Mono-Spec is a monospaced family of sans-serif type. At least in default settings, all characters across the typeface share a common width. That fixed setting is condensed, and the aesthetic style of Mono-Spec’s letterforms is very industrial. A sister family, called Mono-Spec Stencil, is also available. Its design strays away from the mechanical nature of Mono-Spec, and it channels the spirit of resistance and street culture. Mono-Spec ships in two different formats. Depending on your preference, you can install the typeface as a single Variable Font or use the family’s five static OpenType font files instead. Those weights run from Light through Bold. While the static-format fonts offer a good intermediary-step selection, users who install the Variable Font have vastly greater control over their text’s stroke width. The Mono-Spec Variable Font’s weight axis allows users to differentiate between almost 1,000 possible font weights. That enables you to fine-tune your text’s exact appearance on-screen or in print. Whatever format you choose, the Mono-Spec fonts are equipped with several OpenType features. The most striking of these can be activated via a Stylistic Set. That will replace several letters – like “B”, “E”, “F”, “H”, and “I” with double-width alternates. Those alternates take up as much space as two characters placed next to each other otherwise word. The effect of Mono-Spec’s double-width alternates is striking, and their use strikes a strong chord in any display typography applying them.

Typefaces, like most other works of art, provide a small window into the personalities and sensibilities of the artists who create them. ITC Panache not only provides this window, it is also aptly named. Mr. Edward Benguiat the dreator of ITC Panache, has all the dash, verve (and panache) hinted at in the design, Creative, capable and prolific, Ed Benguiat has drawn hundreds of exciting and popular typeface designs. Benguiat's design goal was to create a sans serif typestyle that is versatile, utilitarian - and distinctive. We think he has succeeded admirably. ITC Panache's three weights mix exceptionally well to complement each other or provide emphasis where necessary. Extensive testing at text sizes and design fine-tuning has produced a typeface family which is remarkably homogenous and consistent in color. Text set in ITC Panache is inviting without dissapointment. It is exceptionally easy to read, even in long text blocks of copy or small point sizes. When set in larger sizes or used for headlines, ITC Panache's character traits becomes more apparent and pronounced to the reader. They help to create graphics with distinction and style. Big or small. a little or a lot. it's hard not to use ITC Panache well. If you could pigeonhole ITC Panache, it would probably be classified as a stressed sans", but this would not completely describe, or do justiceto, the design. There is a slight contrast in stroke weight, which becomes more pronounced as the familiy weight increases; but there is a more to distinguish ITC Panache from ather sans serifs. Perhaps most obvious is its high waist and correspondingly slight condensation of the top half of the "round" capitals. Both of these traits link ITC Panache with the sensuous forms of art nouveau creations. In contrast are the typicall old style "e" found in designs like Cloister and ITC Berkeley Old Style, and the two storied "g" common to the early 20th century sans serif designs. The capital "A" even has the cupped top found in Caslon designs. Part of the beauty of ITC Panache is that all of these seemingly unrelated desig traits are melded into a design of exceptional continuity."

SIAS opens a new chapter in Irish vernacular typography: the Andron-2-Irish font family. The genes of the insular typographic heritage have been blended with the timeless classical style of the versatile Andron series. Whereas most Irish-style fonts available more or less stick to ancient designs, Andron-2-EIR is different: it’s an entirely new design in which Irishness meets the beauty of a matured Venetian Roman text face. Envision a new horizon for setting Irish text in its own visual mode! Now you can utilize Italics, Semibold and Small capitals for Irish just as you have been doing in other languages for a long time. But the icing on the cake is the fifth font: Andron Irish Middlecase honours the rich medieval tradition of Ireland by a special uncial-style glyph set. It corresponds to the Andron MC series. Last but not least the Irish type connoisseur will relish this font package for it’s unique utilization of Opentype functionality. In Opentype-aware applications, by just ticking a box you can switch to the special insular forms of s and r. By ticking another box you can transform the text from modern-day orthography to the traditional spelling with lenited consonants. This built-in intelligence has never been implemented in any Irish font before. Briefly, the Opentype substitution features are: [Ligatures] – default basic f-ligatures; [Descretionary Ligatures] – more ligatures for typographic reason, mainly t- and long-s-combinations; [Style set 1] – turns all lowercase r and s into their insular glyph variants; [Style set 2] – replaces all consonant-h digraphs by dotted consonants (ḃċḋḟġṁṗṡẛṫ, ḂĊḊḞĠṀṖṠṪ), works for lowercase, uppercase and upper-lowercase alike; [Style set 3] – provides another range of additional special ligatures (for Regular and Italic only); [Oldstyle figures] – turns the default lining figures into proportional oldstyle figures. Andron Irish will also perfectly combine with every other Andron product in mixed settings. For an overview please go to the SIAS main page. For a quick reference go to Andron Latin, Andron Greek, Andron English or Andron MC. For more wonderful new Irish fonts look at Hibernica and Ardagh!

Arabetics Symphony is a Sans Serif Latin typeface with a comprehensive support for the Arabetic scripts, including Quranic texts. It is designed with a uniform glyph thickness and weight throughout, using a combination of simplified and clear open lines and curves and plenty of spikes and visual hints to compensate for the missing Latin serifs or traditional cursive Arabic calligraphic influence. This type family is suitable for both text and display applications. Additional Latin spacing is added to match an overall open-looking Arabic and is further maintained by a careful implementation of a typical Latin font kerning process. The design of this font family, including metrics and dimensions, was intended to make its Latin harmonize with other Arabetics foundry fonts. Arabetics Symphony fully supports MS 1252 Western and 1256 Arabic code pages, in addition to all the transliteration characters required by the ALA-LC Romanization tables. Users can either select an accented character directly or form it by keying the desired combining diacritic mark following an unaccented character. For Arabic, it fully supports Unicode 6.1, and the latest Arabic Supplement and Extended-A Unicode blocks. The Arabic design of this font family follows the Mutamathil Taqlidi design style with connected glyphs, emphasizing vertical strokes to bring added harmony, and utilizing slightly varying x-heights to match that found in Latin. The Mutamathil Taqlidi type style uses one glyph for every basic Arabic Unicode character or letter, as defined by the Unicode Standards, and one additional final form glyph, for each freely-connecting letter of the Arabic cursive text. Arabetics Symphony includes the required Lam-Alif ligatures in addition to all vowel diacritic ligatures. Soft-vowel diacritic marks (harakat) are selectively positioned with most of them appearing on similar high and low levels—top left corner—, to clearly distinguish them from the letters. Tatweel is a zero-width glyph. Keying the “tatweel” key (shft-j) before Alif-Lam-Lam-Ha will display the Allah ligature. Arabetics Symphony includes both Arabic and Arabic-Indic numerals, in addition to generous number of punctuation and mathematical symbols. Available in both OpenType and TrueType formats, it includes two weights, regular and bold, each has normal, Italic, and left-slanted styles.

The Garamond family tree has many branches. There are probably more different typefaces bearing the name Garamond than the name of any other type designer. Not only did the punchcutter Claude Garamond set a standard for elegance and excellence in type founding in 16th-century Paris, but a successor, Jean Jannon, some eighty years later, cut typefaces inspired by Garamond that later came to bear Garamond’s name. Revivals of both designs have been popular and various over the course of the last 100 years. When ATF Garamond was designed in 1917, it was one of the first revivals of a truly classic typeface. Based on Jannon’s types, which had been preserved in the French Imprimerie Nationale as the “caractères de l’Université,” ATF Garamond brought distinctive elegance and liveliness to text type for books and display type for advertising. It was both the inspiration and the model for many of the later “Garamond” revivals, notably Linotype’s very popular Garamond No. 3. ATF Garamond was released ca. 1918, first in Roman and Italic, drawn by Morris Fuller Benton, the head of the American Type Founders design department. In 1922, Thomas M. Cleland designed a set of swash italics and ornaments for the typeface. The Bold and Bold Italic were released in 1920 and 1923, respectively. The new digital ATF Garamond expands upon this legacy, while bringing back some of the robustness of metal type and letterpress printing that is sometimes lost in digital adaptations. The graceful, almost lacy form of some of the letters is complemented by a solid, sturdy outline that holds up in text even at small sizes. The 18 fonts comprise three optical sizes (Subhead, Text, Micro) and three weights, including a new Medium weight that did not exist in metal. ATF Garamond also includes unusual alternates and swash characters from the original metal typeface. The character of ATF Garamond is lively, reflecting the spirit of the French Renaissance as interpreted in the 1920s. Its Roman has more verve than later old-style faces like Caslon, and its Italic is outright sprightly, yet remarkably readable.

Juan Bruce’s Noort is not a type family for wayfinding or mapmaking alone, but for clarifying information and engaging readers along their own journey. The information designer’s role is to bring clarity and style to overwhelming amounts of information, which fortunately is Noort’s purpose as well. Hierarchies submit to its will and layering colour only adds more presence to its active posture. Noort’s design uses the proven editorial text features of a large x-height, ample spacing, and low contrast to check all the boxes for paragraph text use. But it’s the long serifs, wide characters, and overall typographic presence that make it resilient and ease the task of reading in small point sizes. These details mean Noort is able to demonstrate importance not only with its five pitch-perfect weights, but with its brindled colour within a layout. Noort’s roman and italic styles play off each other by transplanting their design features. The roman style’s serifs are transferred in substance but expectedly increased in speed in the italic styles. And the italic’s inktraps and separated strokes are echoed amidst the roman’s upright structure. Where digitisation could have removed the influence of the hand, Noort retains the analogue nature of its creation. This antiphonal seeding of details creates a cohesive family that is as fascinating as it is functional. Noort’s axis and serifs have a slightly varying ductus — the directional flow that aids reading and character clarity. Its latent obviousness in text sizes immediately becomes its signature style when bumped up to subhead sizes. And since Noort’s counters are so wide and welcoming, its heavier weights can expand more within themselves than along their exterior edges. Noort’s ten total fonts cover the Latin A Extended glyph set to bring its unbordered, globetrotting sensibilities to your projects. OpenType features include ligatures, fractions, and several figure styles, along with mature-rather-than-overbearing swashes. Aligned with TypeTogether’s commitment to produce high-quality type for the global market, the complete Noort family can set digital and printed works with ease, capitalising on the dual needs of clear information and fascinating textual artistry.

Blue Goblet is a series of fonts and ornaments by Cory Godbey and Jeremy Dooley. This best selling series has now been extended to include a new member, Blue Goblet Serif. Blue Goblet Serif comes with a variety of weights and also an outline version. Blue Goblet is hand-lettered by the artist, Cory Godbey, and is organic, spontaneous and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Serif a excellent choice, it also is a member of a wide family of different fonts. You can use it side by side with the original Blue Goblet, and there are a wide range of ornaments available, totaling over 350 illustrations! These illustrations include frames, florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system that works very well together for a very unique and consistent look. The Blue Goblet series continues to grow and be expanded, making it a valuable investment. Blue Goblet Serif also includes auto replacing ligatures that make it appear that the script was drawn by the artists own hand, just for you! Blue Goblet Serif also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 150 OpenType glyphs, and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Serif is great choice for display and short blocks of display text, children's books, packaging, or other unique applications. Fill in the counter spaces with color for a unique look, or alternate the different weights. Use Blue Goblet whenever you want to inject a sense of fun and whimsy to your designs. Give the Blue Goblet series a try today!

Discover Monarqy - The Funky Retro Font with Dynamic Flair Get ready to transport your projects back to the rad era of the 1980s with Monarqy, a font that encapsulates the funky, retro style of the era while adding a contemporary twist. This font will infuse your designs with a vibrant, nostalgic energy that captures the essence of the 80s like no other. Why Monarqy Stands Out: Cool Dynamic Characteristics: Monarqy oozes character with its funky, dynamic design. Each letter exudes a sense of movement and excitement, making it the perfect choice for projects that demand a playful and energetic vibe. Ligatures for That Perfect Flow: Monarqy offers an extensive range of ligatures, ensuring that your text flows seamlessly, delivering a polished and professional appearance. This feature is a game-changer for designers who demand precision in their typography. Rich Character Set: With an impressive repertoire of 610 characters, Monarqy accommodates a wide array of design applications. Whether you're crafting headlines, branding, or body text, you'll find all the characters you need to bring your vision to life. Alternatives for Creative Freedom: Monarqy doesn't hold back when it comes to creative freedom. The font provides alternative characters that let you experiment and find the perfect fit for your design. Customize your text to match your unique style and vision effortlessly. Multilingual Support: Monarqy is your passport to the global design landscape. With comprehensive multilingual support, it effortlessly adapts to various languages and ensures your message resonates across borders. PUA Unicode: Monarqy is PUA (Private Use Area) encoded, allowing you to unlock even more creative potential. Access special characters and ornaments that will set your designs apart from the rest. Monarqy is Perfect for: Retro-themed designs 80s-inspired branding Party invitations and posters Apparel design Album covers Packaging and labels Editorial layouts And so much more! Reignite the spirit of the 80s with Monarqy and let your creativity shine. Whether you're working on a fun project or a professional design, this font will add that extra touch of style and nostalgia. Get your copy of Monarqy today and embark on a typographic journey back to the funky, retro world of the 80s!

For everyone wishing for a modern serif that’s as clear and readable as a sans in restrictive digital environments, meet Portada by Veronika Burian and José Scaglione. Sans serifs are commonly used on small screens to save space and carry a modern tone. Serifs may appear fickle and unsteady, pixel grids change from one product to another, and space is at a premium. Portada now provides a serif option for these restrictive digital environments, putting that old trope to rest. The screen has met its serif match. Portada was created from and for the digital world — from e-ink or harsh grids to Retina capability — making it one of the few serifs of its kind. Portada’s text and titling styles were engineered for superlative performance, making great use of sturdy serifs, wide proportions, ample x-height, clear interior negative space, and its subservient personality. After all, words always take priority in text. It’s not all business, though. Portada’s italics contain an artefact of calligraphy in which the directionality of the instrokes and the returning curves of the outstrokes give the family a little unexpected brio. Yet even the terminals are stopped short of flourished self-absorption to retain their digital clarity. When printed these details are downright comforting. Portada’s titling styles enact slight changes while reducing the individual width of each character and keeping the internal space clear. Titling italics have increased expressiveness across a few characters rather than maxing out the personality in each individual glyph. Digital magazines, newspapers, your favourite novel, and all forms of continuous screen reading benefit from Portada’s features. This family can also cover many of the needs developers have: user interface, showing data intensive apps on screen, even one-word directives and dialogs. And, as a free download, an exhaustive set of dark and light icons is included to maintain Portada’s consistent presence, whether as a word or an image. The complete Portada family (eight text styles, ten titling styles, and one icon set) is designed for extensive, clear screen use — a rare serif on equal footing with a sans.

Protipo helps information designers work smarter. Veronika Burian and José Scaglione’s Protipo type family is an information designer’s toolbox: a low-contrast sans of three text widths with a separate headline family, accompanied by an impressive two-weight icon set, and working with the advanced variable (VAR) font format. From annual reports and wayfinding to front page infographics and poster use, designers consistently turn to the simplicity and starkness of grotesque sans fonts to get their point across. Protipo is made for such environments. When designing information you may start with the headline, which in the case of this family is called Protipo Compact and comes in eight weights. From Hairline to Black, set it large, overlap it, or let it run off the page. Protipo Compact was made to hit hard and attract attention with a different character set and different proportions than the three text fonts. It sets the stage for what’s to come. Great information designers are aces at melding form and function, so we’ve stacked the Protipo family with Narrow, Regular, and Wide versions as a way of organising your information and directing the reader. Each width has seven distinct weights (light to bold) and italics, while maintaining the round-rect shapes of its DNA. Subtle details amplify its place in the typographic universe, like an ‘a’ and ‘e’ that go from solid to supple when italicising, an ‘f’ that gains an italic descender, two versions of the lowercase ‘r’ and ‘l’, and clipped corners on diagonals to keep the tight fit inherent to this kind of design work. Protipo is not meant to be loudmouthed, but stakes its claim through refinement, breadth, and impact. Some changes at first don’t seem substantial, but the Protipo family doesn’t handle text like most in its category. Protipo helps readers find and process data in a clear and unequivocal way and accounts for the complexity involved in rendering large amounts of information while still appealing to aesthetics. Protipo is ideal in all informative situations: apps, infographics, UI, wayfinding, transport, posters, display, and even internet memes. Add to all this the icon sets and upcoming variable font capability, and you’re assured a level of creativity, productivity, and impact on a much greater scale.

Corleone was originally designed as a two font family in 2001 and offered for free. This year we've expanded the font family to twelve fonts including small caps and italics. While the new Corleone has been greatly refined and is a much more professional quality font we've decided to still offer the original two fonts for free. Corleone is the perfect font for t-shirts and other merch, the new small caps make this font stand out and bring attention to whatever you use it on. Corleone is the font you can't refuse. Tech notes: Corleone was designed after a famous movie logo in the 1970's with a title name that sounds a lot like The Grandfather if you know what I mean. The movies had three installments, my original font was patterned after the logo for the third movie, the new Corleone Primo and Secondo versions are patterned after the logos of the first two movies. The differences are noticed mostly in the lowercase letters. One thing you will not find in this font family is the puppeteer or puppet master hand because it's been registered as a separate trademark of Paramount Pictures. If you're using an application that works in layers then you'll be interested in the four extra over score glyphs included in some of the versions of this font. Sorry, MS Word does not work in layers so this feature will not work in MS Word. When you open up the glyph map in Adobe Creative Suite you should see the over score glyphs when you scroll down to the bottom. These extra over score glyphs allow you to extend the top line of a single capital letter, with four different lengths you should be able to mix and match to achieve the length that you desire. When using the over score glyphs it's best to divide your word or headline into separate text objects, the cap being one object and the remaining letters being the second. If you try using the over score glyphs on a single text object then with each over score that you add the text after it will get pushed down the line.

Presentation QuarterBraille (Abbreviated as "QB" thereafter) is a decorative, steganographic and lattice font. Its core design concept is that Braille dots are represented as "quarters of a square"[1]. This is illustrated by posters 1 and 2 (NB: these glyph parts will be called "QB dots" thereafter). The other glyph parts (see poster 3) are purely decorative and meaningless in terms of Braille dots encoding[2]. All glyph parts are meant to generate a wide variety of patterns from horizontal and vertical combinations of glyphs. There is also a graphic convention to differentiate uppercase from lowercase letters with the presence or absence of shape subparts (in the "endings", "quarter of a circle with a ring" and "quarter of a diamond with a small square in the middle") like shown by poster 4. This font is suitable for very short texts (e.g. logos, acronyms, quotes, ambigrams, pangrams, palindromes, etc...) but on the other hand it may be used for steganographic purpose like geocaching as well as fictive alphabets (e.g. Alien/SciFi/Fantasy/Antique civilizations). Posters 1. Font Logo: the displayed text is " Quarter " followed by " Braille". There's a rainbow layer above the text to highlight the "QB dots", this is achieved by A..Z glyphs with "only QB dots" (codes 230..255) 2. Anatomy of a Glyph (L) and "QB Dots" (quarters of a square) 3. Glyphs Parts: Square and Cross (Inverted square), Circle and Inverted Circle (with or without the small circle in the middle), Diamond (with or without the small square in the middle), Inverted Square and Circle, Shape combos, Ending 4. Uppercase vs Lowercase (tiny shape subparts are shown in red) 5. Sample 1: Bathroom sink with QB tiles on the credence 6. Sample 2: Hands knuckle tatoos: "LOVE/HATE"[4] 7. Sample 3: Poker Hand: pocket Aces. It's an Ace of Hearts (Ah) on the left and an Ace of Spades (As) on the right. Like in regular cards, the card value (e.g. Ah) is displayed twice: at the top and rotated by 180 degrees at the bottom. This poster also illustrates that QB could be used to print embossed playing cards with tactile and visual display of card values. 8. Sample 4: Pangram: "Adept quick jog over frozen blue whisky mix" 9. Sample 5: Latin Magic Square: "SATOR AREPO TENET OPERA ROTAS" (NB: for compensation of the 2/3 glyph ratio, letters on each line are separated by a space: "S A T O R", ...). 10. Sample 6: Quote of Mahatma Gandhi: "Learn as if you will live forever, live like you will die tomorrow.". This is also a demonstration of border glyphs combinations. 11. Sample 7: Steganography use case: the text is a sequence of 64 aminoacids (1 Letter notation), this protein was described in a research paper "The complete Aminoacid sequence of an amyloid fibril protein AA of unusual size (64 residues) 1975". 12. Sample 8: Border Glyphs with the provided styles and mixed styles. The words are the same than in poster 9 ("SATOR AREPO TENET OPERA ROTAS"). Despite the 2/3 glyph ratio, the "TENET cross" was achieved by both inserting spaces in horizontally ("T ENE T") and by using the "thin borders glyphs". Notes a. Border glyphs[3] are meant to enhance the esthetics of text samples displayed with QB b. Special characters (e.g. *$()[].,;:&@# ...) are provided and follow the NABCC (North American Braille Computer Code) convention. c. A..Z Glyphs with only the "QB dots" are provided as demonstrated by posters 1 and 2 (A/N: this was very useful to create them). d. Glyph Map: 32..64: Special characters - 161..187: "Thin variant" of Border glyphs, 192..229: Border glyphs, 230..255: A..Z with only the "QB dots" - Codes 176 an 181 are "regular SPACE" (empty glyph). Footnotes 1. There is indeed two shapes which represent the braille dot: the "quarter of a square" and the "quarter of a cross". It's because a cross may be considered as an "inverted square" because the square corners are merged in the center. 2. That's why the SPACE glyph is only made of decorative/meaningless glyph parts (i.e. no "QB dots"). 3. For other fonts with border glyphs, please take a look at my other "decorative Braille fonts" (GoBraille, HexBraille, KernigBraille, StackBraille, MaBraille, DiamondBraille, LorraineBraille). 4. LOVE/HATE knuckle tatoos are inspired by the anthology scene from "The Night of the Hunter" movie (Charles Laughton 1955), it also appearead in "Do The Right Thing" movie (Spike Lee 1989). Disclaimer This font is not appropriate and not meant to print text documents in Braille for the blind readers audience.