Pilar and Ferran based Arlette on the fast stroke of one letter from a Roger Excoffon family, but along the way they abandoned that starting point in favour of experimentation. Many sans serifs are like a svelte black dress: functional, beautiful, and the unfussy outfit for a nice evening get together. The Arlette family isn’t like this. It’s a stunner — an incandescent reimagining of what defines a sans and how it can look. Arlette explores the boundaries of the sans serif landscape and returns with forms developed from gestural vigour. Thinking of it as “painterly” may at first seem to fit, but it underestimates Arlette’s ability to master an unseen world of countless emotions and physical applications: magazines, branding, editorial, teen and young adult works, book covers, and a host of products and packaging whose content will be amplified with Arlette’s voice. Not only does Arlette use its eight weights plus italics to speak in Latin-based scripts, it is also fluent in Thai and has six weights (hairline through bold) with which it meets that challenge, whether in text or display. Arlette Thai’s modern nature is seen in two features for the script. One is the decorative Thai characters that are based on original palm leaf manuscripts. Another is a version of the Latin numerals adapted to the height of the script due to their wide use in Thailand. Arlette Thai has been meticulously developed, including contextual kerning to avoid mark clashes. Arlette’s OpenType capabilities include mathematic and scientific figures, positional forms, pointers, arrows, and oldstyle, lining, and tabular lining numerals. In addition to all this, it’s packed with swashes and swash ligatures in both scripts for enthusiastic typesetting. Because it pushes experimentation without compromising readability, both Arlette Thai and Latin are surprisingly legible in small sizes and arrestingly beautiful when their details can be seen.

The idea for Quirky was born while I was looking at a book of etchings by British artist Graham Clarke. His signature, crawling spider-like across the page, fascinated me with its casual, almost messy, inky dark and light drama. I started scribbling the alphabet as I imagined he would write it, based on his signature, then continued, adding curls, making the characters more angular, and refining the dramatic play between dark and light. Finally, Quirky appeared. Apparently casual, Quirky is, in fact, a true connected script. Quirky is characteristic of contemporary handwriting: It appears loose, angular, unstructured, and free, while maintaining good form and legibility. Its baseline is varied, creating an impression of impatient handwriting, without losing legibility. Quirky comes in five styles: condensed -- the most dramatic form, with great drama between thick and thin condensed black -- as with condensed but allows the user to provide exceptional emphasis wide -- increased readability wide black -- increased readability and emphasis splat -- messy and ink-blotted -- a hint of grunge Use Quirky for advertising, for humorous greeting cards, for a funky fashion look or tongue-in-cheek spooky media. Quirky is a fully professional font with extensive use of OpenType Ligatures. For example: most common double letter combinations such as "ee" are rendered as two, slightly different shaped "e"s. This variation in letter shapes removes the cues by which the reader identifies that he is viewing a FONT and thus conveys a strong sense of hand-lettered text. Language support includes all European character sets and has been designed to be used with the following languages: Afrikaans, Albanian, Basque, Bemba, Cornish, Danish, Dutch, English, Estonian, Faroese, Filipino, Finnish, French, Galician, Ganda, German, Icelandic, Indonesian, Irish, Italian, Kinyarwanda, Luo, Malagasy, Malay, Manx, Morisyen, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Portuguese, Romansh, Sango, Shona, Somali, Spanish, Swahili, Swedish, Swiss German and Zulu.

Waba Pronounced ‘Vah-bah’, is a font family that I designed. The name comes from a historical variation on the Estonian word ‘vaba’ – meaning ‘free’, or 'at liberty'. Back in 2017 I visited the Estonian Print & Paper Museum in Tartu to see its great collection of type (well worth a visit!). While I was there I saw some big woodcut blocks of Reklameschrift Herold - a super Art Nouveau/Jugendstil style display font. The Print & Paper Museum's collection covers both Latin and Cyrillic faces and as a foreigner in these parts I'm kind of fascinated by the exoticism of Cyrillic. How it is different but the same to the Latin letters I take for granted (as a humble Englander – no excuses). Not to mention, Jugendstil with its imitation of natural form, reverse-weights and looping-delicious curves (like you've left the window open all summer and the garden plants are climbing in). This mix of Jugendstil, Cyrillic letters and the beautiful historical border town of Tartu inspired me to start drawing Waba. Trimming the serifs from Herold, simplifying those angles and expanding the category of weights, then taking look at the magical logic of Berthold Block and doing a few things that just seemed right at the time – Waba is a bit of love letter to Estonia, the Baltics and the visual history of Eastern Europe. Waba Monogram Waba also contains a monogram face, which allows you to create any monogramming latin and cyrillic. Simply type out your 2-3-4 characters in Waba Monogram, making sure Contextual Alternates is turned on them voila! Monograms can be customised manually using the OpenType select-pop-up in Adobe. Also included are a few Discretionary Ligatures for Mc, De, Von etc. Monograms work best when Contextual Alternates is turned on.

Linotype Univers is a completely reworked version of the original Univers typeface family designed by Adrian Frutiger in 1957. After a long process of painstakingly detailed revision, Frutiger and the design staff at Linotype completed this large joint project in 1997. The result: a brilliant and cohesive font family of 63 weights and styles including the 4 monospaced typewriter weights. All the existing weights were completely redrawn, with careful attention paid to making the proportions more consistent with each other and improving fine details such as curves and thick-to-thin stroke ratios. The family was expanded from 27 to 63 weights, providing a much larger framework to graphic designers for choosing just the right style. The bold and condensed weights were reworked for improved legibility and on-screen application. The stroke weights were revised for consistency within each face as well as in relationship to the other weights. By following Frutiger's original designs, the humanist character of the sans serif Univers now comes through more distinctly. T he systemized numbering system has also been updated. With its sturdy, clean forms Univers can facilitate an expression of cool elegance and rational competence. In fact, the strong familial relationships between all the styles and weights make it a serviceable choice for large graphic design projects that require versatility with consistency. Frutiger was successful in staying true to his initial aims; the new Linotype Univers does indeed work in longer texts as well as for display settings. In 2010 the typeface family was extended and renamed into a more logical naming of "Univers Next" to fit better in the Platinum Collection naming. Univers Next Variable are font files which are featuring two axis and have a preset instance from Light to Heavy and Condensed to Extended. Univers® Next font field guide including best practices, font pairings and alternatives.

Introducing Enamel Brush—the perfect typeface for adding a touch of vintage charm to your design projects. With its bold and expressive brush strokes, Enamel Brush takes inspiration from Emil Klumpp’s Catalina typeface from 1955, a classic typeface that embodies the spirit of post-war optimism and creativity. Enamel Brush has been designed with the modern designer in mind. Thanks to its OpenType features, certain letter pairings are automatically replaced with ligatures, ensuring that your text has a more natural and authentic feel. Whether you’re creating a logo, poster, or website, Enamel Brush is the ideal choice for adding personality and style to your messages. Its bold, confident strokes are perfect for grabbing attention and making a statement. So why not give your next project a touch of vintage flair with Enamel Brush? Get your copy today and start creating something truly special. 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.

Bigfoot is the fattest font ever made. It began as a simple exercise given to students in a design course: Most people don't appreciate type because they don't really know what it actually is. One way to understand it is looking at it like a combination of sculptures that have to work together to achieve a certain harmony, where each letter form is one of those sculptures. Most people understand and appreciate that a sculpture starts from a rock of an incomprehensible form, which is manipulated by someone into becoming the recognizable or abstract work of art it eventually is. Consider type design a kind of two-dimensional sculpting. You have a rectangle. Take away as a little as possible from it until it is recognizable as the letter A. Repeat to get the letter B, and so on. After all 26 minimal letters are made, do they actually function as an alphabet to build words and sentences that are recognizable to the human eye? This exercise can trigger thoughts and theories about the overall subjective nature of identifying abstract yet somewhat familiar shapes. It can go into the psyche of art in general. But one thing for certain, this exercise has so far helped a few people find a new appreciation for finely crafted typefaces. If you are a design educator, your students' typographical perspective and arguments would benefit from it. And if you are a designer, well, fat faces are all the rage these days, and this is as fat as it can get. Please note that that this typeface, due to its minimalistic nature, does not include accented characters. It does however support the full C0 Controls and Basic Latin Unicode set. All proceeds from this font go to support the Type Club of Toronto.

Hey there, font fanatics. Feeling like your messages are falling flat and lacking some serious funk? Well, we’ve got just the typeface to turn that frown upside down! Introducing Strenuous, the unicase headline typeface with a fashion groove that’s sure to transport you straight back to the ‘1970s. But wait, there’s more! Strenuous isn’t just any old boring typeface—oh no. This baby is unique, distinctive, and funky. And with alternative uppercase and lowercase versions for some letters, you can mix things up and keep things interesting. And don’t even get us started on the eight weights and italics—this typeface is truly versatile and can handle anything you throw its way. So go ahead and give your message the voice it deserves with Strenuous. Your audience will thank you for the groovy vibes. 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.

Swansbury, Inc. provides handwriting instruction to all ages, accompanied by two exemplar fonts, Barchowsky Fluent Hand.otf and Barchowsky Dot.otf. The basis for the design of the characters is the italic of the Renaissance. With the advantage of contextual alternates, Barchowsky Fluent Hand automatically joins lowercase letters so it can be used in any venue where a clean and elegant appearance of handwriting is desired. The fonts allow maximum instructional flexibility. Aside from their use in lesson plans, educators can customize pages for specific student interests, studies and needs. Included are all math symbols that one typically encounters in school curricula. Nan Jay Barchowsky, designer of this font, believes that children should hone their handwriting skills as they learn all subjects, reading, math, history and foreign languages. Both fonts support all Western European languages and Turkish. Barchowsky Dot is for young children or others who need remediation. The letterforms are identical to those in Barchowsky Fluent Hand. Used at a large point size open dots appear within the lines that form the characters indicating where one should start each stroke in a letter or number. Once formations are learned Barchowsky Fluent Hand can be used with the contextual alternates turned off until students are ready to write in the joined-up manner of a true cursive. Specifications: The technology for fonts that automatically join letters, or allow them to be unjoined is relatively new. At present, both fonts work on Windows XP with Service Pack 1 or later (or Vista), using AbiWord, a free word processor (go to abisource.com). They also work well with InDesign 2. Currently there is an unknown factor in later versions of InDesign for Windows that disallows joining. Macs completely support the fonts using InDesign 2 and later, PhotoshopCS and IllustratorCS. If you do not have these applications, there is an inexpensive word processor for Macs.

Ready for the designs of today, the Sancoale superfamily takes a softer turn with a rounded slab serif. Crafted from Sancoale’s simple geometry, new softened slab serifs provide a lively typeface that conveniently enhances its cousins: Sancoale Softened--a sans with blunted terminals; Sancoale Slab; and, certainly, the first Sancoale. The weights of each and every member are balanced diligently to be compatible with one another. When used alongside one another, the combination makes for robust and tight design. With weights starting with the slender thin ranging to the juicy black, Slab Soft opens the doorway to the vary of uses. Its design is legible and neutral enough for bodies of copy--both in print and on your website. The web font also stands out perfectly as a headline or a display face. Slab Soft carefully places a foot ahead, and doesn't overpower like many slabs. This font’s the choice to seize the day and get the job done. All insigne™ fonts are absolutely loaded with OpenType options. Sancoale Slab is geared up for pro typography, together with alternates with stems, compact caps and lots of alts, together with “normalized” capitals and lowercase letters. The font features many numeral sets, with fractions, old-style and lining figures with superiors and inferiors. OpenType-capable programs like Quark or the Adobe suite allow you to quickly change ligatures and alternates. You can see these options shown in the .pdf brochure. Bundled are compact caps, fractions, old-style and lining quantities, scientific superior/inferior figures, entire ordinal and inferior alphabet. The Sancoale superfamily also features the glyphs to aid a variety of languages, together with Central, Eastern and Western European languages. In all, Sancoale Slab supports around forty languages that utilize the Latin script, earning Sancoale the pick for for multi-lingual publications and packaging.

A very legible Renaissance Antiqua This typeface is based on the desire to create an Antiqua like those which might have existed at the beginning of the »printing age« — the basic form oriented on the classical Roman and early Middle Ages models, the ductus defined completely by writing with a wide pen and much individual expression in detail. In the spring of 2005 I had the opportunity to closely examine a few pages in the famous book »Hypnerotomachia Poliphili« from 1499. The script used here from Aldus Manutius is exemplary. Most of the book, however, is not very carefully printed. The characters do not stay on the line; the print is at times too strong and at times much too weak. And on these imperfect pages the true character of the letters is recognizable; that is, that they are cut with lively detail which is a result of the patterns provided by full-time writers. After all, around 1499 script was written as a rule and the printed type was oriented on this pattern. I prefer the typeface on the lightly printed pages. The characters are not placed neatly on the line, but the distinct and emerging lively ductus of the individual characters automatically presents harmonious word formations in the eye of the beholder, with the non-perfect line stepping into the background. Also in Charpentier Renaissance, the strokes of the wide pen are still noticeable. The font has very defined softly bent serifs. The forms are powerful and stand solidly on the baseline. Charpentier Renaissance is very legible and yields a solid and yet still lively line formation. The accompanying italic, like its historical models, has almost no inclination. The lower case characters of Charpentier Renaissance Oblique have such idiosyncratic figures that they can also form a font of their own. Please visit www.ingofonts.com

Introducing Topstitch—the typeface that adds a personal touch to your design. Each character has been carefully crafted to capture the essence of hand embroidery, with modest irregularities that give it a natural and organic feel. From the subtle slant of the strokes to the tiny imperfections in the curves, Topstitch is a testament to the beauty of imperfection and the art of handmade. Use Topstitch to add a touch of personality to your branding, packaging, or any design project that needs a bit of warmth and charm. Download Topstitch and start stitching your words with love and care. With its handmade charm and unique character, Topstitch is sure to become your go-to typeface for all your home sewing-themed projects. 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.

Jana Nikolic was finishing her degree program at the Faculty of Applied Arts, in Belgrade, with a final project that would combine her two majors: type and book design. Three stories from William Saroyan's My Name Is Aram would provide the text for the book, to be set in a typeface that Nikolic would design. Nikolic knew something special was happening the moment she put pen to paper. The letters just emerged," she recalls. "I started to explore a few new pens and found one I loved. I was able to make its tip bend with pressure." Like the family Saroyan writes about, the design flowing from Nikolic's pen would be simple but a little quirky. "When there were a whole bunch of little black letters around me," continues Nikolic, "I saw that this was going to be a very interesting typeface family." Nikolic drew Latin and Cyrillic letters, lowercase and capital letters, wide letters and narrow letters. She was surprised at how quickly and easily the design came. "There were no badly written letters," she says. "I hardly had to rework them and they fit together remarkably well." ITC Aram's standard character complement consists of one set of lowercase letters and two sets of capitals: one narrow and the other wide. The wide caps can be used with the standard lowercase, or mixed with the narrow caps for a variation on "cap and small cap" copy. The ITC Aram create the opportunity to mix and combine the letters into playful typographic expressions. Words and sentences that twinkle; text that seems light and alive - one runs the risk of creating work that is both delightful and charming when setting copy in ITC Aram."

The Typist SlabSerif is part of a big family, the Typist Family. The family consists of a monospaced, a SlabSerif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SlabSerif variant therefore has Typist Slab Prop, written in full the Typist SlabSerif Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, SemiBold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typist-slab-font-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Introducing Zamora, the typeface that embodies the grit and determination of the open road. With its cracked finish and sharp Latin serifs, it’s a font that commands attention and respect. Each cut and scratch on the surface of Zamora is like a battle scar, a testament to the font’s toughness and resilience. Zamora is not just any typeface. It’s a font with a history, a story that’s written into every curve and corner. The sharp Latin serifs give Zamora a strong foothold, and the slew of ligatures that come with it give text a natural, unpredictable appearance, like the twists and turns of a winding mountain road. So whether you’re designing a poster for a rockabilly concert, creating a logo for a biker gang, or just looking to add a touch of rebel flair to your work, Zamora is the font for you. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

The Geometry Pro family has been designed to be the final word in purely geometric fonts, and this rounded “Soft” sub-family is the ultimate web 2.0 style font collection. Even though it is strictly geometric (as drawn with a compass and a ruler fixed to 90 and 45 degree angles) it is not slavishly modular: letters have differing widths, and the sidebearings, spacing and kerning has been finely adjusted to create smooth text. The Soft family contains three weights each with 6 variants: A is the basic form and the starting point B has more dynamic and modern shapes C has open and swirly shapes X is the serious text version Y has a very horizontal look Z is a collection of all the remaining more funky shapes Mix and match to your heart’s desire! Please enjoy the free “Bold N” version - this “notched” variant lets you test out the quality of the outlines and the language support. ALL fonts from CheapProFonts have very extensive language support: They contain some unusual diacritic letters (some of which are contained in the Latin Extended-B Unicode block) supporting: Cornish, Filipino (Tagalog), Guarani, Luxembourgian, Malagasy, Romanian, Ulithian and Welsh. They also contain all glyphs in the Latin Extended-A Unicode block (which among others cover the Central European and Baltic areas) supporting: Afrikaans, Belarusian (Lacinka), Bosnian, Catalan, Chichewa, Croatian, Czech, Dutch, Esperanto, Greenlandic, Hungarian, Kashubian, Kurdish (Kurmanji), Latvian, Lithuanian, Maltese, Maori, Polish, Saami (Inari), Saami (North), Serbian (latin), Slovak(ian), Slovene, Sorbian (Lower), Sorbian (Upper), Turkish and Turkmen. And they of course contain all the usual “western” glyphs supporting: Albanian, Basque, Breton, Chamorro, Danish, Estonian, Faroese, Finnish, French, Frisian, Galican, German, Icelandic, Indonesian, Irish (Gaelic), Italian, Northern Sotho, Norwegian, Occitan, Portuguese, Rhaeto-Romance, Sami (Lule), Sami (South), Scots (Gaelic), Spanish, Swedish, Tswana, Walloon and Yapese.

LFT Arnoldo began as an all-caps book cover typeface created during the rebranding of Oscar Mondadori, the most important Italian publisher, with over 4,500 titles from ancient classics to contemporary works, and spanning academic essays to children’s and self-help books. For such a diverse catalogue, it was necessary to find a coherent and flexible paradigm which took into account genre and readership differences and ensured harmony among its works. The main idea was to create a typeface suitable for the branding element and which could be used for each title of the immense catalogue. So what makes LFT Arnoldo a companion to the centuries? Starting with the design of the capital letters, it is first a rational typeface with contemporary proportions. But rationality without style wasn’t enough, so its glyphic nature carries an engraved feeling to resemble letters when chisel is put to stone. Once these two traits were settled, the entire character set was developed as a flared humanist sans in order to complete the family and extend its usage, from titles and display settings to texts. LFT Arnoldo sets titles with dignified authority to appear digitally carved and more arresting than the usual sans or flared sans designs of the past. It is calm and dependable in paragraph use and a captivating vehicle of aesthetic expression in title and display use. At once rugged and syncopated, the slight hourglass stems and incised details make each letter come alive and engrave each paragraph upon our emotions. LFT Arnoldo intends to be a resilient type family for centuries to come. Its seven roman weights have italic counterparts and the entire family is loaded with OpenType features: alternates, ligatures, small caps, oldstyle and lining numerals, and science and math capabilities. In the battle of charisma, where the right voice must project intelligence, influence, and refinement, LFT Arnoldo is the victor.

Magola is a creamy flavor font family whose purpose is to season with emotions the reading of words and phrases formed by puffy glyphs coated with a caramel of empty spaces external and internal. Independently or in groups, members of the family serve to decorate and organize packaging or advertising material in letters apparently crafted for food or entertainment contexts. Its starting point was to draw letters like a ballon fish evolved into a black version with empty areas and microscopic contrasted with colorful inflated and filled areas. Then the challenge was based on the sum transferred between full and empty into a lighter caliber. In that vein, its overall design adapted skeletons of italics and Roman calligraphy. Therefore, its regular, bold and black files have great height "x" with upwards and downwards extremely short and large internal counterblocks to facilitate reading. In this regard, to strengthen its objective and capture the reader's attention, its kind of contrast and simulated auctions flat tip brush strokes, and amount of contrast between thick and thin in the black version is slightly inverted. Its sizes, smooth strokes and irregular lines reinforce its traditional spirit, so it is favorable to shine the information on posters or large-format media. In short, its optical conformation based on a non-literal way, in metrics similar in all family members to be easily exchanged without changing the ìxî height. It is therefore a striking and versatile tool, that besides being useful in large sizes, can be used in small sizes as well. And more importantly, its general concept is more profitable when its members are mixed to nest headings, subheadings and short paragraphs, designed according to size, position, color and location in logos, covers, posters, ads and flyers.

The Getty-Dubay® family of fonts has been 500 years in the making — so that you can make your handwriting worksheets in seconds. These fonts are modern descendants of the chancery handwriting style (now called “Italic”) from the Italian Renaissance, when master scribes designed a fluid and graceful hand, inspired by the proportions of the golden rectangle and Roman capitals. The Italic style has been in constant use since then. In modern times, it has been celebrated by Alfred Fairbank, Lloyd Reynolds and many others including authors Barbara Getty and Inga Dubay in their Getty-Dubay® Italic method. The Getty-Dubay® monoline handwriting fonts provide a replete resource to effectively model the highly-legible and beautiful Italic handwriting style. These are the official fonts of Getty-Dubay® Italic. Download the Getty-Dubay® Font Guide for everything you need to know about the Getty-Dubay® fonts. The Getty-Dubay® Joined fonts produce a clean cursive handwriting with join-as-you-type ease. Four join options are included: Standard, Pointed (altered joins into m, n and r), e k (utilizing the two-stroke e and one-stroke k), and Beginning (easiest joins only). The Getty-Dubay® Basic fonts provide sans-sarif clarity suitable for young writers. The Getty-Dubay® Precursive fonts add serifs to the lowercase letters, while retaining the pure Roman capitals of Basic Italic. The Getty-Dubay® Smallcaps fonts make mixed capitals easy to use. All Getty-Dubay® fonts come with scaffolds such as dashed contours, ruled lines, directional arrow and starting dots (for Basic and Smallcaps). They support multiple Latin-based languages from around the world. Getty-Dubay® is a registered trademark in the United States.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

To Rafaella, a menina dos cachos. We, designers, have grown accustomed to seeing that lowercase letters—not only in calligraphy but also in typography (1)—may be very playful and decorative. Almost every part of them can become a potential swash, ligature or decorative accolade (2) if the designer has some expertise regarding this matter. However, since we are living in an era that elevates the status of handcrafts, lettering has gained a lot of ground in different kinds of mediums, and with it there’s a sort of overuse of capitals. This may be due to the reason that lettering pieces need a high impact to convey their messages and many times why big capitals are the only solution. With this in mind, I started Rafaella: A font consisting entirely of capitals which go from unadorned to very decorative. Rafaella has ductus and forms vaguely based on the 1970s Bookman-like styled fonts. The presence and behaviour of serifs and ball terminals in this style were the perfect excuse to make really attractive aternates which the user can choose from the glyphs panel. The result is a font full of life. Able to be both very playful and formal due to its roman style which can be combined with (and between) a wide range of other styles of expressive scripts or geometric fonts with nice results (3). Also try Rafaella Shade Solo combined with Rafaella or Rafaella Bold for a layer effect to emphasize any given word or phrase. NOTES (1) See my fonts Erotica from 2013 or Dream from 2014. (2) Accolades is a wonderful word that refers to the ornaments made around the words in the spencerian style of calligraphy (3) Combinations often seen in different pieces of lettering were usually a contrast of style is wanted.

Say hello to 'Orange Flower'!! A bold and beautiful font with a brush and a lot of additions! I am very pleased to present 'Orange Flower' - a versatile and artistic set of handmade fonts with a brush! The font comes with alternative uppercase and lowercase characters. Thanks to the very clear contrast in weight and authentic style made with a brush, 'Orange Flower' is guaranteed to give your text an individual, individual feeling - ideal for logos, printed quotes, invitations, postcards, product packaging, headlines and everything your imagination is capable of, use in ink-based drawings or watercolors or independently in the form of bold handmade inscriptions!! :) The font comes with a lot of great features to keep you busy :) Each character has its own alternative version, which allows you to create unique words and layouts. There is also a second font brush 'Orange Flower Brush', which contains brush strokes, underscores and brush splashes. This gives you the opportunity to create an artistic image of your text, which will give your design a sloppy realistic look :) Both fonts have a large selection of characters, including ligatures. 'Orange Flower' includes ligatures and stylistic alternatives for those who have software with opentype support (for example, Photoshop/Illustrator). I really hope you enjoy it, and please feel free to write me a message if you have any questions or concerns! :) Font Features: - A-Z; a-z character set; - 1 language (English); - numbers and punctuation marks, symbols. Fonts can be opened and used in any software that can read standard fonts, even in MS Word. No special software is required to get started. It is recommended to use it in Adobe Illustrator or Adobe Photoshop. Made with love and magic ♡ Thank you for reading it, and do not hesitate to send me a message if you have any questions! ~ Anastasia

The Typist Code SansSerif is part of a big family, the Typist Family. The family consists of a monospaced, a Slab Serif and a SansSerif version. The idea behind this family originated from the research into the design of typewriter typestyles, which is also the reason why the monospaced version was released first. Since it was decided from the start to make a SlabSerif and a SansSerif version of these monospaced fonts, it was also a logical consequence that the proportional variants also became available in these versions. The monospaced SansSerif fonts have been given the name 'Code' since they are designed to be used while writing code for a software program, for example. The proportional variants with each 6 weights of the Typist Slab Serif and Code (SansSerif) are now available. Although the name may seem a bit strange, it is a logical consequence from the monospaced variant. The SansSerif variant therefore has Typist Code Prop, written in full the Typist Code Proportional. After all, who wants to be bothered with long font names in their font menu. The entire Typist family is designed as a font for use in editorial and publishing publications. A lot of attention has been paid to the spacing and kerning of the fonts. Due to the many variants and weights, this font is versatile. Typist Font Family was designed by Nicolien van der Keur and published by vanderKeur design. Typist Slab Prop and Typist Code Prop contains each 6 styles (Thin, Light, Regular, Medium, Semi-Bold and Bold, each weight also designed as a true italic) and has family package options. The links to the monospaced version of The Typist are here: https://www.myfonts.com/collections/typistslabfont-vanderkeur https://www.myfonts.com/collections/typist-code-font-vanderkeur

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Terfens Gothic is the perfect choice for your next project! With its medium contrast and approachable design, this calligraphic sans serif has a classic feel that will never go out of style. Terfens Gothic is the perfect typeface for anyone looking to add a touch of uniqueness to their designs. With its generous x-height and rounded terminals, it's perfect for creating one-of-a-kind designs that are sure to impress. Its large x-height gives it a welcoming, but not too casual vibe. With forty-eight different typefaces, it has the versatility and aesthetic options you need to make your project stand out. Choose from regular, condensed, and extended styles, each with nine different weights and italics. Terfens Gothic has the look you need to make a powerful impression. Terfens is the ideal typeface for any project that has to stand out, thanks to its towering verticality. Terfens may be utilized for a variety of purposes because of its adaptable design. Terfens is a sans unlike any other- it starts with a beautiful calligraphic chancery script and then adds movement and personality. This sans is guaranteed to make your next project more exciting! The Terfens Type System's third typeface, Terfens Gothic, is an amazing addition to any type collection. The Terfens Type System's adaptability is unrivaled, with its vast choice of styles, widths, and weights. This font family has everything you need to create unique, customized designs that will suit your individual needs. Whether you need a narrow or wide font, or a hairline or bold weight, the Terfens Type System has you covered! And, with its Opentype features, the Terfens Type System is perfect for anyone who wants to add a personal touch to their projects.

It started in 2007 with Chennai, the first of a three-part series of sans that I envisioned with slab serif counterparts. Each font would differ from the others in how the stem terminals were expressed. The initial font was extremely well received, and a revitalized and remastered Chennai made its appearance two years later, complete with new weights and new, novel OpenType features. Then came Madurai, a variation of Chennai based on the same core, only without the rounded stems. Chennai’s rounded stems made it distinctive and great for headlines but left it lacking appeal as copy--a problem that Madurai easily solved. And now comes Sangli, the final iteration of my original 2007 vision. Sangli is a happy medium. Like Chennai, it’s great for headlines--but not too distinct for copy. Sangli keeps the same core structure as the other two, but new less sharp forms give this latest font a friendlier look that’s more versatile than the original Chennai and less formal than Madurai. The font includes a whole range of six weights from light to black, along with condensed and extended options as well for a total of 54 fonts. There are plenty of OpenType features, including small caps. Alternates include normalized capitals and lowercase letters that include stems for when you want a more traditional look or when you’re writing copy. Sangli also supports over 70 languages that use the extended Latin script. Use Chennai, Madurai, and their slab serif variants interchangeably with Sangli, too, for even more options in your work. All three complement one another well. So when you need a balanced font that stands boldly on the page and commands your reader’s attention, look within and find your Sangli.

Lapis was Jim Rimmer's venture into a territory he'd earlier explored with his Lancelot and Fellowship faces. This time he stayed much longer, dug pretty deep, and had plenty of fun in there. The end result is the kind of mosaic of influences only a guy like Jim could consider, gather, manage and apply in a way that ultimately makes sense and works as a type family. On the surface Lapis seems like something that can be billed as what Jim would have called an "advertising text face". But under the hood, it's a whole other story. On top of the calligraphic, nib-driven base Jim usually employed in his faces, Lapis shows plenty of typographic traits from a variety of genres, from Egyptian to Latin, from blackletter angularity to Dutch-like curvature, with an overall tension even reminiscent of wood type. There are some Goudy-informed shapes that somehow fit comfortably within all this. Then it's all strung together with a mix of wedged, tapered and leaning serifs, placed with precision to reveal expert spontaneity and a great command of guiding the forms through counterspace. In the fall of 2013, the Lapis fonts were scrutinized and remastered into versatile performers for sizes large and small. The three weights and their italic counterparts have been refined and expanded across the board to include small caps, alternates, ligatures, ordinals, case-sensitive forms, six kinds of figures, automatic fractions, and a character set that covers an extended range of Latin languages. Each of the Lapis Pro fonts contains over 760 glyphs. For more details on the fonts' features, text and display specimens and print tests, consult the Lapis Pro PDF availabe in the Gallery section of this page. 20% of Lapis Pro's revenues will be donated to the Canada Type Scholarship Fund, supporting higher typography education in Canada.

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

Monotype Imaging is pleased to present David Hadash (New" David), the full family of typefaces by Ismar David, in its intended authentic form. The Estate of Ismar David has sought to revive this jewel of Twentieth-Century design by granting an exclusive license to Monotype Imaging to implement it in industry-standard format. Never before has the typeface in its full set of sub-styles been made available to the design community. David Hadash consists of three style families, Formal, Script, and Sans. Each of these appears in three weigths: regular, medium, and bold. Originally devised as a companion to the upright Formal style, the Script style has a beauty and grace all its own that allows it to be used for full-page settings also. While it is forward-leaning and dynamic, it does not match any of the existing cursive styles of Hebrew script. Ismar David created an eminently readable hybrid style which is like no other by inclining the forms of the upright while blending in some features of Rashi style softened with gentle curves. One can say that the Script style is the first truly italic, not just oblique, typeface for Hebrew script. Although the proportions of the Sans style are very similar to those of the Formal style, its visual impression is stunningly different. If the Formal style is believably written with a broad-point pen, the Sans is chiseled in stone. Rounded angles turn angular and stark. The end result is an informal style that evokes both ancient and contemporary impressions. David Hadash (Modern) supports the writing conventions of Modern Hebrew (including fully vocalized text) in addition to Yiddish and Ladino. David Hadash Biblical is a version of the Formal style that supports all the complexities of Biblical Hebrew, including vocalization and cantillation marks. "

“Corinthiago” feels equally charming and elegant. This stunning handwritten font is a stylish homage to classic calligraphy. It features a varying baseline, smooth lines, gorgeous glyphs and stunning alternates Alternates to help enrich your designs: 1. Titling (titl) alternates, are accents for initial letters. is the first stroke that is long and and slightly curved according to the letters, both lowercase and uppercase. 2. Swash (swsh) alternates, is an accent at the end of a letter, is an additional stroke to end writing. 3. Stylistic alternate (Salt), is an alternative glyph to add style emphasis. 4. Stylistic set (SS), some additional glyphs for design alternatives. If you use a combination of two lowercase with a combination of tilt and swsh it will produce a harmonic letter that you can use for a logo, no problem also for a logo consisting of more than two letters, all you have to make sure is starts with a titl and ends with swsh. All glyph alternates (titl, swsh, Salt and SS) are also supported by multiple languages. Another OpenType that is also very important is Ligature (league), this font consists of 51 Ligatures including: Abe, Ade, Ale, Ab, Ad, Af, Aj, Ak, Al, Am, An, Ao, Ap, As, Ax, Ay, Az, aa, ar, be, cc, da, de, di, do, du, dy, ee, er, ii, ir, is, le, ll, lt, om, on, oo, op, or, ov, ow, ox, oy, oz, ss, st, th, tl, tt, ur and uu. We continue to see the possibility to update ligatures in the future. This font is the right choice for a modern design, can be applied to invitations, writing messages in the form of quotes, book and magazine covers, and of course for your brand logo text.

Unconventional beauty FS Kim is bold and intriguing – exuberant and unmissable, but playing a supporting role when needed. This typeface shines brightest as a display font, and is perfect for applications across fashion, theatre, cultural projects and pretty much any brand that wants to make a statement. While FS Kim is dramatic, it’s incredibly versatile, too, and works to showcase content in a stylish, striking way. This font makes you look, and makes you curious – perfect for brands and publishers that relish unconventional beauty. A playful text version While FS Kim’s text version is more constrained than the display, the strength and playfulness remain. Modifications for the text version include larger x-heights, longer ascenders and descenders, wider proportions and spacing, longer and more defined serifs and a lower contrast. “The overall idea is that it’s not an optical size,” Radoeva explains. Text and display maintain a strong connection that mean they can be used together. A display with a twist The calligraphic starting point helped to create familiar forms, while a contemporary display feel is achieved through short wedge serifs, with bold touches added through the font’s exaggerated forms and details. FS Kim’s narrow proportions, short ascenders and descenders, and tighter spacing make the font suitably compact for display use. The overall aesthetic feels bold and sharp, but closer inspection reveals that all the corners are softened. Decorative inlines In an unusual twist, FS Kim’s display version was first drawn using a broad-nib pen to create familiar forms and elegance while still breaking from serif traditions and making it all about standout character. There are also two additional styles, based on the Regular and Black with inlines – in uppercase, figures and symbols. The inline brings an extra option for an even stronger, more decorative display use.

Imagine being printer in the early nineteenth century, your stock isn’t the finest, your lead characters are worn out: Voilá Kandidat Rough. But wait, Kandidat isn’t the usual scan-an-old-book,-put-the-glyphs-in-a-font-and-you’re-done-font. Kandidat Rough has a variety of whopping 14 alternates for most characters. Our algorithm changes the letters automatically. All you have to do is turn on Contextual Alternates in your layout app. The algorithm is the best we’ve seen so far, and it’s so good that even same words appear in different forms. And should by coincidence words have the same glyphs, just assign a different Style Set to the first letter, and all other letters in the word will change as well (well, it depends a bit on your software). The mechanism isn’t perfect and maybe we stretched OpenType capabilities a bit over the top, but we yet haven’t seen any better routine for switching letters on the fly. Is it worth to mention that Kandidat Rough not only speaks English, but also German, French, Spanish, Dutch, Danish, Norwegian, Swedish, Croatian, Turkish and most likely some other languages? Maybe. To be sure whether your language is supported, this is the typeset of all letters: ABCDEFGHIJKLMNOPQRSTUVWXYZÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑÒÓÔÕÖØÙÚÛÜÝĆČĐĞ݌ފŸŽ abcdefghijklmnopqrstuvwxyzàáâãäåæçèéêëìíîïñòóôõöøùúûüýÿćčđğıœşšž Apart from that we also included the following punctuation and currency symbols: !"#$%&'()*+,-./:;?@[\]_{|}¡©«®°±¶·»¿×–—‘’‚“”„†•…‹›⁄≠☞ €¢$£¥ This sums up to nearly 3000 glyphs per font, and we have three of them: Regular, Italic and Bold. All neatly kerned. All in all a great repertoire for even the most demanding book or advert jobs with a look of old times. And now imagine you are sick of the rugged print experience Kandidat Rough delivers: go for Kandidat. This is our Scotch-ish ancestor the Rough version was made from. A sturdy, friendly, round, warm friend from the beginning of the nineteenth century. A bit dark, maybe. You will like it. Kandidat has the aforementioned type set plus complete Baltics, Eastern Europe and Cyrillic. Plus a couple of gimmicks like fleurons, stars, circled numbers, arrows, and, and, and… Kandidat Regular additionally has small caps for Latin based scripts (not Cyrillic). The spick and span Kandidat font set also consists of Regular, Italic and Bold cuts. The bold cut is on the very bold side and can nicely be used for headings, whereas Italic is a great companion for Regular. It took us some time and trouble to finish this project, but after all we are very proud of our little feat and hope you will enjoy Kandidat as much as we do. Enjoy!

Squalo, the genesis The idea of this project called Squalo popped into my mind while I was working with excitement on some sketches. I was chasing after a strong typographical character, something that for me has to be crystallized in form which is always legible and functional. The concept The concept of Squalo arises from the observation of an athlete’s body: you notice that even if most are lean, they are also strong, cut and chiselled. The sport they play molds and modify their bodies.  Just think, for instance, on a professional swimmer: during the competition every single muscle, tendon, tissue, cell is working to swim faster. Every single part is there to give strength and speed like in a “squalo” (shark in italian). Not as an eel, nor as a mermaid, nor as a hake. Just like a shark. If you take a quick look, you will notice that the width of the typeface is slightly more condensed than that of a standard sans serif. We designed Squalo this way specifically to assist and strengthen your concepts through stylized typography. We designed the joins and terminals (tip ends) of the characters A, V, W, Z, v, w, z, to create a feeling of “tension”, reinforcing the concept of shark, danger, caution, as well explicit, intentional movement. Pure strength. We wanted to recall the exact moment of the start of the 100 meters race: when the sprinter initially spreads all of his powerful energy. The italic version, starting with the former two typographical concepts of width and tension, emphasizes them. First of all, we compressed the characters 10 percent more, and slanted it 10 degrees to the right. With this movement I intended to convey the gorgeous feeling of tension in power and rapidity. The typeface has 9 weights, from “hair” to “black”, and two versions, “regular” and “italic”.  All 18 fonts include small caps, unicase, tabular and oldstyle numbers, numerators and denominators, and much more. Squalo is an ideal typeface that I recommend for use in marketing campaigns, design of packaging, magazines, branding for tv programs, films, book texts, editorial, publications, logos, corporate projects, web texts, and graphic design in motion. Squalo supports the following 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, Hotcąk (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, Māori, 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

AwanZaman has a three-phase story, beginning with Dr Mamoun Sakkal’s two Arabic styles and culminating with Juliet Shen’s Latin extension. AwanZaman started as simply Awan, a commission for a modern, clean, monoline typeface for writing headlines and story titles in a forward-thinking Kuwaiti newspaper. Awan was based on the geometric forms of Kufic script, while in phase two, a second typeface (Zaman) was designed to add enough calligraphic Naskh details to make it easy to read in demanding newspaper settings. Together these two phases give the typeface a warm, familiar, and progressive look, as well as an explanatory two-part name — AwanZaman. Since most editorials use typical Naskh headline fonts with an exaggerated baseline, Awan’s rational forms immediately distinguish it as a modern and progressive voice in the crowded field of Arabic editorial typefaces. As the companion Arabic typeface, Zaman has the same basic proportions and forms as Awan, but with many cursive, energetic, and playful details. And since modern monoline fonts are increasingly being used to set extended texts, more features were borrowed from Naskh calligraphy to expand the typeface’s use from headlines into text setting. When using the AwanZaman Arabic family, Awan (geometric Kufic forms) is the starting point. To add the sweeping, energetic personality of Zaman (calligraphic Naskh forms), simply activate an alternate character through the option of 20 stylistic sets available in any OpenType-savvy software. The two typefaces function as one file — the AwanZaman Arabic family — allowing users to combine features from both designs to transform the appearance of text from geometric and formal to playful and informal. The third phase of AwanZaman’s development introduced a companion Latin typeface designed by Juliet Shen to fulfil the persistent need in the Arabic fonts market for modern and geometric bilingual type families. Due to the Arabic’s monolinear strokes, AwanZaman Latin was destined to be a sans serif with a tall x-height, larger counters, and corresponding stem thickness to harmonise with the Arabic’s overall text colour and page presence. But it needed much more. One of AwanZaman’s chief assets is making the two languages look on a par when typeset side by side. Arabic and English readers will have a different sense of what that entails, but this type family defers to the Arabic — graceful and artistic with a good mix of straight stems and curved forms. Latin in general doesn’t aesthetically flow the way Arabic does, yet the tone of the Latin needed to mirror both the Arabic’s more squarish curves and formal personality of Awan and the undulating and more playful shapes of Zaman without looking outlandish. That need was met by creating some novel Latin characters, which are accessed through four stylistic sets the same way as AwanZaman Arabic. The alternates are not just clever in the way they look and how they echo the Arabic aesthetic, but also in harmonising the disparate languages and serving designers well when needing a balanced, bilingual text face with a warm and lively voice. AwanZaman is a clever, seven-weight powerhouse that makes extensive use of OpenType’s stylistic sets (20 in the Arabic and four in the Latin) so writers and designers can make the most of everything from a single glyph in display sizes down to dense text in paragraphs. As AwanZaman Arabic has no italic, neither does the Latin; contextual distinction normally handled by italics is achieved by exploiting the family’s seven weights. AwanZaman’s intricate OpenType programming supports Persian and Urdu, with features such as the returning tail of Barri Yeh treated properly. From its inception in geometry to its melding of two worlds with novel forms, AwanZaman is a personal labor by designers Dr Mamoun Sakkal and Juliet Shen, and embodies the TypeTogether ideals of serving the global community with innovative and stylish typeface solutions. The complete AwanZaman Arabic and Latin families, along with our entire catalogue, have been optimised for today’s varied screen uses.

Aldero™ strives to be as useful to any design environment as Alder trees are to the forest. Wildlife and insects feed on Alder leaves and seeds. The tree also provides shelter for animals in winter while its shades keep streams from getting too hot in summer. The trunks and branches are excellent habitats for lichens and mosses. The nitrogen-rich leaves help fertilize the soil where they landed. Alder’s utilitarian nature inspires us to create Aldero™, a handy, versatile, go-to type family for all professional designers. To achieve what we set out to do, we gave Aldero™ the two-in-one looks, doubled the sets of ligatures, and loaded it with plenty more of Opentype features. We put in long hours, months after months, until we are proud of the outcome. And we truly believe that you will enjoy working with this typeface as much as we do. With five weights, ten styles, and 1,100+ glyphs per style, this versatile typeface comes with virtually two looks. The standard glyph set is perfect for formal, corporate design, while the stylistic alternate set elicits a fun, friendly, and casual feel. You can use each style separately or mix and match them to achieve your design aesthetic. Thanks to these options, a wide range of design possibilities are at your fingertips. In addition to the two large sets of ligatures (for both the standard and the stylistic glyph sets), we also pack tons of Opentype features into Aldero™ to improve your user experience while working with this typeface. To activate the case-sensitive features, for example, highlight the phrase with the type tool, then hit the “All Caps” button; or select each mark, punctuations, or symbols with the type tool, then choose the case-sensitive option from the Opentype popup window. Hope you enjoy working with Aldero™ as much as we do! To find out more about Aldero™ Opentype features and type specimen, please visit https://r9typedesign.com/aldero-features

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.

Maclean's is a weekly Canadian newsmagazine with a broad editorial mission. A typical issue covers everything from violence on the other side of the globe to the largest pumpkin grown in a local county. In 2001, Maclean's invited Rod McDonald to become part of the design team to renovate" the 96-year-old publication. The magazine wanted to offer its readers a typographic voice that was professional, clean, and easy to read. Above all, the typeface had to be able to speak about the hundreds of unrelated subjects addressed in each issue while remaining believable and uncontrived. A tall order, perhaps? Now add in that this would be the first text typeface ever commissioned by a Canadian magazine. McDonald, who some have called Canada's unofficial "typographer laureate," took on the challenge. McDonald used two historic models as the basis for Laurentian's design: the work of French type designer Claude Garamond, and that of the English printer and type founder, William Caslon. From Garamond Laurentian acquired its humanist axis, crisp serifs and terminals that mimic pen strokes. Caslon's letters are less humanistic, with a more marked contrast in stroke weight and serifs that appear constructed rather than drawn. These traits also made their mark on Laurentian. Using these two designs as a foundation, McDonald drew Laurentian with the narrow text columns and small type sizes of magazine composition in mind. He gave his letters strong vertical strokes and sturdy serifs, a robust x-height and a slightly compressed character width A tall order, per McDonald's genius is evident in the face's legibility, quiet liveliness and in the openness of the letters. The result is a typeface that not only met Maclean's demanding design brief, but also provides exceptional service in a wide variety of other applications. Laurentian is available in three weights of Regular, Semi Bold and Bold, with complementary italics for the Regular and Semi Bold, and a suite of titling caps."

CONCEPT/ CHARACTERISTICS A display font that allows you to »Kleckern und Klotzen« (modified German proverb »to not take half-measures«) The fat and square character to the font, a bold and loud statement. The motto is square, practical, fat. The font styles ranging from high-contrast line difference "beanpole" over mediocrity "slim" to the fattest and blackest "okay" style. A font with humor ^^ APPLICATION AREA The modern, square lightweight »Fat Wear Shirt« would be happy as a display typeface in headline size on the following areas and would find this very real bold: Edi­to­rial Design (Maga­zine or Fan­zine) or Web­de­sign (Head­line Web­font for your web­site), party flyer, movie pos­ter, music pos­ter, clothing, fashion, t-shirts, music covers or web­ban­ner. And and and… TECHNICAL SPECIFICATIONS Head­line Font | Dis­play Font | Fat Techno Font »Wear Fat Shirt« Open­Type Font (Mac + Win) with 3 styles (okay, slim, beanpole) & 268 gly­phs. Alter­na­tive let­ters and liga­tures (with accents & €) Desk­top Font (.otf) + Web Font (.svg, .eot, .woff) KONZEPT/BESONDERHEITEN Eine Display-Schrift bei der Kleckern und Klotzen erlaubt ist! (Verändertes deutsches Sprichwort »nicht kleckern sondern klotzen«) Der fette und eckige Charakter verleihen der Schrift eine plakative und laute Aussage. Das Motto lautet quadratisch, praktisch, fett. Die Schriftschnitte reichen von kontrastreichen Linienunterschied »beanpole«, über mittelmaß »slim« bis zum fettesten und schwärzesten »okay« Style. Eine Schrift mit Humor ^^ EINSATZGEBIETE Das moderne, quadratische Leichtgewicht »Wear Fat Shirt«, würde sich als Aus­zeich­nungs­schrift in Head­line­größe über fol­gende Ein­satz­ge­biete sehr freuen und fände dies echt fett: Logos/Wortmarken aller Art, Flyer für fast jede Party, Plat­ten ­Co­ver, CD-Cover und Icon Design, Pla­kat­ De­sign, Kleidung, T-Shirts, Comics und Gra­phic­no­vels, Game– und Video­spiel Design aller Gen­res, als Head­line­schrift für print und digi­tale Maga­zine, Bücher und Web­sei­ten u.v.m. TECHNISCHE INFORMATIONEN Head­line Font | Dis­play Font | Fat Techno Font »Wear Fat Shirt« Open­Type Font (Mac + Win) mit 3 Schrift­schnit­ten (okay, slim, beanpole) & 268 Gly­phen. Inkl. dia­kri­ti­sches Zei­chen, alter­na­tive Buch­sta­ben, Liga­tu­ren & €. Desk­top Font (.otf) + Web Font (.svg, .eot, .woff)

Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

What's Included : • Ligatures • Works for PC and Mac • Simple installation • 7 styles: 1 undistressed, 6 distressed • 500+ glyphs in each type • More than 75 languages are supported, including extended Latin. • Each style includes 12 OpenType features, including stylistic alternatives, ligatures, old-fashioned figures, and other helpful elements. • Two different swash ending varieties. • Non connected forms • All connected forms, including caps • Randomly selected character forms for organic looking textures. Sophima exudes languorous luxury. The writing glides around, changing elevation above and below the standard x-height, giving it a lively and raucous vibe. Sophima is designed for 3D printing. I required a contemporary script with technical elements that could be printed using a 3D printer. This necessitates the use of quite thick linking characters. Another result of this technology was the need that all letters, including caps, be linked. Such letters are included in optional Opentype style sets. The unusual technological limitation gave the design a new and distinct vibe. Sophima may be used for a variety of purposes, including headlines, weddings, social media, logos, posters, packaging, T-shirts, coffee shops, restaurants, magazine headers, signage, gift/post cards, cafés, and weddings. Designers have a plethora of alternatives from which to pick, giving them greater variety, power, and creative flexibility. Automatic ligatures for best character connections are supplied, as are alternate ending characters that appear at the end of words that lack connectors or have lengthy swash endings. Sophima is made up of five fonts: one standard and five texture variants that change the tone of the typeface. Each design has 500 characters and is available in more than 75 languages. The typeface has 15 OpenType features, such as stylistic alternates that change the look of characters, ligatures, and more. Constraints and a desire to solve challenges breed the finest creativity. And there's no question that Sophima came up with a solution to the situation. Now use Sophima to create your own designs.

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.