A Flare Serif Family to Rule Them All The Husk Family began as a digitization of a film typeface called Maile by LetterGraphics. From there, it has evolved to a much more robust character set than its original reference. With multiple numerals sets, creative discretionary ligatures, as well as Swash Capitals and a few final forms, this gladiator of the type arena cuts through to let your designs shine. See the 5th graphic for a comprehensive character map preview. The Husk Family is loaded with features to give you plenty of customisation options: - Regular, Chiseled, and Inline styles that can be used alone or chromatically layered - A mix of specialized Capital letterforms for Caps & Lowercase standard - A Swash feature for Swash Capitals as E & R final forms. - Stylistic Alternates feature for Lining Numerals, an alternate & and M. - Discretionary Ligatures for a collection of unique ligature arrangements. - A Full set of Inferiors and Superiors for Limitless Fractions - An Oldstyle (default), Tabular, Proportional, and Lining figure sets Approx. 482 Character Glyph Set per font: The Husk Family comes with a glyphset that includes standard & punctuation, international language support, discretionary ligatures, alternate numeral styles, subscript and superscript.

HWT Etta is a fun display typeface that has two styles: East and West! Its two variations ensure you have maximum wood type swagger in every display size that you might want. This fresh design takes a cue from the wild design experimentation that was happening in the heyday of mid 19th Century wood type—but filtered through 1960s photo-type sensibilities and served up for today’s design needs. Etta West is a decorative inline style and the Etta East is a whimsical reverse contrast style. They live together harmoniously, with their own specific flavors. Practically speaking, both styles are intended for display use, so use them big and use them proudly! Set your XXL size titles in West and your L to XL size types in East. As different as they might look at first, both fonts share a common DNA—Don’t be shy about using them together. The HWT Etta font is part of the Hamilton Wood Type and Printing Museum’s Type Legacy Project. In keeping with the project, Etta is named after Etta Shove Hamilton, who was J.E. Hamilton’s wife and the company’s first bookkeeper.

The Modern Times is the most popular font developed by me. It was sold more than any other of font that I created. The earlier version supported Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Georgian languages. Last year, I decided to update it. The new version is called TA Modern Times. Its OpenType features include 1200 glyph, Stylistic Alternates, Stylistic Set 01–12, Standard and Discretionary Ligatures, Numerators, Denominators, Subscript, Superscript, Ordinals, Contextual Alternates and Kerning. Currently, supported languages are as following: Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian, Cyrillic, Greek, Hebrew. Additionally, the font has multiple styles such as Semi Condensed, Condensed, Extra Condensed, Ultra Condensed, Rounded, Inline, Outline, Semi Expanded, Expanded, Extra Expanded, Ultra Expanded. 6 previous versions of the font are FREE. You may download and enjoy it. Latin Plus languages supported 95% Latin Plus diacritics included 88% TA Modern Times OpenType features list: aalt, calt, case, dlig, dnom, frac, kern, liga, locl, numr, ordn, salt, sinf, ss01, ss02, ss03, ss04, ss05, ss06, ss07, ss08, ss09, ss10, ss11, ss12, subs, sups TA Modern Times graphic presentation at Behance

Antonietta is Mauricio Astete Brito's first typeface, which is inspired by the eccentricity of the rococo style and Queen Marie Antoinette's wild personality. This project, supervised by Latinotype Team, was born from the idea of turning lettering into a digital typeface. Antonietta is based on the Copperplate style and inspired by the works of, among others, Hermann Zapf, Ricardo Rousselot and Herb Lubalin. The font comes in the following variants: Antonietta Script, Antonietta Caps, Antonietta Caps Illuminated, Antonietta Caps Shadow, Antonietta Caps Inline and Antonietta Ornaments. Antonietta Script is characterised by a big x-height, condensed proportions, and short ascenders and descenders, which can be modified by using the contextual alternates included in the set. Antonietta Caps, a companion font to the Script, is an all-caps typeface with rational structure and high contrast between thin and thick strokes. Antonietta is a 7-weight typeface well-suited for logotypes, labelling, headlines and short text. The Script variant contains a set of 878 characters that provide a wide range of contextual alternates to fit any project. The typeface also comes with an 'Ornaments' variant, which includes dingbats, borders and catchwords that complement the rest of the fonts.

We love sports – like billions of fans all over the world – but in Argentina, we really love fútbol (soccer). Fútbol is part of our culture: it makes our hearts’ race and our pulses quicken, it inspires screams of joy and screams of anguish, and it has been the cause of more than a few heated conversations amongst friends. So you can imagine our delight when, in recent years, a local team’s fútbol jersey used a Sudtipos font; it got us thinking about designing a font that explicitly had sports in mind yet still had the versatility to work for other types of projects. Sporty has a geometric and modular structure with many potential applications that far exceed jerseys, score boards and stadium wayfinding. Its flexibility is evident when examining its four style – from a square style to a rounded one – as well as the Shadow and Inline options. Each of the styles also comes with a set of miscellaneous shapes including modular banners, plates and arrows. Sporty comes in 3 widths – Condensed, Regular and Expanded – and 7 weights that equate to a total of 39 fonts.

Bonfires is an elegant font in beautiful handwriting styles interconnected to each other to create smooth, continuous flows. The letters are shaped in curvy, smooth pen lines and the low letter contrasts can express smooth nuances. Details of this font are crucial as each curve and connection must look equal and proportional to create visually balanced, solid displays. Furthermore, its smooth, connected texts are able to let readers’ eyes stay warm and comfortable. In addition, you may enjoy the available features here. Features: Ligatures Multilingual Supports PUA Encoded Numerals and Punctuations Bonfires fits best for any design projects requiring casual, personal displays such as greeting cards, merchandise designs, and any casual-related designs. In web designs, this script font is perfectly applicable for blogs and sites to show intimate and personal nuances to the contents. Find out more ways to use this font by taking a look at the font preview. Thanks for purchasing our fonts. Hopefully, you have a great time using our font. Feel free to contact us anytime for further information or when you have trouble with the font. Thanks a lot and happy designing.

Amitale (A-mi-tah'-lay) is the union of Amitale Book and Amitale Wide into a new 8-font book family in my continuing objective of designing a better font family for readability in booklets. My goal here is for a full range of styles from light, regular, bold, and black without the plugged counters and clunky feel of most bold fonts. In my use, personally. I do not use Amitale Book Bold. I use Wide for the bold and Wide-Bold for the black style. In many ways, Amitale is Brinar with bracketed serifs. Many people find Brinar to be an exceptionally readable and beautiful humanist sans. This new serif font family has many of the same characteristics. This is also the debut of my new OpenType features set for 2009. There are more and more ligatures for your fun and enjoyment: bb gg ff fi fl ffi ffl ffy fj ft tt ty Wh Th and more. Like all of my fonts, there are: caps, lowercase, small caps, proportional lining figures, proportional oldstyle figures, & small cap figures, plus numerators, denominators, superiors, inferiors, and a complete set of ordinals 1st through infinity.

Carve is an African font that was inspired by fonts such as Othello and Neuland designed in the mid-1920s. Rather than attempting to re-create these fonts in a digital form as so many others have done, I have tried to capture the “spirit” of the period and emphasize the “woodcarving” style of the font, while simultaneously giving it a contemporary feel. As a result the characters differ markedly any of the original styles and have much less of an “Art Deco” look to them. To further modernize Carve, I have included all the characters required for a full character set (lower case, as well as all punctuation, numerals, diacritics, special characters etc). The result is a thoroughly modern re-interpretation. The numbers (0 to 9) bear no relation to any originals but, I believe, are fully in keeping with the upper and lower alphabetic characters of my font. Carve comes in two styles: --Regular: contemporary, angular African style --Incised: exaggerating the chunky, hand-carved "woodcut" effect. The "in-line" effect has been hand-crafted to avoid the mechanical effect of computer-generated inline effects.

Baker Street was inspired by a recent trip to London, England where I happened upon a bustling pub with beautiful typographic signage. Early sketches created an array of specialized ligatures from which the font really took shape. The family is comprised of regular, italic, inline and a rustic textured style. Baker Street delivers a multitude of Opentype features, primarily including hundreds of discretionary ligatures that connect letter pairs through varying flourishes. These distinct ligatures are used in combinations between two capital letters, two lowercase letters, uppercase to lowercase pairs and specific number combinations. For a number of capital and lowercase letters, large swashes expand above and below the characters. Contextual swashes are also applied to some characters when placed at the beginning or end of a word. Stylistic Alternatives and Titling Alternatives offer distinct style variations to capital letters. Tabular Lining and Oldstyle Figures provide several numerical alternatives. Lastly, the family also includes two sets of ornaments created specially to work with Baker Street’s style. With all that, Baker Street provides each and every user the tools to solve their own case. The game is on!

Aromatron is a friendly yet striking display typeface with a balanced and consistent rhythm. Drawing inspiration from the shapes of nature, unique solutions were employed to achieve a rich, dark, creamy texture. The font is equipped with numerous OpenType features: lining and old-style numerals, automatic fractions, small caps, petite caps, and “medium caps” sized between capitals and small caps, subscript and two sets of superscript characters (one aligned with the ascender and one exceeding it), contextual swash capitals. Petite cap glyphs compose well with regular lowercase and are employed by stylistic sets for a unicase effect or compact typesetting. Aromatron offers support for most Latin-based languages, including: Afrikaans, Aghem, Aja, Akan, Albanian, Alsatian, Asturian, Azeri, Basaa, Breton, Catalan, Central Yambasa, Chinese Pinyin, Croatian, Czech, Dagbani, Danish, Dinka, Duala, Dutch, English, Esperanto, Estonian, Ewe, Ewondo, Finnish, Fon, French, Fula, Gagauz, German, Guarani, Hausa, Hungarian, Icelandic, Igbo, Indonesian, Irish, Italian, Jula, Kabyle, Khoekhoe, Koyra Chiini, Koyraboro Senni, Latin, Latvian, Lingala, Lithuanian, Livonian, Maasai, Maltese, Mapudungun, Marshallese, Mundang, Navajo, Ngiemboon, Ngomba, Northern Sami, Norwegian, Polish, Portuguese, Riffian, Romanian, Scottish Gaelic, Serbian, Shawiya, Shilha, Slovak, Slovenian, Spanish, Swedish, Tagalog, Tlapanec, Turkish, Uzbek, Uzbek (planned reform), Vai, Vietnamese, Walser German, Welsh, West Frisian, Yoruba, Zarma, Zazaki, Zulu. The International Phonetic Alphabet with mark attachment is supported too. A selection of symbols and ornaments completes the vast character set.

Fushar is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin alphabet of European languages, Vietnamese and Pinyin with standard ligatures, digits, punctuation, currencies and other symbols - the total of 555 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic script which is available in Fushar Arabic. The Latin character set is a useful addition and is available in multilingual bundles. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include contextual alternates, standard ligatures, fractions, ordinals, case-sensitive forms, proper mark attachment, superscript (1, 2, 3) & localizations.

A FEW THOUGHTS Indie is a trendy script, result of the wide range of possibilities that can be achieved using a pointed brush. (1) “You Only Live Once” say The Strokes, (to me, symbols of indie music) so, what would represent that sensation of volatility better than a brush? As you may already know, this time inspiration came from hipsters and indies around us: We may sometimes criticise them, we may sometimes want to be like them, but the truth is that the universo gráfico they generated these past years is gigantic, full of colour and variations. (2) Brush lettering and Sign painting are fields I've been fond of since I started as a designer. Nowadays, these styles are getting a lot of attention and maybe it’s due to the undeniable mark of life that is materialised when using a brush. This tool is so expressive that shows the passions and fears of the artist, and materialises that idea of “living the present”, so popular in this era. When you see Indie, you think of skaters, rollers, surfers, hiphop dancers, street artists, summer, and why not? California beaches. So if you feel life is only one, it’s high time you got Indie into your fonts' collection! STYLES Indie comes in 4 styles plus another one which consists only in capitals. Indie; Indie Shade; Indie Shade Solo; Indie Inline are all open-type programmed and have exactly the same glyphs and metrics, so you can combine them without probem. (I.E. You may use Indie Inline, then write the same word using Indie Shade Solo, and finally put them together). In applications such as Adobe Illustrator, the font has nice results when fi ligatures is activated. However, if you want a more casual look, activate the contextual and the decorative ligatures. NOTES 1. After several years of practicing calligraphy I can say that to me, there’s nothing more satisfying than being able to create fonts out of your own handlettering. I owe a lot of this brush-style to Carl Rohrs. He was the very first calligrapher who taught it to me. His style is unique and what he can do with a brush is truly marvelous. I'm serious. 2. In spite of some particular cases, I can say I'm happy to live in a present in which Typography is living a kind of Renaissance along with Lettering. Like it happened with W. Morris a hundred years ago, handcrafts are being revalued/reborn, and some of this may be happening thanks to these indie designers that, trying to be unique, gave new/fresh air to different areas of graphic design.

ITC Motter Corpus was designed by the Austrian type designer Othmar Motter in 1993 to combine the display advantages of a sans serif extra bold design with the legibility of a roman weight. The Motter Corpus is available in the weights regular and condensed regular. The capitals with their strong strokes display slight irregularities and natural looking outlines. When used in very large point sizes the tiny serifs become noticeable. Distinguishing characteristics of this typeface are the unusual design of the g with its upward reaching ear and that of the capital C, whose curve ends in an angular stroke in its upper third. Almost, but not quite, a sans serif, the typeface has diminutive serifs which, along with its modulated weight contrasts, make ITC Motter Corpus remarkable legible in display applications and will give text a nostalgic feel. A similar typeface is Linotype Bariton.

Octagen is a family of 16 condensed Sans Serif fonts of geometric construction and neo-Gothic style with short descenders and a humanistic finish in the curves and auctions of the tiny letters to avoid the coldness of the grotesque typographies, providing expressiveness, energy, warmth and docility , resulting in a friendly typography with a lot of personality and readability, specially drawn for the composition of short and medium texts, signage or headlines where horizontal space saving is needed. The typography has 529 glyphs (Latin Extended-A) with advanced OpenType functions, several number games, a complete set of neutral-style alternative lower case letters and the Bitcoin symbol. For Octagen cursive styles I used a set of lowercase letters without terminal finishes, more neutral than the regular versions, this being compensated by the expressiveness of the italics inclination, thus achieving important morphological, coherent differences within the conceptual development of this typographic family.

The Metalista font was created as a sign of undying admiration for the persistence of heavy metal culture. The angled font of almost fixed width proportions combines capitals with small letters for more variety and better definition of individual letters. Stressing the horizontal strokes subdued the historical Gothic character and emphasized a more modern signature, which is far different from the majority of current attempts at a modern adaptation of Fraktur fonts. We offer Metalista in three styles, or rather widths to be exact: Speed is inspired by the whiplash pace of 70s and 80s speed metal, and can tell and perform a lot even in a very small space; uncompromising Death balances on the fine line between expression and readability; and Metalista Black is the universal go-to, whether as megalomaniacal titles sprawled across the entire LP cover or as tiny texts for glam rock CD booklets.

Every single glyph of Helvetica has been redrawn and redesigned for this expansive new edition – which preserves the typeface's Swiss mantra of clarity, simplicity and neutrality, while updating it for the demands of contemporary design and branding. Helvetica Now comprises 96 fonts, consisting of three distinct optical sizes: Micro, Text and Display, all in two widths. Each one has been carefully tailored to the demands of its size. The larger Display versions are drawn to show off the subtlety of Helvetica and spaced with headlines in mind, while the Text sizes focus on legibility, using robust strokes and comfortably loose spaces. The Micro sizes address an issue Helvetica has long faced – that of being 'micro type challenged'. In the past, the typeface struggled to be legible at tiny sizes because of its compactness and closed apertures. Helvetica Now's Micro designs are simplified and exaggerated to maintain the impression of Helvetica in tiny type, and their spacing is loose, providing remarkable legibility at microscopic sizes and in low-res environments. There's also an extensive set of alternates, which allow designers the opportunity to experiment with and adapt Helvetica's tone of voice. This includes a hooked version of the lowercase l (addressing a common complaint that the capital I and lowercase l are indistinguishable) as well as a rounded G, and a straight-legged R, a single storey a and a lowercase u without a trailing serif. In the past, designers had to nudge, trim and contort the design to create stylish display-type lockups with Helvetica. Helvetica Now Display was designed and spaced with those modifications in mind—saving effort and providing more consistent (and more stylish) results. “Helvetica is the gold standard,' says Monotype Type Director Charles Nix. “To use it is to claim that you are the ultimate expression of whatever your brand aspires to be. Its blankness is its power.” Helvetica Now User Guide PDF. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints

Carefully considered letters written long-hand, sealed in an envelope and sent across continents were once the only connection for distant friends and lovers. Dear Sarah is a type that evokes the emotion of those handwritten messages. Using alternates, ligatures and a complex system for randomization and natural connected characters, Dear Sarah seeks to push the boundaries of digital type. The guiding question that drove the design of Dear Sarah was whether it was possible to create a natural looking script that worked well in running text. Hand-written types often work for two or three words, but as soon you you look at them in a paragraph, their unnatural textures make them feel contrived. As one of the first serious types to explore OpenType for a connected script, Dear Sarah uses a unique system to create natural connections. Often script types rely on one connecting point to make sure that all their characters fit together properly. Characters that naturally connect much higher, such as the ‘o’ or ‘v’ are distorted to connect at the same point as an ‘a’ or a ‘c’. Dear Sarah uses multiple sets of lower-case characters to connect at multiple points, creating a much more natural looking script. OpenType is also used to create variety, by using randomization techniques to insert disconnected characters as well as alternates, ligatures, swashes and ink blots to create a natural rhythm across multiple lines.

Fushar Arabic is a bold comic color font family which comes in 5 layer-styles easy to compose in a multicolor manner and 3 OpenType-SVG color styles to make the work faster and easier. Character set covers Latin A-Z all caps, Arabic, Persian and Urdu with 230 ligatures, European, Arabic and Persian / Urdu localized digits, punctuation, currencies and other symbols - the total of 729 glyphs. The idea came from a custom logotype I made several years ago for a local charity organisation that helps children. The logotype was based on bold letters with light that make the "balloon" effect visible in "Holes" style. Later I expanded the family with "Cuts" and all the derivative fonts that make the whole color family. The purpose was to create a funny, friendly and playful script that would embrace the beauty of the Arabic alphabet. Solid, Cuts and Holes are classic one-color styles which can be used separately to compose a simple text. With Shadows and Lights they can produce a multicolour design, as shown on the images above. To save the time, there are three already prepared combinations in the new OpenType-SVG color format. The features include required ligatures, discretionary ligatures, proper mark attachment, contextual alternates, case-sensitive forms, ordinals, localised Persian/Urdu numerals, superscript (1, 2, 3) & fractions. Now you can buy Extended Latin character set (uppercase and lowercase) at Fushar font family page on MyFonts. European languages, Vietnamese and Pinyin included.

Designed with a hand-chiseled feel, Blau’s sculpted characters add a refined personality to a wide range of brand, corporate, product and service applications. Highlighting the sculpted theme, inkwell treatment variations are prevalent throughout Blau, with several key glyphs that are stenciled for increased legibility. This sturdy, typographic workhorse shines when a slightly unorthodox typographic approach is required — a prime choice for distinctive and dynamic logotype use. The Blau family is available in Light, Light Italic, Regular, Italic, Bold and Bold Italic. The name Blau was chosen to celebrate the color Blue (or Blau in German, Blaauw in Dutch, Bleu French, Blå in Norwegian, Swedish & Danish, Blua in Esperanto, Blár in Icelandic) Blue is nature’s color for water, sky, mountains and glaciers. Blue is embraced as the color of heaven and authority, denim jeans and corporate logos. Surveys in the US and Europe show that blue is the color most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, and cold. In US and European public opinion polls, it is the most popular color, chosen by both men and women as their favorite color. Another very popular Wilton Foundry font in the “blue” family is “Cyan” and “Cyan Neue”.

Metal Cry is a font family that was inspired by countless hours spent playing video games, watching old movies or reading comic books. And even more hours closely analysing the design of all these things. The art of creating beautiful letters has slowly declined with the rise of the digital age and its solid-colour, 2D fonts. And most of the time, the care given to typography in cultural products just isn't what it used to be anymore. This was the inspiration for Metal Cry, a family of 4 layerable fonts that can bring a feeling of depth to its letters, and offers endless possible combinations. Metal Cry Outlands is the basic shape of all the characters, it can be used as the bright side of the bevel. Metal Cry Front is the inline border font that can be used as the front side of the bevel. Metal Cry Shadow can be used as the dark side of the bevel. Metal Cry Depth can be used to flash out the inside shape of the letter. But of course, any font can be combined with any other font(s) to obtain various results. The planets in the above visuals are courtesy of 3D artist Thomas Veyrat / veyratom.com

Created for designs that require a handcrafted and handwritten look with a majestic touch. Artifex Regina is a blend of fantasy, wizardry, and charming delight. What's even better? IT'S VARIABLE! Designed to be a fun variable font, it allows Artifex Regina to be used as an animated typography adding a hint of magic through styles & transitions. Need a brighter inline? Need a softer shade? We got you! As an extra feature, you might want to try and play with its sliders and navigate throughout its 2 axes plus a swirly style handler to get a fully customized style! FEATURES: · Alternates: With an easy access at hand and through various stylistic sets that may contain many or a few alternates, leaving the choice to the designer for the right combination of sets and alternate characters. This includes a set of swirly ends available for static fonts as well as an axis for the variable font. · Contextual alternates: a few characters that provide some variety when used together. · Ligatures: Common used connectors with a playful twist. · Swashes: Accesible through OpenType Swashes feature there's a set of initial, final and middle swashes with passionate, elegant, and expressive strokes. Also, through stylistic sets, there's a set of monoline swashes for a cleaner look or limited spaces.

This delicious font family takes its name from the tastiest of Piemonte’s specialities. It has been designed in collaboration with Turin-based calligrapher and artisan Andrea Tardivo. Piemonte soil provides the most delectable hazelnuts, which are the key to creating a mouth-watering chocolate spread called Gianduja. This popular delicacy has a rich graphic history, with lavishly designed packaging. We sought to infuse the sweetness and tradition of Turin’s confectionary into a new font family, reinterpreting Italian models from the first quarter of the last century. All fonts were crafted by hand on paper first and then digitised in a way that retains the handmade quality and aesthetic. This family blends the Turinese touch from the old chocolatiers and the beautifully printed foils they use to wrap each exquisite creation. The extensive display family contains; Gianduja Sans a geometric font based on examples found in Italian art deco era artworks. Gianduja Script has been handwritten with a speedball pen following the standards of “Bella Scrittura” and Gianduja Capitals is a decorative font inspired by the “liberty” lettering signs from Piemonte. To complete the suite we developed an inline Capitals version, a set of icons and decorative elements all with the same handmade characters to perfect partner with each character set.

The font family Brun includes two styles Regular & Clean. Brun is a casual, modern and hand brushed font. I've designed Brun carefully with the intention to preserve in its glyphs the original tell-tale dry brush imperfections and a bouncy baseline for a more personalized effect even more authentic. Brun Clean preserves the characteristics of a brush font without being dry brush stroke. As an exclusively Open Type release, with 575 glyphs and 35 ornaments, it has several special alternatives for all letters with lots of possibility an an infinity of combinations. There are plenty of options to allow you to create something unique and special: standard and discretionary ligatures, swashes and stylistics alternates for each letter, beginning and ending letters. These lovely fonts have already an extended character set to support Central and Eastern as well as Western European languages. This will help your creativity and make it easier to make the impressive and elegant typographic work. This font is a perfect choice for greeting cards, posters, labels, t-shirt design, logos, and more. Brun was made to make your project more beautiful and attractive! Have fun with it! To activate the optional glyphs you may click on buttons in any OpenType savvy program or manually choose the characters from Glyph Palette. Enjoy it!

Just before the end of 2020 all schools in Holland closed for the second time, because of an increase in the number of COVID 19 cases. This means that my wife and I have to educate our three kids at home. The kids are great and take their tasks seriously, but it is difficult, as all three of them require different educational levels. I am sure you parents understand. Trying to get some work done is virtually impossible, so my wife and I made a schedule and we live by ‘on duty’ and ‘off duty’ days. I was thinking of this when I created this font (obviously on an ‘off duty’ day). Home Education is a handwritten scribble font. It was made with a Sharpie pen (possibly used by one of my kids, because I noticed tiny ink stains on my wooden dining table…). It comes with all the diacritics you can hope for and lovely double letter ligatures for you to play with.

Multi is an extensive sans serif typeface family that consists of two subfamilies: Multi Text that comprises three weights (roman & italic) and Multi Display (seven weights, roman & italic). Vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches. This is clearly noticeable in Multi Display: the roman lowercase’s asymmetric stems are very softly tapered, with bevelled, sharp upstrokes. Furthermore, all weights consistently share these idiosyncrasies from Thin to Poster. With its lower contrast, wider proportions, shorter ascenders and descenders, Multi Text was purposely adjusted to meet all the requirements of a legible typeface for newspapers in paper and screen, as they were manually hinted. It also has a few new features, such as the outstrokes of the roman ‘l’ and the italic ‘a’, which bring a subtle calligraphic feel to the text flow.

Grand Slam is based on an old cardwriting style known as Poster Gothic. This dynamic letterstyle was used in the heyday of the Hollywood movie poster because of its powerful and snappy appeal. The face is of uniform thickness and made as wide as possible without interfering with legibility. Its vertical strokes seem to be thickened slightly where normal serifs would be. It is interesting to note that another group of tiny little serifs populate the entire design. Grand Slam comes with a complete set of alternates including small caps and small figures. A lowercase has been added for greater versatility. Grand Slam is now available in the OpenType format. In addition to small caps, lining figures, oldstyle figures, petite lining figures, and swashes, this expanded OpenType version contains some new stylistic alternates. These advanced features work in current versions of Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

Prored is an avantgarde sans serif typeface that contains 5 weights – Light, Regular, Bold, ExtraBold and Black. It is small and compact font family with own characteristic expression, constructed to be safe choice for all kinds of typographic tasks. With specific curved endings that are adhered on baseline, Prored includes tiny note of singularity – just enough to make it’s own identity recognizable and catchy. Taller x-height gives an afterimage of a bit narrowed look, but with rational proportions and well balanced weights, 5 of them are really sufficient and capable to handle extreme typographic issues. Especially charming is Black which can be used also as display typeface in situations where elegant solutions are required in combination with stronger visibility. Beside Central Europe, Prored also contains glyphs for Turkish and Baltic languages. Highly neutral impression recommends Prored as an excellent choice for branding campaigns or new identities. Recommended for use in: branding campaigns, identities, editorial publications, packages, web design, as web font and many more.

Saviko Sans is a geometric sans font family who dares the modernism and the harmony. with very open terminals that makes this font family elegant, friendly and contemporary. Saviko Sans has been designed with a higher a-height than other fonts in its class to make tiny readability more obvious in any use situation. It will be ideal for use in small sizes such as business cards or mobile applications. The family contains 23 weights from Thin to Extra Black and is ideally suited for film and TV, advertising and packaging, editorial and publishing, logo, branding, music and nightlife, software and gaming, sports as well as web and screen design. Saviko Sans provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

What intrigued me about Buslingthorpe was the virtuoso challenge it presented, of designing a typeface that would, despite a ridiculously tiny x-height, still possess a coherent harmony betwen upper and lower case, and read confortably. At the same time, beyond pure plastic formality, I was aware that there are strong connotations of historicism in this noble style, with overtones of regal magnificence, on account of the extravagant leading and generous point size required for adequate visibility—in traditional letterpress printing such proportions, with so few characters per square inch, were pricey and devoured resources. There are two iconic early 20th century designs in the genre: Koch Antiqua (Rudolf Koch, Klingspor Foundry, 1922) and Lucian (Lucian Bernhard, Bauer Foundry, 1925). Both these have x-heights smaller than fifty percent of ascender height, which nominally defines the category. So I made these my benchmarks, and determined to outdo them in dramatic fashion. —Nick Shinn, Orangeville, March 2021

Irrlicht is based on C. H. Kleukens’ 1923 typeface Judith Type . Whilst Dunkle Irrlicht is a fairly faithful rendition and extension of Kleukens’ typeface, the Licht style was initially added as a stand-alone stencil version; yet, the two styles work perfectly together – for different nuances, for emphasis or simply stacked/layered. Irrlicht is equipped with upper- and lowercase ligatures, contextual and stylistic alternates, fractions, superior and inferior figures, extended language support and a few extra goodies. Additional information – How Irrlicht came to life Christian Heinrich Kleukens cut his Judith Type in 1923, at the peak of German expressionism, exclusively for publications with the Ernst-Ludwig-Press, such as a limited series of biblical prints – the first being the Book of Judith , hence the original’s name. I stumbled upon this typeface a couple of years ago in a nice little 1930 booklet of the Gutenberg-Gesellschaft and was struck by its forceful darkness on paper and its seemingly simple, crude letterforms. The lack of a long-ſ in the final version of Judith Type – quite unusual for a German typeface of that time – adds to this feel of crudeness and spontaneity*. Judith Type seemed to me like a semi-blackletter cousin of Rudolf Koch’s typeface Neuland (cast in the same year). Besides its apparent affinity with expressionism, it reflects a lot of that deeply spiritual craftsmanship of the era – much like Neuland. A few months later, when I was working on a stencil project and looking for a typeface that could be cut into thin wooden plates easily, I remembered those dark, sharp letters that seemed to be lacking any curves at all. After enlarging a few letters and tracing them by hand, the whole set was redrawn digitally, using only straight lines. As for spacing, the goal was to keep the letters tight but to avoid touching characters – without ironing out all the original’s tension and rhythm. Deliberate kerning, subtle contextual alternates and ligatures help to deal with critical glyph combinations. Two additional versions were developed: a stencil version with open counters and, in reference to a popular style of the 1920s and inspired by dry, cracked wood, an inline version. These two additional styles were later merged into one font – Lichte** Irrlicht was born. — AARHAUS * Consequently, the original typeface’s German eszett is simply a ligature of the “round s” and standard z . In some of his publications, Kleukens dispenses with using eszett altogether and sets double s instead. Irrlicht , however, does feature a more common eszett (ß); the original, among other more faithful letter forms, can be accessed via the stylistic sets feature ** licht – literally bright – being the German term for inline typefaces – not to be confused with leicht ( light )

Hamerslag is an ultra-condensed serif type family with uncomplicated, regular appearance, large x-height, relatively high contrast and modern glyphs shapes. Available in four styles, contain fraction- and scientific numerals, standard ligatures, currency symbols, proportional and tabular lining figures. Its wide character set support 200 Latin-script languages, 50 Cyrillic-script languages and 190+ romanizations/transliterations, e.g. The United Nations romanizations, Chinese official romanization (Hanyu Pinyin), BGN/PCGN (United States Board on Geographic Names and the Permanent Committee on Geographical Names for British Official Use), American Library Association / Library of Congress romanizations and others. The OpenType PostScript CFF (.otf) and OpenType TrueType TTF (.ttf) support encodings: Windows 1250 Latin 2 (Eastern European), Windows 1251 Cyrillic, Windows 1252 Latin 1 (ANSI), Windows 1254 Turkish, Windows 1257 Baltic, ISO 8859-1 Latin 1 (Western), ISO 8859-2 Latin 2 (Central Europe), ISO 8859-3 Latin 3 (Turkish, Maltese, Esperanto), ISO 8859-4 Latin 4 (Baltic), ISO 8859-5 Cyrillic, ISO 8859-9 Latin 5 (Turkish), ISO 8859-10 Latin 6 (Scandinavian), ISO 8859-13 Latin 7 (Baltic 2), ISO 8859-14 Latin 8 (Celtic), ISO 8859-15 Latin 9, ISO 8859-16 Latin 10, Macintosh Character Set (US Roman). Supported OpenType features: Acces All Alternates, Capital Spacing, Case-Sensitive Forms, Denominators, Fractions, Glyph Composition/Decomposition, Historical Forms, Kerning, Localized Forms, Numerators, Ordinals, Proportional Figures, Scientific Inferiors, Slashed Zero, Standard Ligatures, Stylistic Alternates, Subscript, Superscript, Tabular Figures. Kerning is prepared as single ('flat') table for maximum possible compatibility with older software.

ITC Astro is the typeface that proves you can get your work done while watching cartoons. “It all started as a series of doodles while I was watching The Jetsons,” recalls Sasa Petricic. “The show's impossibly simplistic vision of the twenty-first century cried out for a font that fit into that world -- a world where everyday objects can carry far more fun and personality than they should.” ITC Astro is the first commercial typeface design from Petricic, whose “day job” is working as a reporter for the Canadian Broadcasting Corporation. Petricic has filed stories from across Canada and around the world for CBC's flagship evening newscast, The National. His reports have also appeared on CNN and BBC Television. Petricic's work as a correspondent and video journalist have taken him to six continents, covering everything from famine and genocide in Africa to the war in Iraq. With such serious matters filling the hours of Petricic's day as a journalist, it's not hard to see why he conceived Astro as a welcome blast of whimsy. “As I began to draw the design,” he says, “I decided that every part of Astro should be a cartoon character unto itself.” Each character has its own baseline shadow (or coaster, or circular antigravity generator, depending on how you look at things). The angular caps dance jauntily, rocking from left to right, while a suite of companion small caps provide backup. The end result is a design quite unlike any other, with surprising charm and versatility. ITC Astro comes in a two-weight family of White and Black.

Homelessfonts is an initiative by the Arrels foundation to support, raise awareness and bring some dignity to the life of homeless people in Barcelona Spain. Each of the fonts was carefully digitized from the handwriting of different homeless people who agreed to participate in this initiative. Please Note: these fonts include only the latin alphabet; no accented characters, no numbers or punctuation. MyFonts is pleased to donate all revenue from the sales of Homelessfonts to the Arrels foundation in support of their mission to provide the homeless people in Barcelona with a path to independence with accommodations, food, social and health care. Guillermo was born in Argentina. And after crossing four continents and travelling in more than twenty countries, he still has his accent. His luck ran out on the streets of Barcelona. But despite his circumstances, he hasn’t lost a bit of his wit or articulacy. “The worst thing about the street is something that touches your heart, your brain. Not being able to have sex, not having any privacy until it leaves you empty.” On the street he follows his passion for art and writing as best he can, using old cardboard when he can’t find paper and listening to the music that comes to him. His way of thinking and expressing himself leaves people wide-eyed and open-mouthed, but even so he admits he’s a solitary man. “Solitude is an individual word. A solitary type like me can’t bring the word solitude to the whole world.”

The long-awaited Rust Bundle addition to our Panton type family has arrived, featuring the headliner Panton Rust and its trusted partner Panton Script Rust. Start your engines and get ready for 72 fonts, grouped into five weights ranging from SemiBold to Heavy, and including multiple Base combinations with different Shadows and Grunge Textures. All of the above is also a part of the accompanying Panton Rust Script, whose natural flow is further emphasized with specifically adjusted Contextual Alternates. The list of OpenType features wouldn’t be complete without localizations, figures, fractions, superiors and inferiors, numerators and denominators, as well as tabular numerals for Panton Rust. The Rust Bundle includes Extended Latin and Cyrillic coverage, providing support for more than 130 languages. This handcrafted package was created to bring about authentic and original vintage type, making it especially suitable for any design that speaks of craftsmanship, a sublime human touch, and a mature signature with undeniable flavor. In Rust we trust! Features: • Textures, Shadows and Inline versions of the fonts which can be combined for a multicolor effects • 72 styles in total, including 42 fonts for Panton Rust and 30 fonts for Panton Script Rust; • 5 weights from SemiBold to Heavy; • Extended Latin and Cyrillic coverage with support for more than 130 languages; • A broad set of contextual alternates and ligatures for Panton Script Rust

Galiano is an elegant combination of a script and a narrow modern serif. It is slender, feminine and classy, while still maintaining a friendly feel. Galiano is versatile and will work perfectly for fashion, e-commerce brands, trend blogs, wedding boutiques or any business that wants to appear upscale and chic. With its 1500+ glyphs the Galiano Script is perfect for creating original and functional designs. It has extensive language support and tons of ligatures, alternates, stylistic sets and swashes that add visual interest to every letter. The Galiano Font Family in a nutshell: - Galiano - a dancing baseline script with signature loops for ascenders and descenders - Galiano Inline - similar feel to Galiano, notably featuring a standartized x-height - Galiano Text - a simpler version of the script with no fancy loops for ascenders and descenders and no swashes and alts. - Galiano Serif + Italics - perfect for headlines - Galiano Ornaments - a set of 80 beautiful ornaments to embellish your typography. You can use the Galiano Family for high-end logotypes and magazine headlines, but let’s not forget greeting cards, invitations, posters, book covers, ads and the various web and screen usages. The overall feel of the font is elegant, sophisticated with a touch of informal and it is ideal if you want to convey a sense of class and style.

The alcoholic beverage Gin is drunk around the world, as far back as the 13th century. Originally distilled as a medicine, it draws its main flavour from juniper berries. Gin is colourless itself but – due to its smooth taste – a major ingredient in a long list of famous colourful cocktails. Gimlet, Singapore Sling, Negroni, Charlie Chaplin, French 75, Vesper, Tom Collins, White Lady, Aviation, Monkey Gland, Southside, Gin Gin Mule and New Orleans Fizz are but a few of them. That made us decide it simply cannot be missing from the Vette Letters font collection. Vette Letters designer Henning Brehm originally designed VLNL Gindicate for the 2015 action movie Hitman: Agent 47. It was specifically used for the logo and signage of the maverick ‘Syndicate International’ organisation in the film. It lay dormant in a folder for a while, when it was reworked into this flashy 5 weight family. VLNL Gindicate is a rounded modern sans serif family, suitable for a multitide of applications, corporate or otherwise. It has somewhat of a warm sci-fy feel, without being overtly techno-ish. In the family are 3 regular weights (Light - Regular - Bold), but also an Inline and Multiline weight for extra design possibilities. Company logos, brand identities, music flyers or posters, you name it. VLNL Gindicate will spice up any design. Bottom’s up!