance. With appealing characters and inspiration from Japan’s rich culture, the Sament typeface combines a traditional touch with a modern vibe. Each figure is designed with care and refinement, creating an alluring environment and highlighting the richness of Japan’s cultural history. You may add an authentic and appealing vibe to your promotional materials, poster designs, websites, and many other projects by utilizing the Sament font. This font will leave a lasting impact and quickly capture the attention of potential customers. Make your project stand out by using Sament as the main typeface. With its rich richness and distinct style, this typeface provides a visually pleasing experience. With Sament, your designs will create an exceptional experience, instantly engaging potential buyers. What’s Included : - File font - All glyphs Iso Latin 1 - We highly recommend using a program that supports OpenType features and Glyphs panels like many Adobe apps and Corel Draw, so you can see and access all Glyph variations. - PUA Encoded Characters – Fully accessible without additional design software. - Fonts include Multilingual support

A complete figurative alphabet was published by one Peter Flotner (ca. 1485-1546) in 1534. In Flotner’s alphabet, naked or nearly-naked figures are posed singly or disposed in pairs to form the various letters. Unlike de Grassi’s alphabet, we find only human figures here, no other animals. And unlike Tory’s illustrations, these letters seem an end in themselves, rather than the means of demonstrating a design strategy. Flotner’s alphabet was imitated by other engravers. The letters G and N are reproduced from an alphabet published by one Martin Weygel in Bavaria in 1560. Peter Flötner , c.1485-1546, German medalist and artisan, possibly Swiss by birth. He was active in decorative sculpture, wood carving, and other crafts, making medals and plaques and furnishing designs of classical motifs for silversmiths. He was in Nuremberg by 1522 and did most of his work there, although he made two trips to Italy. Flötner is now regarded as a pioneer of the German Renaissance. His Kunstbuch was published in 1549. In the Metropolitan Museum are five of his bronze plaques illustrating biblical episodes. A stylistical tip : Use this caps with SchneiderBuchDeutsch, as shown in the banners above, to create a perfect historiated layout.

Мир is Mir. The Russian word Мир (Mir) means both World and Peace. The rendezvous of the two terms seems quite unique and utopistic today, but it is comforting to see that it was natural at some time deep down in Russian history. Bits of both meanings were going through my mind while I was designing this typeface. Mir’s character set is multiscript – Latin, Cyrillic and Greek – and extends to many parts of the linguistic world. In fact it covers more than 100 languages. Stylistic consistency between the language systems make typographic border crossings painless even where national borders are still closely guarded. And in regions where mathematics, physics or chemistry are to be expressed, a rich set of OpenType features lets Mir master also these situations. Serious things are best be said in a relaxed, unpretentious way. So Mir doesn’t put on a show. Mir has authority without being authoritarian, it is serious but not stern. It can explain difficult things and stay calm and down to earth at the same time. Mir Medium has another useful feature: It can be freely downloaded and used by anybody anywhere. You can test the Mir Family with free Mir Medium and get more styles when you need them. @juliasys

ManRay is a photogenic typefamily of 6 fonts designed by @andinistas, with more than 2600 glyphs distributed in 3 Scripts and 3 Caps. Its shapes are ideal for attention-grabbing and for its eloquent character set, each style is presented with three levels of erosion planned with meticulous dotted texture bézier drawing, diagonal texture, and vertical texture pattern. ManRay Script, Script2, Script3 is based on calligraphy made with a fine tip brush and therefore communicates pleasant and attractive ideas. Its capital letters measure three times the height of the lower case and stand out for its artistic curved lines ideal for writing on photos, logos, labels, packaging, posters, covers of food products, spirits, organic teas, etc. In that order, it also offers other expressive alternate letters that activate spontaneously, and each of the three styles is case-infinite with and without Swash, Stylistic, and Titling Alternates. ManRay Caps, Caps2, Caps3 are inspired by calligraphic Roman letters drawn with a brush with a square tip and are equipped with descending flourishes for word start and end. The core of ManRay mixes the ideas of Ed Benguiat and Ross F. George and its name is a tribute to the Dada hero who changed history a century ago by working against the conventions of art and photography.

Redshift is sans with 12 upright weights and 12 oblique weights. Its a soft edged, spaced out offering from Rocket Type. It supports most extended Latin languages including English, Spanish, French, Italian, German, Polish and Portuguese. The name redshift means the displacement of spectral lines toward longer wavelengths (the red end of the spectrum) in radiation from distant galaxies and celestial objects. The original concept behind the font was that I wanted to create a massive heavy sans which would give the sense of tranquility within the user not unlike watching an object float through space. Redshift was designed by Dathan Boardman during 2016. Strongly rooted in the tradition of other notable geometric sans faces however much attention was paid to create a soothing experience for reading both large and small bodies of text. Each letter was painstakingly modified for optimal readability and warmth. Redshift was designed with the intent to create the ultimate bold header font. From there I wanted create the lighter weights to be readable when set within large bodies of text. Redshift works great for body headers & text as well as for logo design. It looks great juxtaposed with any number of other Rocket Type Fonts.

A rare natural history book from the early 18th century served as inspiration for the MVB Sirenne typefaces. The artisan who engraved the book—likely a map engraver—had a distinctive style of lettering that was used on the descriptive captions for the many tropical fishes depicted in the book. The plates used to print the illustrations would have been copper, the letterforms hand-engraved. The designers at MVB Fonts found the distinctive quirks of the roman letterforms and the eccentric stress of the italic interesting enough to embark on developing digital fonts based on the engraved samples. As the captions were hand-lettered, there was a great degree of variation, making a direct “revival” impossible, so Alan Dague-Greene interpreted the characteristics of the letterforms into a workable typeface design. The challenge was to retain a rustic quirkiness to the forms, yet have a typeface that was useful for more than display. The solution was to make optical sizes. The “Six” faces are full of character, but strong and open for clarity at small sizes. The design of the “Text” faces is more subtle, so that they can be used for passages of text, but retain the feel of their model. MVB Sirenne “Eighteen” and “Seventy Two” are intended for display use.

Clean, crisp, rational, familiar, modern… serifed. Positype Scotch reaches back to history just enough to produce something warm and easy on the eyes. No corners were cut, no quick tricks… this type suite was drawn for specificity: Text, Display, and Deck… ALL in 3 widths that now include Condensed and Compressed. Each unique, each inter-connected, each part of the whole. Scotch Text is offered in 6 weights with matching true italics. Drawn for economy and an easy read, the family is a workhorse for long-passage text settings. 4 sets of numerals, well-proportioned small caps, and a plethora of extras round out each font. Scotch Display is not just a thinner version of Scotch Text wrapped in a higher contrast. Display sports shorter ascenders and descenders, a unique footprint, great contrast, and a more folded, calligraphic italics. Display subtly oozes sophistication and provides an attractive, exhuberant companion to Scotch Text. Scotch Deck rounds out the offering by choosing to be specific to its offering. Deck utlitizes traits and proportions shared between Text and Display, but alters its overall mass to balance out the needs for settings that require subheadlines, callouts and other similar uses. Essentially, something not so high-contrast and not so stress dense that works great for middle-sizes.

Adelphi is a geometric sans, redefined for the northern side of the English Channel. Typographic modernism was a late arrival in Britain — due partly to the Second World War and to the strong local type tradition. This delay provided for fruitful divergence, thus modernism was not adored in quite the same way as it had been in Germany and central Europe. It was instead rethought and repurposed against the backdrop of the bleak British weather and postwar social reform – a continental fashion statement reshaped into a more humanist variant. Likewise, when crafting Adelphi, Nick Job reimagined the constraints that defined the geometric sans as a genre. Whereas other typefaces seem overly bound by the rules, Adelphi feels relaxed and approachable. Elementary square and circular shapes are merely implied. A keen observer may notice that the uncomplicated letterforms occasionally reveal a subtle naïveté associated with early Grotesques. Brunel’s bridges and Harry Beck’s tube map spring to mind alongside the Bauhaus and Futura. But Adelphi is by no means nostalgic! It is a contemporary, comprehensive, and durable system with a pragmatic set of features. These include a wide array of weights, ‘uniwidth italics’, and variable extenders that go from tall and flat in Adelphi Text to short and sharp in Adelphi Display, with default Adelphi standing midway between these two extremes. You can set the extenders to your preference in the all-inclusive variable font or use one of the three static fonts that come packed together, priced as a single font. The pan-European support for Latin, Cyrillic and Greek scripts already makes for a vast character set, but Adelphi takes things a step further by including alternate glyphs to satisfy the DIN1450 legibility norm, a range of ordinals that can be used to create specialist compositions in all three scripts and two kinds of fractions and arrows. Play with the alternates or use it as-is. Either way, this understated beauty will carry you through.

Wondiletta – Lovely Craft font with a natural handwritten feel. This handmade font will make your design has a beautiful natural touch for each details. It is perfect for any design project as Invitation,logo, book cover, craft or any design purposes. This font is PUA encoded which means you can access all of the magical glyphs and swashes with ease! It also features a wealth of special features including alternate glyphs and ligatures.

“Worst Hunter” has hard strokes and signature style that speak to instant unique sensation. Take your creative projects to the highest level with this font. “Worst Hunter” will help you to create special and touching typographical design for your characteristical and exclusively projects, for branding, food product, cafe product, restaurant product, labeling, clothing, movie title, album cover, logos and many more. It is really universal and modern font. The owner of endless possibilities!

Roter Hoody font is a retro serif and bold display font. You will get three types of fonts in this pack, Regular, Outline and Shadow version. Use this display font to add that special retro touch to any design idea you can think of! Very suitable for logotype, Stickers, Packaging design, Cricut Project, headlines, brand identity, t shirt or apparel industry, posters, magazines, books, YouTube, Instagram, websites, or any of your creative design projects. Enjoy!

Blackson is an elegant, urban-style brush handwriting font. It’s specifically designed to maximize your design projects that require a dynamic and personal touch. This font offers a unique sense of satisfaction, energetic, and confidence, making it perfect for use in logos, branding, signage, posters, packaging, flyers, merchandise, movies, motion graphics, and more. Blackson also comes with custom ligatures, special characters, and multilingual support to make your designs stand out even more.

Juvenile is a hand drawn fresh and playful font family, offered in a variety of weights and special characters, which matches perfectly with 52 decorative elements. It is suitable for different applications such as logos, stationery design, invitations, labels, merchandise products, and much more. Juvenile contains OpenType features such as ligatures, stylistic alternates and swashes. It supports Central, Eastern, Western European, Baltic, Turkish and Greek languages. The fonts are fully unicode-mapped (PUA encoded).

Based on a vintage set of kitchen labels, Jams and Jellies JNL is a font containing 52 of the most common names for jams, jellies and preserves as well as a blank label for creating your own flavor choices. Note: While this font may be used in many commercial advertising applications, any manufacture for retail sale of a complete set (or portion thereof) of these labels requires a special license from the font's author.

Woodruff was inspired by a piece of charmingly hand-lettered signwriters’ ornamental Roman seen on a half faded away brick wall, on the end of a row of shops. It has a naive hand drawn charm that lends a very special touch to posters, signage and headings. Woodruff is ideal where an atmosphere of primitive charm, with a little regard for aesthetics is required, and can be used in such situations without sacrificing legibility.