Bixa is a chromatic typeface designed for display use. Bixa comes in 13 different layers containing 11 weights for beautiful color combinations. Bixa was originally designed for the Typewood project in 2015. Read more about this project here. In 2016 we launched the chromatic web version of Bixa. More information about Bixa Color here. Bixa was awarded by the Type Directors Club New York and the European Design Awards in 2016. Bixa is designed by Novo Typo in 2015. Youtube

Steve Jackaman. In the early 1980's, Steve worked at Typographic House in Boston, Massachusetts. At the time, 'Typo' House, as it was affectionately known, was the largest type house in New England. This font was designed and produced during his tenure. The design was so popular that it became available commercially through VGC, and was known as TH Alphabet Soup. Completely redrawn and remastered, Alphabet Soup Pro contains all the high-end features expected in a quality OpenType Pro font.

-OC Revolt is a variable display font made for the protest graphics of the NYC based T*#@p Brexit era Non-Complicit project who initially made guerrilla type with masking tape applied directly in situ or to silk screens. An uppercase only font there are alternate versions of each character on the lowercase keyboard. Double letter ligatures are used to prevent direct mechanical repetition of letters in the static styles and the Shift axis can be used to make each letter variably unique.

Curlicues galore on this modern version of a mid-victorian display type. We started with the caps from a type called Cellini, altered them considerably, and added a lowercase.

wood type heritage

Type 3D letterforms.

Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic one of our best sellers, with a look that is both contemporary and vintage. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and Cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been kept for compatibility with the previous version, while a new Coco Gothic Display subfamily has been developed with a complete redesign aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true “typographic time machine”, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text.

Blame is a strong font family and sophisticated sans also serif Each font in the family can stand on its own, dynamic and authoritative in their own right. Bison includes ten all-caps fonts: a weight (clean and rough version), two outlines, four italics. - Blame Sans Clean and Rough Regular - Blame Serif Clean and Rough Regular - Blame Sans Clean and Rough Italic - Blame Serif Clean and Rough Italic - Blame Sans Outline Regular and Italic - Blame Serif Outline Regular and Italic FEATURES : a weight / Italics / Outlines / Numbers & Punctuation / Extensive Language Support USE Blame works great in any branding, logos, magazines, films. The different weights give you full range to explore a whole host of applications, while the outlined fonts give a real modern feel to any project. Thanks for having a peek at Blame. I hope you enjoy it and feel free to take it for a spin below! As always, if you have any questions just send me a message! I’m glad to help :) Haksen

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

Publica Sans is a clean geometric typeface, equipped with a variety of OpenType features to give you all you need for great typography: Alternates, arrows, rare currency symbols, case sensitive forms, various sets of figures and discretionary ligatures. Publica Sans has two sisters: Publica Play and Publica Slab Take a close look at our gallery (especially ‘OpenType Features 1–6’) to discover the versatility of Publica Sans. Alternates Give your typography a certain spin with the variety of alternate letters provided. Currency You need to set prices in exotic countries? No problem: Publica Sans gives you loads of rare currency symbols. Case Sensitive Forms Sometimes you write in all caps and there are some symbols (e.g. brackets) that need some extra treatment to make it look perfect – that’s what case sensitive forms are for. Figures Publica Sans provides 6 sets of figures, like lining, tabular, oldstyle, numerators ... Discretionary Ligatures Ligatures can make your logo or headline look spicy. So there are plenty of them.

Introducing Kaeswaii, a font that is ideal for anyone wishing to infuse their creations with a dash of inspiration and delight. It's ideal for producing fresh designs that will stand out thanks to its unique contrast and rounded serifs. It has a joyful feel because of its high x-height, and its playful serifs give it a funky touch. Kaeswaii has enough variety to help your project look better than the rest with forty-eight different styles. Select from nine weights and italics for the standard, condensed, and extended styles. It has rounded corners and a luscious texture and a squishy, gloopy vibe. Atarimae, the hint is to use Kaeswaii when you want to infuse your products with a dash of inspiration and delight. It has a happy feel with its high x-height and rounded serifs. It's ideal for producing fresh designs. Put a playful spin on your work with the unique personality of Kaeswaii's rounded terminals. Let Kaeswaii bring life to your ideas!

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

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

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

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

LOOK OUT! It's kinda creepy, we know, but we're convinced that this font does whatever a spider can -- in fact, we believe it can actually spin a web of pretty much any size, and even catch thieves as if they were bugs of some sort -- let's say flies. In fact we'd almost go so far as to say that, in the chill of night (perhaps at the scene of a crime) this font may just arrive like a streak of light in the nick of time. We're releasing this font now not for wealth or fame, we ignore those things, action is our reward. Here at Comicraft we think of life as a great big bang up, and whenever there's a hang up, you won't find us climbing -- or crawling -- the walls... well, not without STICKY FINGERS anyway. Find yourself a pair of webshooters and this font is the perfect complement to any Halloween costume.

The design process of this font was rudely interrupted on August 11th, 2015, when my first child, Hazel, was born. Thinking up names for fonts can be tricky, as can thinking up names for babies, so when the font was finally finished, it seemed like a good idea to kill two birds with one stone, and here it is: Hazel Script. Hazel Script is a finely crafted, elegant, connecting script. I wanted to make something unique, and to this end, the contrast in the face is not based on any ductal logic, or the writing of some imagined tool. The thick parts of glyphs are purely aesthetic devices, placed to give the otherwise monoline font an interesting rhythm. The over-sized upper case letters follow a mid-century lettering skeleton, and swash forms can be used judiciously to add spice to the text. Hazel Script works "out of the box" but to really get the best out of it, use OpenType-savvy programs to unlock a world of swashes, alternates, ligatures and the like. In detail, the features are as follows: Swash - alternate forms for many glyphs Stylistic Sets - 1: script r, 2: alternate s, 3: script z, 4 and 5: more swash options, 4,5,6 and 7: access to alternate ampersands (the font boasts six to choose from!), 8: connecting forms for K, L, R, X and Z. Localised forms - ij digraphs for Dutch, and a script lslash for Polish. Standard ligatures - a mixture of ligatures, including the 'percent off' (just type "% off") and a heart that connects to the ends of words (type "<3") Automatic fractions Ordinals - a and o for Spanish etc. but also s,t,r,d,h and n for English 1st 2nd and 3rd etc. Contextual alternates - automatically places special start and end glyphs where necessary. Hazel Script would look great in glossy magazines set large, or would make a slightly unorthodox choice for wedding stationery, birth announcements, letterheads...

Hamptons BF is a beautiful, elegant sans serif with dramatic individuality. A font that steps out in Art Deco style. As a design movement Art Deco came into prominence during the 1920s and 30s when forms were typically sleek, symmetrical, geometric or highly stylized. Today the influence of this enduring style can be clearly seen in architecture, industrial design, fashion, art, graphic design, and yes, even type design. Art Deco style exemplifies luxury, glamour and modernity. I believe Hamptons BF captures something of that retro look in a nod to the past without ever looking dated, all the while retaining a contemporary flair. Named after the well-known New York resorts synonymous with style and elegance, this gothic or sans serif type is based upon University Roman, an early 1970s serif design which in turn was influenced by yet another serif design called Forum Flair (late 1960s); and that in turn owes its pedigree to the late 1930s’ Stunt Roman, which is the original source of inspiration for all of these. Quite a family tree! There’s dynamic interplay between certain wide, full-round letters such as C, D, G, O, P, Q, R, S and narrow ones like A, E, F, H, K, L, M, N, U, etc. This contrast repeats throughout certain lower case letters and serves to create a unique look of distinction. Light and Regular weights communicate a romantic, feminine appeal while the Bold offers a complementary emphasis. The font is somewhat versatile as in addition to its primary purpose for display, Hamptons BF also succeeds in settings containing short blocks of large text. It’s right at home in a variety of typographic environments: branding, packaging, signage logos, magazine headlines, invitations, menus, trendy cafes and more. Among the included OpenType features are Stylistic Alternates, Automatic Ligatures and Fractions. There is extended language support for Western, Central and Eastern Europe and Turkish.

The font DXOldStandard Condensed No2 was revival on the basis of the Antiqua Condensed type, which was issued by type foundry of Russian from the beginning of the 20th century.

HT Neon shines as if to invite us.This rounded and monoline font is very striking. But it is readable because the characters are arranged naturally when they are typed. HT Neon is great to use on your design projects such as Shop Sign,Packaging, Logotype and more.When you type the character “µ”, it becomes a electrical cord! Holiday Type Project offers retro hand drawing scripts. Inspired by retro script on shopfront lettering, wall paint advertisements in Italy around 1950s. Check out the script fonts from Holiday Type!

HWT Brylski is a typeface by Nick Sherman, named for retired wood type cutter Norb Brylski and designed to be cut as wood type at the Hamilton Wood Type & Printing Museum. This font is the digital counterpart to the wood type made as part of the Hamilton Legacy Project . It incorporates several themes that were common in 19th-century type design, including split tuscan serifs with angled mansard-style sides, heavy weight placement at the top and bottom of letters (traditionally referred to as French or Italian/Italienne, regardless of any actual relation to those countries), and an extended overall width. This digital version contains over 400 glyphs for full European language coverage.

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

Based on the classic “Columbian” from the William H. Page Wood Type Company (circa 1870), Cherrywood JNL is a bold slab serif type design available in both regular and oblique versions.

Based on a revival of one of the popular wooden type fonts of the 19th century, suitable for display, lower case missing but not always designed for this type of face.

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

A collection of fonts by the type foundry Intellecta Design. Distressed and antique, use these fonts in display purposes for a stylized type design. Contains a limited amount of letter designs.

The design of the first "Fat Face" is credited to Robert Thorne just after 1800 in England. It is considered to be the first type style designed specifically for display or jobbing, rather than for book work. The first instance of Fat Face in wood type is found in the first wood type specimen book ever produced: Darius Wells, Letter Cutter 1828. This style was produced by all early wood type manufacturers. The style is derived from the high contrast, thick and thin Modern style of Bodoni and Didot developed only decades previously. The extended variation makes the face even more of a display type and not at all suitable for text. This type of display type was used to compete with the new Lithographic process which allowed for the development of the poster as an artform unto itself. This new digitization by Jim Lyles most closely follows the Wm Page cut. The crisp outlines hold up at the largest point sizes you can imagine. This font contains a full CE character set.

A comprehensive and faithful rendition of one of the finest metal typefaces of the 20th century. Rudolf Koch designed Wilhelm Klingspor Schrift (initially conceived as “Missal Schrift”, and later referred to also as “Wilhelm Klingspor Gotisch”) between 1919 and 1925 for the Gebr. Klingspor Type Foundry in Offenbach am Main. It is an impressive textura typeface, being sharp, elegant, spiky, sensitive and noble at the same time. Some of its most notable features have to do with the delicate decorations, the thin but subtly swelling lines that parallel or bridge strokes in the capitals, the hairline endings that terminate each stroke in both the capitals and the lowercase letters, the subtle joining of hairlines to thicker strokes, and the tension of some of the transitional curves. Koch’s original design included two sets of capitals (normal and condensed); alternates for a, d, e, r, s and z, plus long s; short and long flourished finial forms for f and t; thirty-five ligatures; and eighteen decorative pieces (Zierstücke). All of these features, plus several additional ones for modern use (including the usual standard characters for typesetting in modern Western languages, additional alternates and ligatures, plus carefully coded Opentype features), have been thoroughly implemented to the highest and most lively level of detail in the present font, in the hope that the past greatness of Wilhelm Klingspor Schrift will finally step into the modern OpenType realm. The main sources used during the font design process were several pages from a specimen book issued by the Gebr. Klingspor Type Foundry in 1927. Other sources were as follows: Bain, P., and Shaw, P. (Eds.) (1998), Blackletter: Type and National Identity, New York: Princeton Architectural Press (p. 43); Hendlmeier, W. (1994), Kunstwerke der Schrift, Hannover: Bund für Deutsche Schrift und Sprache (pp. 56-7); Kapr, A. (1983), Schriftkunst, Dresden: VEB Verlag der Kunst (p. 453); Kapr, A. (1993), Fraktur - Form und Geschichte der gebrochenen Schriften, Mainz: Verlag Hermann Schmidt (pp. 124-5); and Klingspor, K. (1949), Über Schönheit von Schrift und Druck, Frankfurt am Main: Georg Kurt Schauer (pp. 136-7). Some public and private comments by renowned designer and design historian Paul Shaw have also influenced both the design and the description of the present font. Specimen, detailed character map, OpenType features, and font samples available at Alter Littera’s The Oldtype “Wilhelm Klingspor Schrift” Font Page.

Deco Geometric Stencil JNL was inspired by an example of a vintage Art Deco stencil type design seen in the Steven Heller-Louise Fili book "Stencil Type" (published by Thames and Hudson).

The typeface DIVERSiTY Font is designed from 2022 for the font foundry Typo Graphic Design by Manuel Viergutz as a political statement #diversity #♥︎ 1 font-styles (Mix) with 245 glyphs incl. decorative extras like icons, arrows, dingbats, emojis, symbols, geometric shapes (type the word #LOVE for ♥︎ or #SMILE for ☺ as OpenType-Feature dlig) and stylistic alternates (3 stylistic sets). For use in logos, magazines, posters, advertisement plus as webfont for decorative headlines. The font works best for display size. Have fun with this font & use the DEMO-FONT (with reduced glyph-set) FOR FREE! Font Spe­ci­fi­ca­ti­ons ■ Font Name: DIVERSiTY Font ■ Font Styles: 1 (Mix) + DEMO (with reduced glyph-set) ■ Font Cate­gory: Dis­play for head­line size ■ Glyph Set: 245 glyphs incl. extras like icons (decorative extras like dingbats, emojis, symbols) ■ Design Date: 2022 ■ Type Desi­gner: Manuel Viergutz

Stradivarius, sometimes known as Symphonie was designed by Hungarian born Imre Reiner (1900-1987). Reiner was not only a type designer, he was a fine artist. He enjoyed sculpture, painting, graphic and industrial design. In 1921, F. H. Ernst Schneidler, (Schneidler Initials) introduced Reiner to type design. Stradivarius was designed and first released by the Bauer Type Foundry in 1938.

In 1931, Morris Fuller Benton created the Stymie typeface for the American Type Founders (ATF). Stymie is a reworking of a slab serif type that was popular in Europe at that time, Memphis. For the past one hundred fifty years, slab serif types (sometimes called Egyptian or Egyptienne-style faces) have been a popular choice for headline text in newspapers, magazines, and advertising.

Horror/Metal/Punk upper case only font with varied double letters (open type feature). Open type Latin Pro with alternate upper case using the lower case, and varied double letters for an even more genuine handwritten look. (Open type feature.) Ink on paper, carefully and meticulously touched up digitally so that all letters will look good printed in bigger sizes.