Koala was originally designed in 1999 by Eric de Berranger with an individual, independent character. A distinguishing characteristic of this sans serif font is its marked stroke contrast, typical of Modern Face fonts. The open, airy forms are reminiscent of ancient Roman capitals. The lower case letters display traits similar to those often seen on posters and in advertisements of the 1930s and 1940s. The lively Koala is particularly good for shorter texts and headlines in larger point sizes and combines well with fonts with little stroke contrast.

In 1899, Robert Wiebking (who worked for a number of foundries in his time) designed an all-caps typeface named Engravers Roman (see Engravers #2). American Type Founders, Inc. (ATF) released a heavier variant in 1902, Engravers Bold, designed by Morris Fuller Benton. Engravers Bold was also released by the Barnhart Brothes & Spinder foundry. Today, Linotype's Engravers brings turn-of-the-century elegance directly to your keyboard. Use the Engravers typeface on any formal piece -- from table cards, to menus, invitations, or advertising work. Engravers is similar to Copperplate Gothic, Sackers Gothic and Nicolas Cochin.

Germania is a Sans font based on classic roman proportions and forms based on my Imperia font. But I added that distinct, rigid, no-nonsense German touch. This monoline font with its classic proportions and personality is good for lots of occasions. And – I designed three »real« italic typefaces – not just slanting the straight ones. I corrected the stroke thicknesses and changed the lowercase a, e, f, g and q. I put in a collection of very interesting uppercase ligatures for free. Your classical type designer - Gert Wiescher

Amaral is a family of 12 fonts with a contemporary design style, based on different historical models. The calligraphic influences are subtle, best noticed in italics. The result is a set of fonts that look more "constructed" than "written". Available in six weights of the Roman and Italic types, Amaral has a wide palette of glyphs. In addition to offering extensive support for Latin sets, among many OpenType resources, each font contains small caps and contextual ligatures, totaling more than 728 glyphs. Amaral is an option for editorial design projects and other related applications.

Impact wide was developed from the designer's original drawings for the production of 'Impact' metal type, with many detail changes because of the density of the letters. These include the restoration of the bevelled i and j dots of the original. Character maps show some useful alternative characters in both roman and italic. Included are a crossbar numeral 1, mirror quotes and some sorts which were cast in metal but never reproduced in digitized versions of the typeface. There is also a font-specific Euro symbol. (Impact is a trademark of The Type Museum, London).

Thorowgood was originally released by the Stephenson Blake typefoundry in the UK. The types were first cut by the English typefounder Robert Thorne, predecessor of William Thorowgood, and first shown in his specimen books in the early nineteenth century. The fat face was revived in roman (1953) and italic. The S and the C appear to be smaller than the other capitals. Most serifs are flat and thin horizontals. In the italic the main strokes of h, k, m, n, and r are curved inwards at the foot.

Sinffonia is a beautiful ornamental font family. Its thin weight and roman style makes very elegant and ideal for any high quality project. The Open Type version, plenty of ligatures, alternative Characters and ornamental characters, is carefully programmed to replace automatically the glyphs accord to the feature and context so you can modify the aspect of the text easily without any incoherence in the design (i.e. overlaps and collisions). Non Open Type users can try the four plain versions of Sinffonia, which includes some of the beautiful ornamental characters of the OT version.

Graphite was designed by David Siegel, who began thinking about the typeface in 1982, looking for an architect's handwriting with a chiselled pencil" look. The handwriting of San Francisco architect Anthony Celis LaRosa became Siegel's choice. With the assistance of David Berlow and Tom Rickner, Graphite was designed and released as a multiple master typeface with weight and width axes that allow for its use in a dynamic range from light condensed to black extended. Graphite is an upright script with simple lines, and is usable in a large variety of informal copysetting situations."

Thomas Oldfield’s typeface, Reaper, is reminiscent of inscribed Greek letterforms but he claims that its origin is much simpler than that. “I recall”, Tom says, “that I just began the design by making the uppercase ‘I’ and continued using it to make up the other characters.” The cap only typeface has alternate cap forms in the lowercase positions, including a vastly scaled downed O and Q that make for some unusual text settings. Contrary to what the name might have you believe, there’s a lot of life in this quirky typeface.

Arrrrrr! A brand new handwritten brush font for all your pirate treasure maps, mateys. And very usable elsewhere of course.

Inspired by an old document from the New York and Western Railroad, American West brings the olden days to mind.

La Picá bonus is a new version with lower case letters, styles and dingbats that represents the popular lettering style.

Joshico - a new fresh handmade calligraphy font. Very suitable for greeting cards, branding materials, business cards, quotes, posters, and more!

This is a new beautty classic font. This font is usually use in invitattions, small texts, book covers and monograms

Imata Script is a new modern calligraphy script in an elegant italic style, and contains soft and neat glyph characters.

Bookseller Bk is a typeface designed for books and legible text at a small sizes, with an old book feeling. This typeface is the reinterpretation of a sample found in a French book, published between 1882 and 1893 and its author —Ernest Michel— lived between 1837 and 1896. This sample has influence from Didot, Scotch Roman and Clarendon (typefaces which were in use at that time). This reinterpretation expands the basic set for the contemporary era. Bookseller Bk includes small caps, old style figures, lining figures, fractions and basic Cyrillic alphabet. Everything in 3 different optical widths. You can save some lines with Reduced weight or fill some lines with Ample weight. All of them with italics, bold and bold italics. Bookseller Bk is also available in Caption size. 12 fonts for legibility at smaller sizes. Subhead & Title sizes are now in development. Finally this typeface was the result of the course Digital Reinterpretation of Classic Typography by Oscar Guerrero Cañizares at Domestika. Do you require additional glyphs? Please contact me to consider your request in order to expand Bookseller in further updates.

Eloquence has a modern aesthetic with a strong classical influence – this is the “Renaissance Remixed”. While being inspired by the first printed texts of the Renaissance period, this typeface has contemporary features such as a high x-height, open bowls and counters, along with razor-sharp serifs and terminals. It has been designed specifically for creating a pleasant reading experience. With a comprehensive character set, Eloquence can comfortably handle printed documents such as novels, magazines, annual reports, along with their equivalent online/digital formats. This 14-font family also has a few tricks up its sleeve by means of some neat, complementing discretionary ligatures and alternates that will prove to be useful embellishments to your typography. Small Caps are included too, along with corresponding diacritics meeting the Latin Extended specification. You can view more details, design examples, and a specimen PDF at eloquence-font.com Key Features: • 14 font family – 7 weights in Roman and Italic • Small Caps, Alternates, Ligatures, with Proportional, Old Style, Small Cap, Fractions, Numerators, Denominators, Superior, and Inferior Figures • Full European character set (Latin Extended) • 900+ glyphs per font.

Corsica is an all-purpose geometric sans-serif typeface of visually uniform stroke thickness. The design seeks to be reminiscent of classic 20th Century grotesques with a crisp modern appearance and opentype features that are now expected. Coverage includes most Roman languages, Greek and basic Cyrillic. Each font contains a standard set of features including fractions, small capitals etc. The family contains six weights, two widths and three lowercase size options, together with an italic variant for each. The are three standard 4-font families for each size variant and a further three corresponding families for Condensed versions. The versatility provided by this extensive family has many useful applications. In particular, the choice of small, medium and large lowercase letter sizes (SX, MX, LX) allows designers to select an appropriate style for suitable impact and legibility in different situations such as headlines, captions, signage, web menus etc. Although each of the three size options will work equally well in most situations, the middle size (Corsica MX) would generally be the preferred choice for lengthy texts.

Adriane Text was designed between 2006 and 2007 with additional production completed by Silas Dilworth for this 2008 release [v1.002]. Focusing on text composition and unique typographic characteristics, details within the characters provide both personality and excellent legibility at small sizes. With a medium contrast, a predominantly vertical axis, and a generous x-height, it can be classified as a transitional typeface. This package of advanced OpenType fonts consists of the style-linked quartet of Regular and Bold weights accompanied by corresponding Italics, each of which include small caps and full support for Extended Latin character sets - now including Central European diacritics. Old style and lining figures are provided in both proportional and tabular spacing, and an extensive set of ligatures, ornaments, dingbats, and alternate ampersands are available across the family. The Italics possess a fluidity that contrasts with the staid posture of the Roman styles. The degree of inclination for the uppercase and lowercase characters are slightly different, offering an enhanced visual rhythm in the text settings.

Bookseller Cp is a typeface designed for books and legible text at a smaller sizes, with an old book feeling. This typeface is the reinterpretation of a sample found in a French book, published between 1882 and 1893 and its author —Ernest Michel— lived between 1837 and 1896. This sample has influence from Didot, Scotch Roman and Clarendon (typefaces which were in use at that time). This reinterpretation expands the basic set for the contemporary era. Bookseller Cp includes small caps, old style figures, lining figures, fractions and basic Cyrillic alphabet. Everything in 3 different optical widths. You can save some lines with Reduced weight or fill some lines with Ample weight. All of them with italics, bold and bold italics. Bookseller Cp is also available in Book size. 12 fonts for legibility at small sizes. Subhead & Title sizes are now in development. Finally this typeface was the result of the course Digital Reinterpretation of Classic Typography by Oscar Guerrero Cañizares at Domestika. Do you require additional glyphs? Please contact me to consider your request in order to expand Bookseller in further updates.

Monarque is an elegant typeface. It is crafted with fine details that would make your typography stand out. Large x-height, high stroke contrast, rounded curves & long sharp serifs create together a dramatic look that would succeed in delivering a strong message with elegance. The true italic’s are designed to work harmoniously with the roman for a striking contrast within a line. Originally created to be an all-caps only, the font includes a lot of uppercase ligatures that are thought to flow in naturally and achieve a legible composition. OpenType features include a stylistic set of alternates, contextual alternates, discretionary and standard ligatures, old style figures, small caps and case-sensitive forms. The type family is available in 5 weights for a total of 10 fonts and supports over 200 Latin-based languages, making Monarque a solid powerful typeface ready for any kind of project from editorial design, branding, magazines, logos and more. As Monarque is only available as a display (for now) its full potential operates at its best with headlines or short to medium-length texts.

Lepontic is an ancient Alpine Celtic language that was spoken in parts of Rhaetia and Cisalpine Gaul (now Northern Italy) between 550 and 100 BC. Lepontic is attested in inscriptions found in an area centered on Lugano, Switzerland, and including the Lake Como and Lake Maggiore areas of Italy. While some recent scholarship (e.g. Eska 1998) has tended to consider Lepontic simply as an early outlying form of Gaulish and closely akin to other, later attestations of Gaulish in Italy (Cisalpine Gaulish), some scholars (notably Lejeune 1971) continue to view it as a distinct Continental Celtic language. In this latter view, the earlier inscriptions found within a 50 km radius of Lugano are considered Lepontic, while the later ones, to the immediate south of this area, are considered Cisalpine Gaulish. Lepontic was assimilated first by Gaulish, with the settlement of Gallic tribes north of the River Po, and then by Latin, after the Roman Republic gained control over Gallia Cisalpina during the late 2nd and 1st century BC

The Englishman William Caslon punchcut many roman, italic, and non-Latin typefaces from 1720 until his death in 1766. At that time most types were being imported to England from Dutch sources, so Caslon was influenced by the characteristics of Dutch types. He did, however, achieve a level of craft that enabled his recognition as the first great English punchcutter. The original Caslon specimen sheets and punches have long provided a fertile source for the range of types bearing his name. Identifying characteristics of most Caslons include a cap A with a scooped-out apex; a cap C with two full serifs; and in the italic, a swashed lowercase v and w. A few of the many interpretations from the early twentieth century were true to the source, as well as strong enough to last into the digital era. These include two from the American Type Founders company, Caslon 540 and the slightly heavier Caslon #3. Both fonts are relatively wide, and come complete with small caps, old style figures, and italics.

In 1066, William, duke of Normandy, was invading England. He was demanding the crown for himself, against King Harold the Saxon. He killed Harold and reached the crown at Hastings, the well-known battlefield. A few years later, in Bayeux (Normandy, French)was displayed a large tapestry (almost 70 m long) who was telling the story of the conquest. Along the tapestry was written a comment in Latin, using Roman capitals influenced a little by English or Scandinavian style (as it is visible in the Eth character). We have created the font, inspired from this design, adapted for contemporary users, making difference between U and V, I and J, which has not any relevance for ancient Latin scribes, and naturally with Thorn, Oslash, Lslash... and usual accented characters did not exist at the time. We also have reconstructed the K, German double s and Z, always using patterns of the time. We have scrupulously respected the poetic irregular and distressed original forms with two or three alternate for each characters, including reconstructed numerals.

This extensive 60-font type family was inspired by the best (and worst) of 1970s science fiction TV shows and movies. Verbatim aims to extract the essence of futuristic type from that era, add a dash of modern style and conjure a cinematic typeface for the 21st century. From the extremes of the thin condensed, all the way through to the black extended, Verbatim has the scope to add drama to your titles and headings, and finesse to your logo and branding projects. Distinguishing features include a large x-height and open counters that aid legibility. This typeface crosses a few boundaries of type specification in that it is both rounded and square, it is part geometric in construction with a touch of humanistic flair and stroke contrast – giving Verbatim a distinctive and confident air. Key features: • 6 weights in Roman and Oblique • 5 Styles – Condensed, Narrow, Regular, Wide, Extended • Small Caps and 7 Alternates • European Language Support (Latin) • 600 glyphs per font. See more detailed examples at the Verbatim microsite.

This family was inspired by the beautiful roman font used by Aldus Manutius in Venice (1499) to print for the first time Hypnerotomachia Poliphili..., the well known book attributed to Francesco Colonna. Francesco Griffo was the punchcutter. The present font contains all of the specific latin abbreviations and other ligatures used in the original. The Italic style, carved by Francesco Colonna, the so called "Aldine" style, was inspired from various documents, all printed with this first Italic font. We offer the complete set of ligatures (about 60) we have been able to find, contained in the original font. In the two styles, we have made differences between I and J, V and U, to make easier a modern use. Added are the accented characters and a few others not in use in this early period of printing. The Italic style may be used as a complement to our 1470 Jenson Latin. The font contains all characters for West European (including Celtic), Baltic, East and Central European and Turkish language.

Based on the 1922 Klingspor model by German designer Rudolf Koch, this hand-drawn quill roman has an informal and curiously delicate appearance. The typeface was known in Germany as Koch Antiqua and in the rest of Europe as Locarno. Eve, as it was called in the United States, continues to enjoy great popularity in advertising and book publishing circles. This deluxe version includes display light, display heavy, and display black as well as the hard-to-find display light and heavy (Koch Kursiv) italics. Eva-Paramount, which is based on Morris Benton's 1928 ATF Paramount, has also been included. It contains a set of alternates characters that are in keeping with the light and heavy display letter styles. Eva-Antiqua is also available in the OpenType Std format. Alternates are now merged together into each style as stylistic alternates or as swashes. These advanced features currently work in Adobe Creative Suite InDesign, Creative Suite Illustrator, and Quark XPress 7. Check for OpenType advanced feature support in other applications as it gradually becomes available with upgrades.

ITC Merss proves that sometimes accidents work out just fine. Late one evening Eduardo Manso, an Argentinean graphic and type designer, spilled coffee on his desk. When he began to wipe up the mess, he noticed that one of the splashes looked like a roman letter 'l' - complete with serifs. This triggered his imagination. “What if a complete alphabet was created with this same irregular flow to the character designs?” ITC Merss was the result of Manso's experiments with “fluid” letter shapes. The oddly handsome design looks aged and spontaneous at the same time. Its irregular texture is striking-the result of careful modeling of character shapes. While Manso wanted to maintain the free-form character of spilled liquid, he also knew the individual letters had to work together with an underlying harmony. When not experimenting with typefaces - or spilled coffee - Manso creates award-winning graphic and publication designs. A contributor to the design magazine el Huevo (the Egg), he also writes articles on type and typography and is part of the publication's design team.

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middle ground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462. Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine develops a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality. Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

Syntax was designed by Swiss typographer Hans Eduard Meier, and issued in 1968 by the D. Stempel AG type foundry as their last hot metal type family. Meier used an unusual rationale in the design of this sans serif typeface; it has the shapes of humanist letters or oldstyle types (such as Sabon), but with a modified monoline treatment. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms. Meier wanted to subtly express the rhythmical dynamism of written letters and at the same time produce a legible sans serif typeface. This theme was supported by using a very slight slope in the roman, tall ascenders, terminals at right angles to stroke direction, caps with classical proportions, and the humanist style a and g. The original foundry metal type was digitized in 1989 to make this family of four romans and one italic. Meier completely reworked Syntax in 2000, completing an expanded and improved font family that is available exclusively from Linotype GmbH as Linotype Syntax. In 2009 the typeface family was renamed into a more logical naming of "Syntax Next" to fit better in the Platinum Collection naming."

Leo is an economic magazine and book face meant for use in sizes suitable for immersive reading, with different cuts optimized for different body copy size ranges, like footnotes and legal text. Designed with the explicit intent of relaying information without calling attention to itself, this typeface places itself squarely on the "function" side of the eternal debate about form versus content. The roman Leo fonts were built with as little ornamentation as possible, with wedge serifs, a high x-height and a skeleton somehwat rooted in the designers' reflections on the modern, post-war Dutch archetype. Rather than follow traditional models with entirely different forms, contracted widths and steep slants, the Leo italics deliver naturally subtle emphasis in reading by closely relating to the forms, stance and rhythm of their roman counterparts. The 12 Leo fonts contain over 700 glyphs each, and include support for the vast majority of Latin languages. Included OpenType features are built-in small caps, lining and oldstyle figures in both proportional and tabular sets, superiors, numerators, denominators inferiors, ordinals, automatic fractions, ligatures, and optional long descenders for optimal counterspace management in book and magazine text layout. For more information on Leo's character set, features and some print tests, please consult the PDF in the gallery section of this page.

The font "Lugo" is a heavy typeface designed for use in headlines and caption text. Their design has a strong visual impact, a persuasive and seductive personality throughout its organic shapes. This is a versatile and expressive font. Lugo can create an appealing atmosphere, conveying a gamut of message and emotions. It is well suited in the jobbing areas like packaging, logotypes, magazines, web pages and advertising, etc. Lugo has all the advantages of OpenType features that allow a variety of combinations: You may choose to set types in connected or unconnected ways, being used as body text or headlines for its good legibility, visual impact and accurate kerning. It has more than thousand glyphs: swashes, standard and discretional ligatures, stylistics and contextual alternates, old style numerals, word ending and tails. It has also an extended character set to support Central and Eastern European as well as Western European languages. Lugo is a city in northwestern Spain in the autonomous community of Galicia. The Celtic name Lug suggests that it may have been a sacred site. Augustus founded the Roman town of Lucus Augusti in 15-13 BCE following the pacification of this region. It is the only city in the world to be surrounded by completely intact Roman walls.

Evoque Text is a humanist serif type family specifically designed for a comfortable reading experience. This has been achieved by optically adjusting the regular weights from my original Evoque family (released November 2021). You will notice a significantly reduced x-height and longer ascenders and descenders, complemented by adjustments to weight and spacing. This makes Evoque Text a perfect choice for any long passages of text. All OpenType features have been retained from Evoque. A plethora of swash alternates and discretionary ligatures enhance Evoque Text, giving you the opportunity to embellish your typography. Simply activate Stylistic Sets to start adding these flourishes to your text. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 14 fonts altogether over 7 weights in roman and italic, you can also avail of two variable fonts which allow you to fine tune the weight to your exact liking. Evoque Text has an extensive character set (900+ glyphs) that covers every Latin European language. Key features: 7 weights in both roman and italic 80 Alternates 26 Ligatures Small Caps Variable fonts included with full family Full European character set (Latin only) 900+ glyphs per font.

Yolk is an Eggcentric Sans Serif Typeface consisting of nine weights in both roman and italic. Essentially, this is a geometric sans typeface that has been inspired by the shape and proportions of an egg. With its bottom-heavy glyphs, Yolk has an unusual personality – it’s not too awkward to be off-putting, and it’s not too uniform to be associated with the myriad of generic geometric sans fonts that are available. Yolk has a distinctive presence in its upright form, while the italics exude a more flamboyant nature. When combined, your typographic results will be pleasing and perhaps a little quirky too. This 18-font type family achieves a good balance of personality, versatility, and usability. Small Caps are available at the click of a button, then add Stylistic Set 1 to achieve Petite Caps. The petite caps harmonise with the regular lowercase forms, so that you can create unicase-style typography too. All Latin-based languages are covered within the 1000+ glyphs of each Yolk font. Key Features: • 18 font family – 9 weights in Roman and Italic • Small Caps, Petite Caps, with Proportional, Old Style, and Small Cap figures, plus Fractions, Numerators, Denominators, Superiors, and Inferiors • Full European character set (Latin Extended) • 1,000+ glyphs per font.

Evoque is a humanist serif type family designed for both text and display purposes. Its appearance is crisp and modern while echoing a classical Garamond heritage. The inspiration for Evoque came after reminiscing over Apple’s advertising of the eighties and nineties that utilised incredibly tightly-spaced headlines set in Apple Garamond. I wanted to create a typeface that evoked nostalgia of those times and that distinctive typographic style. A number of swash alternates and discretionary ligatures enhance Evoque, giving you the opportunity to add more flair and personality to your title and branding designs. Simply activate Stylistic Sets to start adding these flourishes to your typography. Other useful features include Small Caps at the click of a button, and Old Style Figures are an option to the default proportional figure style. There are 36 fonts altogether, with 6 weights in roman and italic from Thin to Heavy weights across Condensed, Narrow, and Regular widths. Evoque has an extensive character set (900+ glyphs) that covers every Latin European language. Please also take a look at Evoque Text which is specifically designed for the publishing sector. Key features: 6 weights in both roman and italic 3 widths – Regular, Narrow, Condensed 80 Alternates 26 Ligatures Small Caps Full European character set (Latin only) 900+ glyphs per font.

Patron is a modern, mono-linear, sans-serif font family with large x-height and softened edges containing 12 fonts. This typeface was born as a corporate font design for non-profit sector and today it is available for public. At the moment Patron is offered as a PostScript-flavored OTF, but its construction is tuned to display well on screen as well. Works on a TrueType version with individual glyph hinting are being carried out. In addition, Patron has alternative family (Patron Alt) with enhanced personality, suitable mainly for headlines. Patron is graduation work of Matěj Hlaváček at AAAD in Prague, Studio Of Typography. Supervised by František Štorm, Tomáš Brousil and Karel Haloun.

Is it a Bird? Is it a Plane? Is it a Rocket? No it’s another Super Font from those awfully nice chaps at Comicraft. Faster than a speeding Option 8, Up, Up and Away can see through 'O’s, jump Capital T in a single bound, and rescue caps dropped from the tallest descenders. There isn't a more heroic or x-heighting font in our catalog and it’s as wholesome as truth, justice and mom’s apple pie. Brought to you in cut out form in association with our friends at Howtoons! Be sure to also check out Up Up And Away's clever sidekick Single Bound! Comicraft fonts are created BY comic book letterers FOR lettering comic books. Accept no substitutes!

Patron is a modern, mono-linear, sans-serif font family with large x-height and softened edges containing 12 fonts. This typeface was born as a corporate font design for non-profit sector and today it is available for public. At the moment Patron is offered as a PostScript-flavored OTF, but its construction is tuned to display well on screen as well. Works on a TrueType version with individual glyph hinting are being carried out. In addition, Patron has alternative family (Patron Alt) with enhanced personality, suitable mainly for headlines. Patron is graduation work of Matěj Hlaváček at AAAD in Prague, Studio Of Typography. Supervised by František Štorm, Tomáš Brousil and Karel Haloun.