Johnny is the latest addition to the long line of popular psychedelic/hippy/funky art nouveau fonts representing the retro side of the Canada Type library. It is the digitization of a popular 1969 Phil Martin typeface that was known by two different names: Harem and Margit. The film type version had plenty of irregularities and quirks that made it seem like it was done in a hurry. In this digital version the errors have been corrected and the character set expanded to include international characters with built-in alternates, to be on par with what today's layout artists expect from a high quality font. This font saw a lot of use on record sleeves and music posters throughout the pre-disco part of the 1970s, which makes it a veteran of both the psychedelic and funk periods. This makes it the sharper, sturdier art nouveau contemporary personality of Canada Type's Tomato font. This font contains a very expanded character set that includes full support for Central, Eastern and Western European languages, as well as Baltic, Turkish, Esperanto, Greek, Cyrillic and Vietnamese.

Westblue is a captivating sans-serif display font. Crafted in bold style and intricate brushwork, this font is a versatile choice for designers seeking a perfect combination of impact and creativity. The characters in Westblue command attention with their substantial size and clean, sans-serif lines. What sets this font apart is the meticulously added brushed details, which bring an organic and handcrafted touch to each letter. These details create a sense of dynamism, making Westblue ideal for projects that demand both modernity and a hint of artistic flair. In addition, enjoy the features here. Features: Multilingual Supports PUA Encoded Numerals and Punctuations Westblue fits in headlines, logos, posters, flyers, branding materials, greeting cards, print media, editorial layouts, and many more designs. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

The 50’s were the golden years for cinema and consequently also for the artists who lettered on the posters. Cinefile is a brushed disconnected script included in a family font that evokes the soul of that vintage brush but with a modern touch. The main characteristics of Cinefile are soft and rounded shapes and a very high x-height, clean and easy to read. Cinefile Family includes 3 fonts: Cinefile, a very versatile script font with initial forms, and a generous complement of alternate characters, ligatures, ordinals, Cinefile Slab Serif and Cinefil Ornaments that combine perfectly and give you many options to your designs. Remember that to access to all additional characters, you must use software that is truly compatible with OpenType, such as Adobe CS applications, or we recommend using the Glyphs palette. Cinefile is a friendly and fluid family font that adapts well to titles, packages, invitations, greeting cards, magazines and book covers, children's material, fashion, logos and, posters and wherever you need a fun and sympathetic display font.

The recent tragedies in America have resulted in a tremendous need for donations. This new font was created to benefit the victims in New York. This font is a great opportunity for artists, designers and computer users to show their support. The font needs to be big, 36 points or higher is recommended. It can be used at smaller point sizes, but there is little detail at smaller sizes. I felt a need to do something, ever since I saw those two beautiful buildings collapse in New York. You see, I went to school in New York, and I learned so much there. I truly love New York, and this is a way for me to show my support to the Big Apple. A $20.00 donation to the Twin Towers Fund is requested for those who download this font. Please send the donation to: Twin Towers Fund General Post Office P.O. Box 26999 New York, NY 10087-6999 Special thanks to those who reviewed my font and offered advice on what needed to be done to complete the font.

Centerpiece is Psychedelic typeface refers to a style of typography that emerged in the 1960s during the height of the counterculture movement. It is characterized by its bold, vibrant colors, and graphic designs that incorporate abstract shapes, curves, and patterns. The psychedelic typeface is often associated with the mystical and surreal since it draws inspiration from altered states of consciousness experienced through the use of psychedelic drugs. It also incorporates a variety of lettering techniques such as bending, twisting, and outlining. The typefaces have a distinctive look that evokes a sense of free-spirited creativity and experimentation. Psychedelic typefaces can be used for various purposes, including posters, album covers, and promotional materials. To sum it up, psychedelic typeface is a unique style of typography that was popularized during the 1960s and is still relevant today. It incorporates bold colors, graphic designs, and a range of lettering techniques that create an eye-catching and trippy aesthetic. It is a testament to the counterculture movement and the power of artistic expression.

P22 Preissig Calligraphic was originally designed by Czech typographer, artist, and designer Vojtěch Preissig (1873–1944). Preissig developed this type design in 1928 and has remained unpublished until recently. One can only speculate why this wonderful design was never produced into a commercially available typeface. His original designs feature an accompanying italic as well as small caps. Preissig had originally named the typeface design after his former employer in New York, Butterick Publishing Co. The ‘Butterick’ typeface retains the angularity of his previous typeface, Preissig Antiqua (AKA P22 Preissig Roman), but displays a more fluid calligraphic influence. P22 Preissig Calligraphic was started shortly after Richard Kegler saw the original drawings in an exhibit in Prague in 2004. A sympathetic security guard allowed a few photographs and the contraband images fueled a development of the typefaces. The design simmered for many years and is now ready to enter the world of contemporary design. P22 Preissig Calligraphic is a 2 font family that contains the originally designed small caps as an OpenType feature, as well as all the necessary diacritical to cover most European languages.

First released in 2009, Aviano Didone has been completely remastered and expanded with new weights and optical sizes. Aviano Didone's high contrast forms lend elegant beauty, luxury and romance to your designs and it's extended letterforms provide strength and power. Aviano's foundational classical forms give the face a look that is unique for Didone faces. Aviano Didone is a bold interpretation of vertically contrasted type. Aviano Didone comes in eight different weights and is packed with OpenType features. Want ball terminals for that logotype or headline? Flat serifs? Swash forms? Aviano Didone includes 102 alternate characters. Five style sets are available, and Art Deco inspired alternates, small forms, swash, titling and stylistic alternates. Aviano Didone also includes 40 discretionary ligatures for artistic typographic compositions. The new optical sizes allow Aviano Didone to be used on the web or in print without losing detail. Be sure to check out the rest of the Aviano series which can be used as complementary faces, including Aviano, Aviano Serif, Aviano Sans and Aviano Flare.

@andinistas presents Rapsodia, an uncommon roman caps font with serif and high contrast, designed by #carlosfabiancg. Rapsodia was inspired by Stunt Roman, Speedball Textbook for Pen & Brush Lettering by Ross F. George. Rapsodia has a high and sweetened amount of contrast between thin and thick with drop-shaped finishes, reminiscent of Didot, Baskerville and Bodoni. Its artistic accent translates into Tuscan letters drawn with a flexible tip pen. In that order, Rapsodia combines the visual theatricality of an art nouveau corset, with creative historical classics such as Liza Minnelli, Gene Simmons and Freddie Mercury. Its calligraphic curlers full of Mannerist virtuosity are unnatural in Roman caps typefaces with serif. That is why its internal vein in ascending and descending flourishes protrudes with Chicano circus details like triangular diamonds located in vertical strokes. Rapsodia serves to design words and phrases in fine publications, for this reason most of its upper and lower case letters communicate feelings with classic and luxurious sensation through substitutes, ligatures and alternatives for beginning, middle or end of word, functioning as initials and terminals.

What happens when historical calligraphy and modern lettering kiss? Liesel! This six-font, hand-lettered family is loosely based on traditional letterforms. Used alone, Liesel Regular reflects a warm, antique aesthetic. But when you pair her with Brush, Pencil, and Shadow - all of which were designed for layering - a modern, artistic look emerges! Experiment with textures, overlays and blending modes to create realistic water colored text. Both Liesel Printed & Liesel Shadow Printed are highly detailed, distressed versions of their solid counterparts, and can be layered to recreate an authentic letterpress or screen printed effect. Opentype features programmed into each text font include contextual alternates, stylistic alternates, swashes, true fractions, and old style numerals. Each Liesel font features PUA coding so all characters, including swashes and alternates, can be accessed with Character Viewer (Mac), Character Map (PC) or PopChar. For more information, including a complete PUA code listing, please review our user guide. We recommend pairing Liesel with Quimbly. Please note: because its outlines are complex & highly detailed, Liesel Printed and Liesel Printed Shadow may process slowly in some applications.

How can we possibly call our line of celebrity fonts the MASTERS OF COMIC BOOK ART if it doesn't include a font based on the remarkable work of comic’s renaissance gentleman, artist/writer/colorist/letterer, Dave Gibbons?! Based on Dave’s easy-on-the-eye hand lettering, this is the font Dave himself uses to letter projects such as STAR WARS: VADER'S QUEST, MARTHA WASHINGTON & BATMAN: BLACK & WHITE. Other guys may imitate him, but the original is still the greatest! Get in with the In Crowd and check out the font created by Mister Fontastic for Dave Gibbons Original Graphic Novel, The, ah, The Originals. Yes, Dave Gibbons now comes in lower case, it’s not just what he does when he gets back from the off license. Be sure and pick up The Originals from Amazon -- now available in paperback, and probably still available as a hard case, much like Dave. After the crack about the beer above, I'm guessing you'll find me with a broken spine in the remainder pile. See the family related to Dave Gibbons: Dave Gibbons Journal & Dave Gibbons Lower .

Mirella Script is a modern and clean approach of the classic French Bastarde script style. Mirella has the follow resources : - Lots os ligature forms (using contextual alternates open-type feature), - many stylistic alternates for each letter (upper- and lowercase and all accessed with the glyph palette), a set of 55 ornaments and fleurons accessed with the glyph palette or using the Ornaments feature); - initial and final letters with artistic variations accessible using the initial and final form open-type features - a tour-de-force kerning work: almost 700 gliphs in this font was adjusted to your kern pairs handly. In non-OpenType-savvy applications it works well as an unusual and beautiful script style font. We ever suggest the use of the glyph palette to find ideal solutions to specific designs, because the high number of gliphs. The sample illustrations will give you an idea of the possibilities. You have full access to this amazing stuff using InDesign, Illustrator, QuarkXpress and similar software. Mirella Script has original letters designed by Iza W and overall creative direction plus core programming by Paulo W.

Night Visions: An Unsettling Hand-Drawn Brush Script Font Night Visions is a hand-drawn script font with a loose style typical of late night horror and thriller movie posters. It’s designed to look as though ink has been laid with the nervous flick of the artists brush, giving a random, imperfect, but elegant result. This font comes with the flowing script of the regular version or a complete set of non-script alternatives. Added to which there are additional character alternatives and special ligatures to experiment with for a truly hand-made look. Each version comes with a full set of uppercase and lowercase characters along with numerals, punctuation and language support. I recommend this font for anyone about to design a header or title that needs an authentically hand-made look. It’s the perfect choice for movie titles or posters, album covers, comic books, t-shirts or editorials. It’s a font that rewards experimentation and offers many options for your designs. Check out the visuals for usage ideas.

Tereiya is a timeless embodiment of modern serifs, seamlessly blending classical elegance with contemporary design. Its gracefully sculpted letterforms boast a harmonious balance of thick and thin strokes, exuding a sense of sophistication and refined aesthetics. Tereiya’s serifs are striking yet understated, delivering a distinguished presence that elevates any typographic composition. With its meticulously crafted details and graceful curves, Tereiya remains a paragon of typographic artistry, ideal for conveying a sense of timelessness and enduring style in both print and digital applications.

Aira is a serif font with a modern style that is designed very neatly and boldly, especially for designers and clients who want to have a classic yet trendy design concept, with 35 alternative lowercase letters and 9 ligatures, as an option for those of you who want to add a unique touch to your design. This font is perfect for a sturdy and discreet company logo and is also perfect for magazine layout designs, articles, quotes, and even posters.

We want to introduce Mexico Font Family. The letters of the display font are decorated with floral ornaments based on Mexican landscapes. The typeface is presented in two styles: decorative and blank, сombine them to get your unique design. Mexico font is suitable for lettering posters and cards, tourist brochures, photo overlays, book covers and article titles. The font also works great for printing clothes, products branding and packaging. Also use individual letters and symbols to create logos and monograms.

Stem Text is a workhorse typeface, a geometric sans-serif with a semi-closed aperture and a large x-height. The design of Stem Text allows to use it in body text sizes as well as in headlines. Stem Text is fully compatible with Stem , so the styles of Stem can be used as display styles together with Stem Text in text setting. Design -- Alexandra Korolkova with the assistance of Maria Selezeneva and Isabella Chaeva. Released by ParaType in 2015.

Wieldy crafted character Wieldy is a prime quality typeface rooted in the tradition of good craftsmanship, full of character and reach in details. Extended serifs, connected with dots, are just some design features this artisanal font can offer. Wieldy is based on the ahistoric forms developed by Central European Arts and Crafts movement. It is suitable for visual identities, packaging or book headings. The typeface’s x-height is around 72% of its capitals. The font is endowed with details, ligatures and special characters.

Introducing our Handwriting Font Editorial: a classic yet modern and elegant typeface inspired by the charm of hand drawn letters. This versatile font is perfect for adding a touch of sophistication to your magazine layouts. With its meticulously crafted curves and stylish strokes, our Handwriting Font Editorial will elevate your designs and captivate your readers, making it an essential tool for any editorial project. Embrace the artistry of handwritten fonts and bring a timeless appeal to your publications with our Font.

The sheet music for the 1939 tune "Chico's Love Song (Ma-La-Ja Fa-La Pas-Ka Lah-Ta) [Cuban Double Talk]" may have had an odd title, but the main portion of it was hand lettered in an interesting style. Condensed letters with rounded corners complemented by sharp lines and angles give the characters an almost futuristic look, despite the fact that they were designed during the Art Deco era. This became the basis for Song Composer JNL, which is available in both regular and oblique versions.

Looking for a modern and extravagant font that is easily memorable? In the sea of similar designs, something unconventional but tasteful will certainly put your brand on the map. Introducing Fagelyne - A Modern Elegant Font. Use this font for promotional material, ads, web pages, apps, clothing, printed material, and anything else you need to make your brand shine. What you’ll get: Multilingual & Ligature Support Full sets of Punctuation and Numerals Compatible with: Adobe Suite Microsoft Office KeyNote Pages Software Requirements: The fonts that you’ll receive in the pack are widely supported by most software. In order to get the full functionality of the selection of standard ligatures (custom created letters) in the script font, any software that can read OpenType fonts will work. We hope you enjoy this font and that it makes your branding sparkle! Feel free to reach out to us if you’d like more information or if you have any concerns.

“My Dearest Friend” is how she began nearly all her letters to her husband, John. I refer, of course, to Abigail Smith Adams, first Second Lady and second First Lady of the United States. Her famous correspondence with John Adams produced nearly 1,200 letters over a span of some 40 years, leaving us with a priceless record of early American life — from household routines to war and politics to expressions of personal worry and devotion. Although Abigail’s was not the loveliest hand, I found it sure and expressive, as befitting her extraordinary sway and intelligence; it also carries a genuine flavor of the period. In making the font I focused chiefly on her handwriting from the 1780s and ’90s, when she’d taken to using a disconnected cursive, which struck me as distinctive and alluring. The OpenType release of Abigail Adams has scores of ligatures, standard and contextual alternates, lining and old-style figures, cross-outs, ink blots, and full Latin language support.

Singel is a neoclassical serif with semi-condensed proportions. As a contemporary interpretation, this typeface combines the rationalist modulated stroke with an elegant silhouette and crisp serifs. The altogether splendid appearance of Singel, completed with a full set of Small Capitals and true form of italics makes it perfect for any luxurious and graceful design. Other aspects of its characteristics include the consistency of 10 styles from Light to Bold; a coverage of Extended Latin and Cyrillic with span for more than 130 languages; a flawless functionality and support of many OpenType features, such as localizations, tabular numerals, inferiors and superiors, numerators & denominators, fractions, case sensitivity etc. Features: • Over 900 glyphs in 10 styles (Light to Bold); • Extended Latin and Cyrillic for more than 130 languages; • Tall x-height and Semi-Condensed proportions; • High contrast and modulated stroke with vertical stress; • Neoclassical characteristics and moderate apertures; • Full set of Small Capitals; • True form of italics; • Coverage of multiple OpenType features; • Suitable for wide design purposes.

Tom Lincoln's award-winning type design work since the 1960s has been one way or another of expressing his fascination for the Roman majuscules inscribed at the base of the Trajan Column in Rome. This time he has really outdone himself by bringing us Roma, a definitive, contemporary, mature sans serif expression of those majuscules. With Roma, Lincoln is not satisfied with simply creating a proper "Trajan Sans". He goes on to make it a family of four weights, with built-in small caps and oldstyle figures, then he really goes to town with the options he makes available for shading and multi-color settings. Precise renderings of the Roma capitals are provided in different fonts that can function individually or be layered atop each other for two- or three-color treatments. The Roma family comes with extended language support that spans the majority of Latin-based languages. For more information on the design, complete character sets, technological features, and print tests, consult the accompanying PDF.

Phrasa is a robust humanist sans-serif typeface family which will carry you through most of your design needs. Designed for legibility, she truly shines in running text. However her solid (yet elegant) construction allows for usage in such settings as branding or signage. Phrasa's most prominent features are: 13 weights, from hairline to black Moderate x-height Large apertures Modern capitals proportions Designed for readability… … without sacrificing good looks True Italics Small capitals Adobe Latin 3 language range Cyrillic alphabet Old-style and tabular figures The idea behind Phrasa was to create a stylish typeface but with legibility in mind. The inspiration came from history, namely from two of the most legible typefaces known: Garamond and Gill Sans. The new typeface boasts a smooth, easy-on-the-eyes texture which allows the reader to simply sink into the text. It also posses a set of true italics to compliment it. Phrasa has a broad linguistic range, spanning from extended latin alphabet to cyrillic.

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there. Now, URW has expanded its range of Futura styles by Futura Round with 14 additional styles.

Burner is an advanced, connecting, wildstyle graffiti font family including over 200 unique letters, numbers & symbols. The family includes outlines, fills, details and more. Mix and match glyphs from 3 alphabets, add end pieces and more. Repeating flames, arrows & flourishes & other embellishments are included. The Burner family includes 3 full alphabets in each of the 4 styles as well as numbers, punctuation and a wide array of arrows, bars , begining & end pieces. Like some of our earlier wildstyle typefaces such as RaseOne or WildStyle, the Burner font family is a layered type system made to work as a team. In nearly any application 2 or more styles can be easily layered to create advanced, multicolor, wildstyle pieces. This layering system provides a shortcut to time consuming effects such as sharp corners & variable widths on outlines, fills & details. The original glyphs were all drawn by hand taking inspiration from actual painted & drawn wildstyles from RaseOne spanning the late 90's to about 2006.

Squad is a humanist sans serif with semi condensed proportions. Inspired by Adrian Frutiger’s perfectionist style this typeface is a harmonious breed of humanist heritage and contemporary simplicity. The balanced characteristics, clear and legible silhouette and simultaneously vivid appearance of Squad makes it perfect for any design purpose. The figures are evident — it consists of 18 styles from Thin to Black; covers Extended Latin, Cyrillic and Greek with span for more than 130 languages; flawless functionality and supporting many OpenType features, such as localizations, tabular numerals, inferiors & superiors, numerators & denominators, fractions, discretionary liga- tures, case sensitivity etc. Designers: Svetlin Balezdrov, Svet Simov Features: • Over 780 glyphs in 18 styles (Thin to Black) • Extended Latin, Cyrillic and Greek scripts for more than 130 languages; • High x-height and Semi Condensed proportions; • Moderate contrast and vertical stress; • Humanistic characteristics and open vertical terminals; • True form of italics; • Coverage of multiple OpenType features; • Perfect for text, headlines and web;

VLNL Berlagebrug Designer Donald DBXL Beekman daily crosses the Berlage bridge spanning the Amstel river in Amsterdam. The Berlagebrug was built as part of the city planning project ‘Plan Zuid’ by H.P.Berlage and opened in May 1932. Its name, carved out of two granite headstones, sparked the design of this font family. The original lettering is attributed to Anton Kurvers in the early 19th century, and can be seen on many Amsterdam buildings and bridges. It’s typical lettering of the Amsterdamse School, the Dutch equivalent of the expressionist art deco architectural style, and mostly known for its extravagant brick work. VLNL Berlagebrug is a rounded display font that comes in three outline styles matching the building materials used in the bridge. Gietijzer (cast iron) is smooth, Zandsteen (sandstone) has a softly distressed outline, and Graniet (granite) is outspoken rough and crumbled. The capital letters in VLNL Berlagebrug are in the Amsterdamse school style, the lowercases are more straight alternate capitals, giving you more design options.

Carpathian Basin Rovas The Carpathian Basin Rovas script, or Kárpát-medencei rovás in Hungarian, was used in the Carpathian Basin between about the 7th and 11th centuries. Most of the inscriptions are in Hungarian, but some were in Onogur, As-Alan, Slavic or Eurasian Avar. Carpathian Basin Rovas is thought to be a descendent of the Proto-Rovas script, which was used to the east of the Aral Sea between about the 1st century AD and 567, when the tribes who were using it, the Avars and Ogurs, started to move into the Carpathian Basin. That process took until about 670 AD, after which the Proto-Rovas script became the Carpathian Basin Rovas and the Khazarian Rovas scripts. The Proto-Rovas script was perhaps a descendent of the Aramaic script. Since 2009 efforts have been made to revive the use of this alphabet. Some letters were added to it to represent sounds in modern Hungarian that weren't used historically.

Remember clear summer days as a kid? Remember open fields that you explored? Sun shining? Simple breezes sweeping past your face as you ran far and free? The feeling was uncomplicated and enjoyable. It was natural. That’s Verao, the simple spirit of summer. Alive and vibrant, Verao takes a turn away from the cold structure of today’s rigid creations and embraces the movement back to the value of things handmade. This artisan creation represents the rare, soul-invested fusion of the craftsman’s tools, materials, and hand movements, which shapes the solid--but beautifully defined--parts, pieces that, when put together, breathe a measure of life into everyday paragraphs and other bodies of text. Verao’s hand-written brush script, with its characters’ imperfect elegance and handmade quality, keeps your work looking organic. Write a word in more than a hundred different ways thanks to the large number of extra letters it offers. Two sets of lowercase alternative letters without connectors are included as is a set of swashed endings. Verao contains stylistic substitutions and ligatures, too, that you can combine however you like. Whichever way you design, the elements continue to appear balanced and separate and will undoubtedly add more personality to your design. So stop switching out cogs in your rigid set of fonts. Take time again to play with a natural face that’s both easy and energetic. Verao’s great temperament makes it a joy to design with. Let this spirit of summer take you away from the mundane. There’s a good chance Verao will lead you where you need to go. Production assistance from Lucas Azevedo.

Introducing Mother Serif Typeface - 5 fonts Mother is named after all the moms and children left behind. This typeface is feminine, fragile typeface with 5 fonts loaded with ligature glyphs, alternates and multilingual support to enchant your next project. Very versatile fonts that works great in large and small sizes. Mother is perfect for branding projects, home-ware designs, product packaging, magazine headers - or simply as a stylish text overlay to any background image. Uppercase, lowercase, numeral, punctuation & Symbol Light Regular Medium Bold Black ligature glyphs ab ac ad ae ag ai al am an ap ar as at au ba be bi bl bo br ca cc ce ch ci cl co cr cs ct cu da de di do dr ea ec ed ee ei el em en eo ep er es et eu fa fb ffb fh ffh fj fk ffk ft fft ga gi gl gn go gr ha he hi ho hy ic id ie il im in io ip ir is it iv ka ke la le li ll lo lu ma me mi mo mp na nc nd ni no nt oc od ol om op or os ot ou pa pe pi po ra rc rd re ri ro sh si sm sp su ta te th ti to tr ts tt ul um un ur us ut ff fi fl ffi ffl st alternates Multilingual support How to access alternate glyphs? To access alternate glyphs in Adobe InDesign or Illustrator, choose Window Type & Tables Glyphs In Photoshop, choose Window Glyphs. In the panel that opens, click the Show menu and choose Alternates for Selection. Double-click an alternate's thumbnail to swap them out. Feel free to contact me if you have any questions! Mock ups and backgrounds used are not included. Thank you! Enjoy!

The Journal Sans typeface was developed in the Type Design Department of SPA of Printing Machinery in Moscow in 1940–1956 by the group of designers under Anatoly Schukin. It was based on Erbar Grotesk by Jacob Erbar and Metro Sans by William A. Dwiggins, the geometric sans-serifs of the 1920s with the pronounced industrial spirit. Journal Sans, Rublenaya (Sans-Serif), and Textbook typefaces were the main Soviet sans-serifs. So no wonder that it was digitized quite early, in the first half of 1990s. Until recently, Journal Sans consisted of three faces and retained all the problems of early digitization, such as inaccurate curves or side-bearings copied straight from metal-type version. The years of 2013 and 2014 made «irregular» geometric sans-serifs trendy, and that fact affected Journal Sans. In the old version curves were corrected and the character set was expanded by Olexa Volochay. In the new release, besides minor improvements, a substantial work has been carried out to make the old typeface work better in digital typography and contemporary design practice. Maria Selezeneva significantly worked over the design of some glyphs, expanded the character set, added some alternatives, completely changed the side-bearings and kerning. Also, the Journal Sans New has several new faces, such as true italic (the older font had slanted version for the italic), an Inline face based on the Bold, and the Display face with proportions close to the original Erbar Grotesk. The new version of Journal Sans, while keeping all peculiarities and the industrial spirit of 1920s-1950s, is indeed fully adapted to the modern digital reality. It can be useful either for bringing historical spirit into design or for modern and trendy typography, both in print and on screen. Designed by Maria Selezeneva with the participation of Alexandra Korolkova. Released by ParaType in 2014.

It was used in parts of Transylvania until the 1850s, although it was banned by Istvan, the first Christian king of the Hungarians (Szekel), in line with an order to "destroy all pre-Christian inscriptions". Hungarian runic script was usually written on wood-stone pieces in the bustrofedon style. In this method, the writing was written consecutively from right to left and from left to right. This article is available in Bosnian, Carpathian and Glozel editions. Whenever possible, I will present the fonts in these versions.

Telephone Extended is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A normal width family, Telephone, is also available.

Telephone is a geometric semi-slab family with block serifs positioned to assist wordflow. The typeface evolved from an italic wordmark designed in 1966 for the British GPO by the Banks & Miles agency to publicize all-figure telephone dialling (all-number calling), and the new fonts retain that italic spirit, even in the upright romans. The squarish glyphs, with a mix of rounded and angular corners, have a post-modern feel suggesting technological advance, innovation and vitality. A wide version, Telephone Extended, is also available.

Subroyal was inspired by the official logo of the City of Montreal. The idea came to us while reading an article about a revised version of this logo that didn't have any original typography. We realized it was our civic duty to bring the City logo to life, and the result is a fairly romantic font that reminds us of the many parks around the island, its fragile snowflakes, and its electronic music scene. Voilà! Montreal has its first custom-made (non-official) font package.