Shopping Script is designed after and inspired by my handwritten shopping list that was originally a lot less stylish, I have written each words multiple times to achieve the organic and natural flow with a bit spaced out style. This font is an existing work of mine that came in only one weight. Now I added multiple weights I as well as expanded and condensed instances, along with a weight and width variable font file that can be set to anything in between Thin Condensed to Heavy expanded. There are standard ligatures for it, jt, ll and tt, stylistic alternates for uppercase "A" and lowercase "e". For lowercase r and s there are contextual/initial variants when they are first letter of a word. A guide of open type features and how to activate them is available at https://drive.google.com/file/d/1q4j4X8ZntqgEUB8gUmflUNtmlX4IVQBq/view?usp=sharing Most latin based languages are covered from Western European to Eastern.

Let the natural letterforms flow with Royal Palms, a clean & casual script font by Set Sail Studios. The Royal Palms family includes four fonts; The Signature version contains a larger, more exaggerated set of capital letters which is perfect for signature-style logos and display text. The Regular version offers a more practical set of smaller capital letters, for use when space is more limited. Both the Regular and Signature styles include a full set of alternate characters available as their own separate fonts, which can be used for an alternative word layout, or to mix and match with the regular versions to create a more customised look. It’s a timeless script set which is equipped to tackle a variety of design briefs for years to come. Language Support • English, French, Italian, Spanish, Portuguese, German, Swedish, Norwegian, Danish, Dutch, Finnish, Indonesian, Malay, Hungarian, Polish, Croatian, Turkish, Romanian, Czech, Latvian, Lithuanian, Slovak, Slovenian. Standard Ligatures • ti, tt, tl, ll, lt, ve, ov, wr, ox, nx, wx, rx.

We would like to introduce our new Thin Line Geometric Font Runista. Runista is a linear font in folk style, lowercase is decorated with geometric elements. The typeface includes a Decorative and a Symbol version. Letters and symbols are perfectly combined with each other. The font is easy to use in various design programs or without any program. Runista Typeface is suitable for lettering posters, music albums, tattoos and photo overlays in hipster style. The font works great for both printing clothes and craft products branding and packaging. Also use individual letters and symbols to create logos and monograms. Runista Decorative contains stylistic alternates for letters O, Q, C, D, G and the most popular ligatures: bb, cc, dd, ee, ff, gg, ll, mm, nn, oo, pp, rr, ss, tt, zz, ty, ly, ct, sp, st, in, ch, ck, sh, ou, qu, th, ph, ge, ng, gn, gh, au QU. The font has extensive language support.

This is a challenge for elegant but radical typography layouts. Standard styles include classic and sophisticated serifs, while italic styles are designed with more adventurous handwritten touches. This serif font family included a total of 14 styles, including 7 weights and separately created italics. It can be the best choice for a unique and meaningful logo and branding design, and it will maintain a refined sense of unity. You need to understand OpenType Features to use these fonts well. Please check first whether the your apps plan to use supports these OpenType Features. Thanks. OpenType Features Discretionary Ligatures : ac, ad, ai, ak, ar, ay, az, ce, ci, ck, co, de, do, dr, er, ft, he, ho, ng, ro, se, sp, te, to, tr Standard Ligatures : fi, fl Alternates : a, d, h, i, k, n, u, z Oldstyle Figures Tabular Figures Fractions

Sydonia Atramentiqua is a strange creation. The inspiration was the first releases of "Malleus Maleficarum" (actually the typography used there). I decided I wanted something strange, so Sydonia came into being. Like a blood of all witches who were being hunted down by Malleus Maleficarum's "fans" for their skills and beliefs. Why Sydonia? Sydonia von Borck was a witch from my area. It was probably the last woman executed for witchcraft. The genesis of the name. Sydonia was THE WITCH, and by the name I added "Atramentiqua". It is a combination of the words "Ink" (polish "ATRAMENT") + "Antiqua". The idea of ​​spilling a font is historical. The former Zecer composition was not perfectly sharp. As it was a "wet job", there were always light exits behind the lines. Who supported me? The GENEALOGIA project has been carried out for several years in cooperation with the Academy of Art in Szczecin and the National Museum in Szczecin. The project's supervisors are prof. Waldemar Wojciechowski and MA Patrycja Makarewicz, who runs the Visual Communication Studio. Some information: Sydonia was like that! This is not an everyday font. It is a stylized font, used to imitate old prints made by Zecer. The first version of Sydonia Atramentiqua was created in 2018 for the purposes of the exhibition at the National Museum in Szczecin. Base inspiration: Malleus Maleficarum & Caslon.

Introducing "Kukulkan," a font designed by Raúl Plancarte, adorned with accolades, that unravels the structural possibilities nestled within the realms of ancient Roman letters and fantastical styles, infusing them with a contemporary essence. This typeface exudes a conspicuous plasticity and expressiveness, seamlessly harmonizing within its original intended context as a font for continuous text, bolstered by its robust and assured strokes. It stands as the triumphant culmination of a thorough exploration, meticulously considering legibility. Infused with nuanced elements that evoke a pre-Hispanic idealization of Mayan culture, this essence takes center stage in its darker iterations. However, it is adept at adapting to a myriad of ethnic and cultural nuances prevalent in our global village. Noteworthy is the fact that the "Kukulkan" font family is available as a variable font, offering a dynamic range of styles across its 18 fonts, endowing it with a lively, human, and refined demeanor. Additionally, it features a variant known as "Kukulkan Ornaments," a collection of 150 dingbats comprised of icons, symbols, and frames intricately inspired by the iconography of Mayan hieroglyphs. In its natural application, "Kukulkan" thrives in contexts of art, lifestyle, culture, seamlessly bridging tradition and avant-garde. This font excels in the realm of editorial design, evident in its adeptness at crafting robust headlines, and in select cases, it lends itself to creating striking brand identities.

النبض - the Pulse Pulse JP ME is a constructivist text and display font that differs from comparable fonts due to its special sharpness and harmonious balance. Its technical and constructed form creates a somewhat artificial impression of particular appeal. It is ideal for display on the screen and can be used in many projects. Pulse JP ME is a super family consisting of 48 fonts from compressed to expanded in six weights each. This opens up a wide designspace with the possibility of combining typefaces of the same character in a wide variety of variants and being able to adapt them to very different conditions. The details of the individual fonts are coordinated with each other with great precision and perfectly implemented in terms of craftsmanship. In all variants, this leads to a very balanced design with particular sharpness. The very extensive character set supports 120 Latin + 7 Arabic languages + Hebrew. The Arabic characters were designed in close collaboration with the Iranian designer Prof. Raafat Negarandeh. Here the constructivist approach is repeated within Arabic proportions. This leads to a very reduced and clear design with high legibility. Additional typographical adjustments can be made in the variable font, which is also available. There all variants are stored in a single font and can be continuously fine-tuned between them.

For several years I have been thinking about the design of a type family that explores, on the one hand, the modernist aesthetic that we know, from the Alphabet "a.r." designed by Władysław Strzemiński, and on the other, to the multiscript pre-war Warsaw. This is how the idea of creating the Polin Sans typeface was born. After researching on geometric variants of the Cyrillic alphabet, I was inspired by the text "Towards an open layout: A letter to Volodya Yefimov". I was intrigued by the fact that circular forms, which we are mostly familiar with in the Bulgarian Cyrillic, can be implemented in the classical version, without disrupting the reading process. At the same time, while working on typoteka.pl, I was fascinated by the Hebrew typeface jaffa, published by the Idźkowski & Sk-a foundry, which at some points looks like the Hebrew equivalent of the Alphabet "a.r.". Ben Nathan from Israel joined the project and was responsible for creating his native script. The idea of creating a multiscript family expanded to include Greek and Vietnamese. As a result, Polin Sans is a historical journey through the nooks and crannies of Polish modernism, which was created by people with diverse cultural backgrounds. The Polin Sans family was designed by Mateusz Machalski and Ben Nathan with the support of Michał Gorczyca and Małgorzata Bartosik.

Vulpa is a charming serif family in regular, italic and bold, informed by the proportions of a personal favorite, Plantin. The quirky foxtail terminals (inspired in part by my script font, Gelato Script) can be seen across all three styles. These little details make the typeface very expressive at display sizes, but practically disappear at text sizes, making for a very versatile face. Across the three styles there are a number of useful OpenType features which make Vulpa capable of demanding typographic work, even though there are only three styles. Regular, italic and bold are all you really need anyway! The regular and bold weights both include small caps, and the italic features swash capitals for most letters. The italic also features quaint discretionary ligatures, and all styles include standard ligatures, automatic fractions, proportional and tabular, lining and oldstyle figures. If this isn't enough, the Vulpa family also includes Ornaments and Drop-Cap fonts. There is an ornament for A to B, a to b and 0 to 9. These have been carefully designed to match the feel of the text fonts, and many are influenced by ornaments and fleurons from the ATF 1912 Type Specimen book. The drop-caps have an engraved look, and two color versions can be made by overlaying upper and lower case. Despite the lack of weights compared to ‘workhorse’ faces, the charm and versatility of Vulpa make it a really useful typeface, that I hope you'll enjoy using as much as I enjoyed making.

This monospaced version of Galix was commissioned in 2037 by the space exploration company Earth2, as part of a major overhaul of their branding, which had used, since 2021, a generic sans serif (much like every other company). Many specialists in both design and space exploration suggested that this very rebrand started a chain of events that concluded with the invention of time travel in 2041. Contrary to the perceived notion put forward in popular Science Fiction, time travel is only (as of now) possible in the digital realm. It was considered fitting that included among the first files sent back in time should be the Galix Mono typeface, which was remade in OTF format to ensure that it would work with the technology available in 2019. Earth2, for all their insight, did not foresee that the release of the typeface in September of 2019, would lessen the impact of their rebrand. What kind idiots would rebrand a forward looking company with a font that was, by then, almost 18 years old? The subsequent lacklustre response to the redesign didn’t inspire the tidal wave of R&D funding Earth2 had anticipated, and the company went into administration in the summer of 2039, having never invented the time travel which made the release of Galix Mono in 2019 possible. Experts believe that the files sent back in time, although their very sending made it impossible for them to be sent, remained as “time relics” of the future that might have been.

Wedding Regular was originally designed by Morris Fuller Benton for ATF and released as Wedding Text in 1901. It is a lighter version of his ENGRAVER'S OLD ENGLISH of the same period. Wedding Regular is based on the Textura style of blackletter that continued in popularity in England into the 16th century, long after the Dutch, French and Italians had moved to a Roman model that expressed the Renaissance humanism of the period. Wedding Headline is a still lighter version of the regular text face, suitable for setting larger sizes while still preserving the delicacy of the decorative hairlines. Textura continues in use in England and the United States for newspaper mastheads, gift shop signs, wedding invitations and programs and other applications where a feeling of tradition is desired. I recently saw an 1980ish photo of a “Tubby Isaac” sign in London using textura. I believe Benton’s design captures that feeling without being heavy-handed and still remaining quite readable for eyes accustomed to Roman lettering. Both Wedding Regular and Wedding Headline convey a comfortable familiarity. These two fonts may be purchased together at an attractive discount or they may be purchased separately. The full character set may be found in the pdf file that you can download from the gallery section. The two monks (alt-0172 and alt-0177) are from a set of sixteenth century decorative initial letters by Gering and Renbolt. Please note that there are two different eszetts, the blackletter style at alt-0126 and the antiqua style at the alt-0223.

Since my first contact with blackletters in 1999, I became more and more fascinated by these artistic looking typefaces. It all started in the USA at the age of 16, when I took an art class. I decided to trace some blackletter typefaces because they looked very interesting. From this point on I was intrigued by blackletter fonts from all over the world. I studied their different body structures and their cultural background as well as the type designers behind it. Full of information and inspiration I started to draw my own blackletter typeface in 2006. While studying in Hamburg I got in touch with the studio of URW++, where I got skilled in type software and development. Creating a type takes an eye for detail and patience but also lots of time and so it took almost 4 years until the project was finished. And so Ruca was born. Ruca is a refined and expanded typeface. When you look at the spines, the tails or the flags you can see the detailed drawing, which makes the font also extremely good looking in very tall letters. The full character set contains over 400 characters, many ligatures, two number sets and all important currency symbols. Over 300 kerning pairs and many OTF-features make the font easy in use for professional type applications. The typeface is very well applicable for strong headlines and mastheads. Because of its unique appearance, Ruca is perfectly suitable professional graphic applications such as fashion design or branding.

Are you looking for a typeface that exudes style and class? Look no further than Rakesly, the zesty compact grotesque headliner that’s sure to add some piquant charm to your message. Rakesly boasts well-balanced, charismatic letterforms that draw inspiration from a variety of late nineteenth-century and early twentieth-century sans-serif metal typefaces. Its upright styles feature tasty, cherry-picked features, while its italics draw upon the unique industrial essence of the Art Deco era. This stunning typeface is available in six weights and italics, including the wispy and delicate Rakesly Ultra-Light. Plus, Rakesly includes OpenType fractions and numeric ordinals, mathematical symbols, and a wide variety of currency symbols. For those who love a bit of texture in their designs, Rakesly also offers four grainy, letterpress texture styles called Rakesly Iron, which are available in Regular, Italic, Bold, and Bold Italic. And if you want to add a little extra spice to your typography, Rakesly even includes OpenType contextual alternates that automatically shuffle three letter/numeral variations for a more convincing effect. And if you’re a typography pro who likes to get hands-on, the Iron styles contain private use (PUA) encoding that lets you manually access alternate characters via a glyph table or character table. So why settle for a boring historical revival when you can add Rakesly’s peppery blend of classical elements to your typographic spice rack? Try Rakesly today and experience the rare flavor that only this typeface can provide. Most Latin-based European writing systems are supported, including the following languages. Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Aromanian, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bosnian, Breton, Cape Verdean, Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Dholuo, Dutch, English, Estonian, Faroese, Fijian, Filipino, Finnish, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Greenlandic, Guadeloupean Creole, Haitian Creole, Hawaiian, Hiligaynon, Hungarian, Icelandic, Ilocano, Indonesian, Irish, Italian, Jamaican, Kaqchikel, Karakalpak (Latin), Kashubian, Kikongo, Kinyarwanda, Kirundi, Kurdish (Latin), Latvian, Lithuanian, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Māori, Moldovan, Montenegrin, Ndebele, Neapolitan, Norwegian, Novial, Occitan, Ossetian (Latin), Papiamento, Piedmontese, Polish, Portuguese, Quechua, Rarotongan, Romanian, Romansh, Sami, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Shona, Sicilian, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Uzbek (Latin), Venetian, Vepsian, Võro, Walloon, Waray-Waray, Wayuu, Welsh, Wolof, Xhosa, Yapese, Zapotec Zulu and Zuni.

Kisba Nova – A character actor that turns heads. Spiky serifs, soft ball terminals. All eyes on Kisba Nova: enter a typeface designed to arouse attention. Kisba Nova is that one guest who joins a party, and a murmur goes through the crowd. Kisba Nova is pure charisma. Opposites attract: Kisba Nova combines sharp wedge serifs and spiky spurs with round and soft ball terminals. Infuse this with a neoclassical stroke contrast and you get a thrilling typeface driven by visual extremes. Sure: Kisba Nova is a diva. But it’s a pro, after all. That’s why it comes in two optical sizes: Headline and Text. This makes sure it looks gorgeous in any situation. The Kisba Nova Headline subfamily is flaunts the trademark flamboyant looks and extravagant letters like f and k. They bring you all of the excitement of the showbiz in large applications—use it for sizes of 24 Pt. and more. The extraordinarily designed, thin and monolinear diacritics, punctuation marks, and symbols of Kisba Nova Headline add to this modern and elegant character. Kisba Nova Headline consists of seven weights from Thin to Black, offering plenty of possibilities to set headlines and titles. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. The Kisba Nova Text subfamily comes with decreased contrast, more generous letter proportions, and wider spacing. Instead of employing flashy thin and monolinear diacritics, punctuation marks, and symbols, Kisba Nova Text aims for a more even texture on the page. It retains the true, elegant Kisba DNA while allowing you to set legible copy in sizes between 9 and 18 Pt. Nothing will distract your reader–Kisba Nova Text aims to please. Kisba Nova Text consists of seven weights from Thin to Black, offering plenty of possibilities to set body copy and subheadlines. With about 600 characters per weight, it contains enough functionality for the demands of a skilled typographer. OpenType features, such as a large set of ligatures, extended language support, case-sensitive forms, different sets of figures, and arrows, enable sensational designs both in web & print layouts. Kisba Nova celebrates the dual nature of softness and sharpness in a single typeface. It’s a character actor that turns heads.

This best selling series has now been extended to include a new member, Blue Goblet Drawn. Blue Goblet is hand-drawn by the artist, Cory Godbey, and is organic, charming and exuberant. Characters bounce and dance above and below the baseline and x-height, making this a whimsical and fun script. Not only is Blue Goblet Drawn a excellent choice, it also is also a versatile member of a wide family of different fonts. You can use it side by side with the original Blue Goblet fonts, and there are a wide range of ornaments available in the supplemental ornament sets--over 370 illustrations! These illustrations include doodley frames, lovely florals and other text ornaments that can be inserted into your text and resized at will. This makes the Blue Goblet series a great pick when you want a type system for a very unique and consistent look. The Blue Goblet series also continues to expand, making any of these family members a valuable investment for the future. Blue Goblet Drawn comes in three weights and three widths in each weight, with complementary italics for maximum impact for a total of eighteen pro fonts. The compact thin weights are delicate and tall, while the Regular has just enough heft for those situations where subtlety doesn't work. If you don't need the professional features, there are three stripped down fonts that include only the basic character set! Blue Goblet Drawn also includes auto-replacing ligatures that make it appear that the script was drawn by the artistís own hand--just for you! Blue Goblet Drawn also includes a wide variety of alternates that can be accessed in any OpenType enabled application. Blue Goblet includes over 190 additional glyphs and is loaded with features including an even more unique alternate alphabet. Included are swash alternates, style sets, old style figures and small caps. Please see the informative PDF brochure to see these features in action. OpenType enabled applications such as the Adobe suite or Quark can take full advantage of the automatic replacing ligatures and alternates. This family also includes the glyphs to support a wide range of languages. Blue Goblet Drawn is a great choice for friendly display type in children's books, packaging, organic packaging or other unique applications. Use Blue Goblet whenever you want to inject a handmade sense of fun and whimsy to your designs. Give the Blue Goblet series a whirl today!

Aire is what Sproviero would call a < big display family >. We recommend seeing its user’s guide. After his success with Reina, Sproviero comes out with this big family of 7 members: Each of them loaded with lots of sophisticated ligatures, alternates and the entire cyrillic alphabet. The overall impression that the font gives is lightness and delicateness; that’s the reason the designer chose to call it Aire, or Air, in English. "Aire was somehow having a rest from my fat face Reina [...] It started as a really thin style of Reina, but it rapidly migrated from it and grew up alone. And how it grew..." The inspiration came from his own past creations: “The heavy strokes of Reina were shouting for a more delicate thing. Something more feminine. More fragile. Something which had a lot of elegance and fresh air inside”. Aire responds to this: Sproviero found that many of the typefaces of nowadays which are used for headlines (best known as display fonts) have almost always just one, maybe two weight styles. This was his opportunity to try something new. Aire makes it easier for the user to generate different levels/layers of communication thanks to its variety of styles. With this font you can solve entire decorative pieces of design with just one font, and that was the aim of it. Aire was designed to be playful yet formal: While none of its alternates are activated it can be useful for short to medium length texts; and when the user chooses to make use of its open-type decorative glyphs, it can be useful for headlines with dazzling results. On March of 2012, Aire was chosen to be part of the most important exhibition of typography in Latinoamerica: Tipos Latinos 2012. TECHNICAL Aire is a family with many members. In total, the user can choose between almost 6,000 (!) glyphs (1,000 per style). Each member has variants inside, which are open-type programmed: The user decides which glyph to alternate, equalizing the amount of decoration wanted. Every decorative glyph has its weight adjusted to the style it belongs to. Exclusively for decoration, Aire Fleurons Pro is an open-type programmed set of ornaments. And last but not least, remember Aire is delicate. What’s my point? It is not recommended to activate all the alternates at the same time. It is typo-scientifically proved: A maximum of 3 or 4 alternates per word would be more than enough.

The Bunken Tech Sans superfamily: A reminiscence of constructed fonts of the modern age designed with considerably cleaner forms. •See other members of the Superfamily: Bunken Tech Sans •For further details, view the Specimen PDF. Bunken Tech Sans Wide follows in the best tradition of the straight-lined and somewhat angular structures of its predecessors while offering a much more open and mild design. The shapes of the letters are therefore reduced to the most essential elements: The spurs on a, b, n and other lower case letters occur just as little as decorative or style details, the lightly rounded inside edges are more pleasing to the eye than certain historic role models and make for a harmonic, flowing style. Use In particular Bunken Tech Sans Wide stands out as an easy, distinctive headline font with its straight-lined, technical design. Open counters and large x-height make it equally suited for use in shorter texts. It is also perfectly complemented by Bunken Sans or Bunken Slab in longer texts (available soon). Features Available in 16 styles with widths ranging from Light to Heavy with associated Italics. All of the styles are very extensive: Support for at least 58 languages, Small Capitals, 9 number sets (e.g. Lining, Oldstyle, Tabular and Small Cap Figures), ligatures, alternate characters, numerous Opentype functions, and lots of other small features that make it more pleasant to work with the font on a daily basis as well as fulfilling typographic desires. Each style contains more than 870 characters! Each style is available in a professional (Pro) standard (Std) and Small Caps (SC) edition with a different range of functions. (Language support, OpenType features and number of glyphs). Details can be found on the respective pages. Bunken Tech Sans Wide is part of the Bunken Tech superfamily and is available in Condensed, Normal and Wide. Also of interest: The slab serif variation Bunken Tech Slab Features in Detail: 16 Weights: -Light -Book -Medium -SemiBold -Bold -ExtraBold -UltraBold -Heavy and corresponding Italics 3 Widths: -Condensed -Normal -Wide Alternate Characters: A, E, F, L, S, e, f, t, s, y, etc. Small Capitals 5 Sets of Figures: -Lining Figures -Old Style Figures -Tabfigures -Old Style Tabfigures -Small Cap Figures Automatic Ordinals Automatic Fractions Extended Language Support and more...

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

Designed by Cosimo Lorenzo Pancini and Mariachiara Fantini with the help of Solenn Bordeau, Erotique is an evolution of the original design by Zetafonts for Lovelace, that challenges its romantic curves with the glitchy and fluid aesthetic of trans-modern neo-brutalist typography. The seductive "evil serif" look of the Pheimester-like Oldstyle letter shapes is made edgier by the quirky connections and unexpected calligraphic twirls that marry digital distortions to traditional penmanship. Sensuous but sharp, Erotique speaks the language of teasing, and unrequited love, over-the-top and restrained like a show of Japanese Kinbaku, and beautifully heartbreaking like a friendzone valentine. Designed for display use, this high-contrast serif typeface is ready to take center stage in projects where a subtle elegance and an edgy, aggressive touch are required. For branding use it is paired by a Erotique Ornaments, a set of interlocking patterns based on the font letter-shapes, allowing for striking packaging, digital and ambient design. For editorial use it can add a sharp sensuality to logos and titles thanks to an impressive array of alternate glyphs, subtle ligatures and a set of whiplike fleurons, collected in the Erotique Flourishes pack. The typeface has been developed in the regular, medium and bold weight plus a monoline version, all of which have been paired with an Alternate version to give immediate access the more exotic alternate letterforms. With a character set of over five hundred glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you are a typeface lover, be warned: Erotique could be your fatal attraction!

Shueitai is a typeface that has been undergoing development for more than a century, starting from the days when Dai Nippon Printing Co., Ltd. (DNP) was still known as Shueisha. As Japan underwent rapid modernization during the early years of the Meiji era, Shueisha, believing that printing was a business befitting a modern civilized society, began operations with a focus on letterpress. Before long the company expanded into developing its own typefaces. In 1912 it completed a full range of Mincho type, in sizes from Sho-go (#0 size, 42pt) through Hachi-go (#8, 4pt), which it called "Shueitai" a new style that came to form one of the two mainstreams of Japanese typefaces and continues to have a significant influence on font design even today. The Shueitai typeface is distinguished by abundant variations matching the size of type and the changing demands of the times. Whether it is the spirited and powerful Sho-go, the delicate and flowing San-go (#3, 16pt), or the bright and solidly reassuring Shuei-Mincho L, all Shueitai typefaces share a vibrant brushwork that adds an expression of eloquence and a burst of brilliance to every printed word. Currently, Shueitai is composed of 17 kinds of fonts useful for various purposes. The world has witnessed vast changes in the environment surrounding the printed world, with the tran-sition first from letterpress to Desktop Publishing, and most recently to e-books. But no matter how this environment might evolve, the written word remains the basis of communication, and the importance of beautiful and readable typefaces stays unchanged. In preparation for the changes that will inevitably come during the future, DNP will continue to evolve the Shueitai designs from now on. Through its continual reinvention, Shueitai, a typeface consistently adopted at the vanguard of the industry, perhaps represents Japanese innovation at its very best.

Breaking the cycle of homelessness We are partnered with The House of St. Barnabas, a private members club in Soho Square, whose work as a not for profit charity aims to break the cycle of homelessness in London. Each purchase (of the family pack) comes with a one month membership to The House and 100% of the proceeds from sales of fonts go directly to the charity to help their essential work. This unique collection of 7 typefaces is based on the disappearing signs of Soho, at risk of being lost forever due to the ever changing landscape of the area. By re-imaging the signage as complete fonts, we have rescued this rich visual history from the streets and present the typefaces into a contemporary context for a bright optimistic future. FS Berwick Thanks to its humble tiled origins, this Egyptian serif type maintains a uniform character width, creating the irregular letter proportions found in the final alphabet. Broad-shouldered, the bracketed serifs firmly ground the font, whilst its extreme hairlines become a necessity due to the uniform width. Of note is the upside down ‘S’, to be found on the original sign on Berwick Street. Perhaps due to its ceramic origins, there is a surprising ‘slippiness’ to its final appearance. FS Cattle Cattle & Son is best described as a wide, but not overly extended, grotesque-style sans serif, showing a uniform width and carrying a robust strength to its form. Whilst lightly functional overall, the purposeful diagonal legs of the ‘K’, ‘R’ and the tail of the ‘Q’ add an urgency to its appearance. The reduced size of the ampersand gives away Cattle & Son’s hand-painted origins, and the oblique compacted ‘LTD’ found on the original sign is also included in the final set. This beautiful sign is tucked away under an arch in Portland Mews, sheltering from the weather. Perhaps this is why it has lasted so long. FS Century This somewhat elongated set of Roman capitals was originally rendered in paint circa 1940, but its roots trace back to the Trajan Column in Rome. Witness the slightly unbalanced ‘W’ and the painter’s hand is revealed. Century’s flared serif style is extremely short, sharp and bracketed. The ‘M’ is splayed and has no top serifs. Century has a uniform appearance of width, probably due to its sign-written origins. Yet is elegant, classic and exudes sophistication. FS Charity A true Tuscan letterform, the original is located on The House of St. Barnabas in ceramic tiles and was revealed in all its broken glory in 2014. FS Charity retains the option of using these incorrect characters (try typing lowercase in the test drive above and compare with the more uniform uppercase characters). FS Charity features fishtailed terminals on its strokes, a curious branched ‘T’ and the ‘S’ displays tear-drop ends to its serifs. Almost uniform in width, the ‘A’, ‘M’ and ‘W’ are the widest characters in this set. FS Marlborough The elongated Marlborough features diagonal terminals to some characters and numerals. Also retained is the space-saving contracted ‘T’ glyph from the original sign, while the ‘R’ features a distinctive wedge-shaped leg. Highly individual in this form, similar signage appears around Soho, but featuring a variety of widths in their design. FS Portland The sister type to Cattle & Son, Portland is oblique rather than italic. The serifs are not overly long, yet still enhance its rather rigid cap height and baseline appearance. Its ‘A’ has a top serif, the ‘M’ is square and the ‘G’ foregoes any spur. Particularly delightful is the open ampersand. Numerals align to encourage the horizontal flavour of the oblique style. Overall, Portland is both confident and graceful. FS St James A lineal Continental style, St James also displays a true sense of ‘Londoness’ in its titling form, perhaps influenced by early Underground signage. Irregular letterforms display a continental flavour, particularly evident in its Deco style ‘W’, ampersand and numerals. The rather high cross bar in the ‘A’ is also reflected in the raised middle strokes of the ‘M’. Noteworthy are the distinctive unions found on all of the characters and the additional small caps. The original lettering is still located on Greek St.

Homogenic is a new casual modern script font. This font describes about girly, feminist, elegant, dynamic, humanist, easy to use and will bring a good harmony when the letters are connected and paired each other. FEATURES - Support Opentype Features - Support Ligatures - Automatic stylistic alternates bb dd ee ff gg hh ii kk ll mm nn oo pp rr ss tt zz ah ak al am an ar ba bh bl br bt cl ch eh ek el em en gh ght gl gn gr gt ie ih ik il im in ir jt lt nt oh ok ol om on or or ov ow se sh sk sl sn sp sr st ue uh uk ul um un ur ve we wi wo yl yn yt Sl Sh Sk - Uppercase - Lowercase - Numbering and Punctuations - Multilingual Support - Works on PC or Mac USE Homogenic works great in any branding, logos, magazines, apparel, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery and any projects that need handwriting taste.

Introducing! New Elegant Script Font. Just Sunday! Just Sunday is modern feminine font, every single letters have been carefully crafted to make your text looks beautiful. With modern script style this font will perfect for many different project ex: logo, photography, watermark, quotes, blog header, poster, wedding, branding, logo, fashion, apparel, letter, invitation, stationery, etc. Just Sunday also includes Regular and Bold, full set of uppercase and lowercase letters, multilingual symbols, numerals, punctuation. The font has smooth wet ink texture, so would be perfect for all types of printing techniques+you can do embroidery, laser cut, gold foil etc. Just Sunday has beautiful ligature following : Ju Su St af ah ak al am an as at ay ch ck cl ct dd ef eh ek el em en es et ey ff if ih ik im in il is it iy ll nn oo sh sl ss st tt uf uh uk um un ul us ut uy Contact me if you have any questions: dharmasahestya@gmail.com Thanks! dharmas Std

Although better known for his residential buildings, Richard Neutra’s commercial projects nevertheless resonate the same holistic ecology—unity with the surrounding landscape and uncompromising functionalism. His attention to detail even extended to the selection of signage for his buildings. It is no wonder that Neutra specified lettering that was open and unobtrusive, the same characteristics which typified his progressive architecture. House Industries brings the same linear geometry to Neutraface without sacrificing an unmistakably warm and human feel. FEATURES AUTOMATIC SMALL CAPS: If you specify “Small Caps”, InDesign and Photoshop will automatically substitute the true small caps charac- ters as well as the corresponding figures and punctuation for any lowercase characters. NEUTRAFACE TEXT ALTERNATES: Neutraface Text contains several stylistic alternate characters. LIGATURES: This feature is on by default. It will substitute a long list of “f” and “t” ligatures. For example, open InDesign or Photoshop and type “ff” or “tt”. Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

SATURDAY CHAMPAGNE is a monoline modern calligraphy script. Perfect for titles, headings and logotypes for blogs, ads, quote prints, home decor, book title, invitation, birthday, custom product, lifestyle imagery (like quotes and stuff). This font is written by the amazing hand letterer and fellow artist of mine, Leah Chong, and is a collaboration project. The character set contains Western and Eastern European accents and extra characters, symbols and the following open type features: Ligatures: ff ll oo rr th tt ty Finals: b c d l g p y z Instagram: @leahdesign @rolandhusedesign https://leahdesign.sg https://rolandhuse.com Awesome background image for main poster by Simon Buchou from Unsplash https://unsplash.com/@simon_buchou Background mock ups for Girls Night Out and White Sea Cosmetics are from graphicburger.com http://graphicburger.com The Quote "Reality aligns with your mindset" is my favorite and is from Matt Lopez from the Lambo Goal podcast, picture is taken and photoshopped by me. Thank you I hope you like this font & good luck with your project! Roland

Debacle is a super bold contrastive display face built upon pure geometric shapes. Sharp, angular lines are countered against obtuse rounded forms creating a striking visual discord. Select inner corners are rounded, giving characters dual attributes, while linear round-end counters simultaneously contrast and compliment the square-ended punctuation and symbols. Stylistically, Debacle’s prominent letterforms effortlessly create type-as-image text settings. Its style relates to the lush display typefaces from the seventies, yet is highly contemporary in its refinement and finish. Features include: Precision kerning Basic Ligature set including ‘f’ ligatures (ae, oe, fi, fl, ffi, ffl, ff, fh, fj, ft, tt, th, ct, st, la, aj, fa, ls, es, ev, ew, tz, lv, lw, ti, it, ea, kv, ka, ky, yx, xy, yy, km, yw, wy, yv, vy, kw) Alternate characters (O, Q, _, $, ®, •) Slashed zero Full set of numerators/denominators Automatic fraction feature (supports any fraction combination) Extended language support (Latin-1 and Latin Extended-A) *Requires an application with OpenType and/or Unicode support.

Looking for a minimalist and luxurious serif font for logos, web design, clothing promotions, brochures, and more? Garelina is the answer. This font has thin and smooth lines that make it look elegant and luxurious. Garelina is perfect for branding and promotion purposes. With its delicate typography, this font can add aesthetic value to your design. Garelina also has several letter variants making it easy to use for various design types. With Garelina, you can create minimalist designs that still look luxurious and elegant. This font is perfect for companies that want to display a professional and stylish image. Do not hesitate to try Garelina on your design now. You will be surprised how easy it is to make elegant and luxurious designs with this serif font. Garelina, the elegant and luxurious serif font for your branding needs. What's Included : - Garelina OTF - More than 250 of glyphs (include Uppercase, Lowercase, Numerals & Punctuations,Ligatures and Stylistic) - Multilingual support - Works on PC & Mac - Simple installations - Accessible in the Adobe Illustrator, Adobe Photoshop, Adobe InDesign, even work on Microsoft Word. - PUA Encoded Characters (fully accessible without additional design software) Support For Language : Albanian, Basque, Breton, Chamorro, Danish, Dutch, English, Finnish, French, Frisian, Galician, German, Italian, Malagasy, Norwegian, Portuguese, Spanish, Alsatian, Aragonese, Arapaho, Arrernte, Asturian, Aymara, Bislama, Cebuano, Corsican, Fijian, French_creole, Genoese, Gilbertese, Greenlandic, Haitian_creole, Hiligaynon, Hmong, Hopi, Ibanag, Iloko_ilokano, Indonesian, Interglossa_glosa, Interlingua, Irish_gaelic, Jerriais, Lojban, Lombard, Luxembourgeois, Manx, Mohawk, Norfolk_pitcairnese, Occitan, Oromo, Pangasinan, Papiamento, Piedmontese, Potawatomi, Rhaeto-romance, Romansh, Rotokas, Sami_lule, Samoan, Sardinian, Scots_gaelic, Seychelles_creole, Shona, Sicilian, Somali, Southern_ndebele, Swahili, Swati_swazi, Tagalog_filipino_pilipino, Tetum, Tok_pisin, Uyghur_latinized, Volapuk, Walloon, Warlpiri, Xhosa, Yapese, Zulu, Latinbasic, Ubasic, Demo

Bauhaus Geometric, economical, functional... The good, wholesome, modernist values that once fired up the tutors and students of the Bauhaus became the inspiration for FS Dillon after an exploration of the work of the pre-war art and design powerhouse in the Fontsmith studio. The font combines simplicity and directness with a characteristic Fontsmith warmth. Letterforms are compact, with a generous x-height, and built for maximum clarity and impact. The Bauhaus sought beauty through function. FS Dillon achieves it. Made for TV The weights of fonts for TV sometimes have to be adjusted so as not to “blow” on-screen. FS Dillon was originally drawn for the on-screen presentation branding of Film Four, whose primary colour was red. Black type on a red background looks heavier than white, so Dillon needed two weights that would allow white and black type to be used together, looking balanced and equal. Type design is an organic process. Years after developing FS Dillon, we revisited it, redrawing elements and adding italics to maintain consistency. Olympic You don’t get a much higher confirmation of the functional fitness of a typeface than to have it selected to guide visitors around an Olympic complex. FS Dillon was selected as the font for signage at some of the key venues at the London 2012 Olympic Park, helping to get spectators, athletes and officials from all over the world to their seats and starting blocks on time.

Esfand is a modern Sans Serif font family in three weights, Light, Medium and Bold.The Esfand innovation is a contribution to the modernisation of Arabic typography; gives the Arabic font letters real typographic arrangement and provides for more typographic flexibility. Esfand supports Arabic, Persian, and Urdu and includes proportional and tabular numerals for the supported languages. The Esfand Font family is available in Three weights; Light, Medium and Bold. Its intuitive design arrangement fulfills the following needs: - It is precisely crafted for use in electronic and print media. Esfand is not based on any pre-digital typefaces and it is not a revival. Rather, its forms were created with today’s ever-changing technology in mind. - Esfand is suitable for multiple applications, and gives the widest potential for acceptability. - It is extremely legible not only in its small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Esfand's simplified forms may be artificially oblique with InDesign or Illustrator, without any degradation of its quality for the effected text. - Esfand is an eye-catching and classy typographic image that was developed for multiple languages use and writing conventions. - Esfand uses the very highest degree of geometric clarity along with the necessary amount of calligraphic references. The Esfand typeface is of a high vibration that is finely balance between calligraphic tradition and the contemporary sans serif aesthetic commonly seen in Latin typography.

Montage has played a weighty role in some of the most influential and enduring typography of the past few decades, from book jackets and album covers, to posters and logos…you name it. Exhibiting an uncommon ability to wield immense power while demonstrating extraordinary finesse, Montage’s commanding profile packs a hefty punch which is softened only by its lithe yet durable serifs. Originally designed for Photo-Lettering in the mid-1960s by type legend, Ed Benguiat, the fonts were given a jump start by Jess Collins before ultimately being shaped into five compatible widths by longtime House co-conspirator, Mitja Miklavčič. Under the guidance of Ben Kiel, along with some additional chin-stroking by Ken Barber, Montage has been fully developed into a robust family ready to tackle any challenge you can throw at it. FEATURES LIGATURES: In order to ensure that Montage maintains its bold presence in tricky text settings, we’ve added a handy set of pre-drawn letter combinations. When enabled, the Ligature feature identifies problem pairs like—fl, fi, ff, ffl, and of course, fyi—and substitutes them with glyphs optimized to enhance font performance. ALTERNATES: For fickle typographers, we’ve also added a handful of alternate characters to allow Montage to suit any number of mood Like all good subversives, House Industries hides in plain sight while amplifying the look, feel and style of the world’s most interesting brands, products and people. Based in Delaware, visually influencing the world.

Jasna is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernisation of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Jasna supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Jasna Font is available in two weights, Jasna Regular and Jasna Bold. Jasna design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Jasna is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today's technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Jasna's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Jasna was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

The gaming world is loaded with so many cool logotypes that never see the full font light of day. The PowerUp family finds its origins of inspiration in the Super Mario Bros. logotype, and been expanded upon to create its two unique styles and extruded shadow typefaces. PowerUp celebrates the geometric sans serif stylings of the original logotype, both in its condensed and heavyweight forms, and gives them the full character set they deserve. It's fun and functional. Each font includes a full standard character set with expansive international support of latin based languages, and 2 weight/width styles and three shadow styles. This highly stylized family is ready to electrify design urges, both digital and beyond. Here's what's included with the PowerUp Family: 480 glyphs per style - including Capitals, Lowercase, Numerals, Punctuation and an extensive character set that covers multilingual support of latin based languages. 5 styles: Regular, Black, Shadow, Black Shadow One, & Black Shadow Two. Layered Black & Black Shadow Two can be scaled down to 62% to match inspiration logotype. Here's why the PowerUp Family is for you: You're in need of a dynamic geometric font with extruded shadow layerable fonts You're a huge Super Mario Brothers fan You're a gamer, obsessed with all gaming related things You are looking for a techno style font family with Condensed AND Uber Black styles You just like to collect quality fonts to add to your design arsenal

Geometric Sans with Humanistic proportions Typeface (Roman a.k.a. ‘Capitalis Monumentalis’), Inspired on vintage minimalism, with a subtle Art Déco air, where the configuration of the basic and open shape (long ascenders/descenders and a moderate ‘x’ height) star a crisp and luminous look, manufactured under an analytical and handmade process as used to be in ancient times. Among its graphic virtues are a special focus on relaxed and fluid reading rhythm while looking clear and sophisticated, an upright version representing a formal voice paired with an Italic with a more expressive vocal tone, easily distinguished as a second quoted content in Editorial and Branding communicational contexts. Equipped with generous stylistic options controlled by OpenType features as: 17 glyphs variations stored as stylistic sets Standard and Discretionary Ligatures Lining and Old Style Numeral forms Tabular forms Superior and Inferior Scientific Numeric Notation Numerators and Denominators for fractional compositions Pre-Composed Fractions, ordinals Dotted Zero for alphanumeric contexts Circled numbers An Art Déco style Border Set Bullets set for multiple levels ordered list Arrow set Monetary Symbols Mathematical Operators Publishing and Social Media Markers Wide range of Diacritics allowing you to set contents in more than 200 Latin base languages. The access to all these options is also possible via character set panel. With no hesitation, PGF Now is a highly valuable publishing and Branding tool that deserves to flaunt in the more elegant contexts but also daily situations that need a clear and modern voice.

The Camunic language is an extinct language that was spoken in the 1st millennium BC in the Valcamonica and the Valtellina in Northern Italy, both in the Central Alps. The language is sparsely attested to an extent that makes any classification attempt uncertain - even the discussion of whether it should be considered a pre–Indo-European or an Indo-European language has remained indecisive. Among several suggestions, it has been hypothesized that Camunic is related to the Raetic language from the Tyrsenian language family, or to the Celtic languages. The extant corpus is carved on rock. There are at least 170 known inscriptions, the majority of which are only a few words long. The writing system used is a variant of the north-Etruscan alphabet, known as the Camunian alphabet or alphabet of Sondrio. Longer inscriptions show that Camunic writing used boustrophedon. Its name derives from the people of the Camunni, who lived during the Iron Age in Valcamonica and were the creators of many of the stone carvings in the area. Abecedariums found in Nadro and Piancogno have been dated to between 500 BC and 50 AD. The amount of material is insufficient to fully decipher the language. Some scholars think it may be related to Raetic and to Etruscan, but it is considered premature to make such affiliation. Other scholars suggest that Camunic could be a Celtic or another unknown Indo-European language.

Parsi Font family is designed by Naghi Naghashian. This Font is developed on the basis of specific research and analysis on Arabic characters and definition of their structure. This innovation is a contribution to modernization of Arabic typography, gives the font design of Arabic letters real typographic arrangement and provides more typographic flexibility. This step was necessary after more than two hundred years of relative stagnation in Arabic font design. Parsi supports Arabic, Persian, and Urdu. It also includes proportional and tabular numerals for the supported languages. Parsi Font is available in Light, Regular and Bold. Parsi design fulfills the following needs: A Explicitly crafted for use in electronic media fulfills the demands of electronic communication. Parsi is not based on any pre-digital typefaces. It is not a revival. Rather, its forms were created with today’s technology in mind. B Suitability for multiple applications. Gives the widest potential acceptability. C Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parsi's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D An attractive typographic image. Parsi was developed for multiple languages and writing conventions. E The highest degree of geometric clarity and the necessary amount of calligraphic references. This typeface offers a fine balance between calligraphic tradition and the contemporary sans serif aesthetic now common in Latin typography.

Iwan Stencil is a new revival of an old display typeface. Based on type originally designed by Jan Tschichold in 1929, the style was revived by Klaus Sutter in 2008. The letterforms in this peculiar design are very high contrast; all of the thin bits are much thinner than the thick parts. They have a modern, upright axis. All in all, the creation has a bit of a Bodoni-gone-crazy touch. The thin elements are the unique part of the design that binds this face together. They almost naturally fade away in the stencil gaps (or pylons), making you wonder if you are really looking at a stencil face at all. These thins contribute greatly to the typeface's overall serif-style, making the design at least a semi serif typeface, if not a full serif one. The lowercase n, for instance, has no serifs of its own, but many of the other letters have clear ones, or serif-like terminals. A serif stencil face is a peculiar variety, especially in this day and age, but in the past they were much more common, if not the norm, The Iwan Stencil typeface has only one weight. Naturally, this is just for display. Use Iwan Stencil to cut real stencils, or only to create the effect of stenciled type in your design work. Ivan Stencil includes all of the characters that you have come to expect in a font. Just because this design was originally made in 1929 does not mean that is has a 1929 character set. Instead, it includes a 21st century, with extended European language support Jan Tschichold, who we have to thank for today's Iwan Stencil inspiration, was a man of many faces. A trained calligrapher who went on to codify the New Typography, would go on to become a teacher, a classical book designer, and the creator of the Sabon typeface. Like all young designers, he was occasionally in need of money. Before his emigration from Germany in 1933, he took on many kinds of commissions. In the late 1920s, a time full of waves of economic turmoil within Germany and across the world, he began designing a typefaces for different European companies, mostly display things like this. For a time during the mid-1920s, Jan Tschichold went by the name Iwan" "

Rahere Esoteric is a gothic-flavoured, quasi-Roman display font with an eccentric persona and more quirks than a Tim Burton film. A member of the extended Rahere typeface family, it’s the enigmatic cousin of Rahere Roman Display & Rahere Sans. This is a niche display font that doesn’t try to please everyone. Rahere Esoteric revels in its mystical aura, using a bewildering array of ligatures to magically transmute itself as characters loop, curl, jerk and strut, randomly connecting and disconnecting into words like a retro-futuristic steam train clattering along a disused railway track, challenging and delighting the reader at the same time. To add more sparkle, there are alternatives, inferior and superior caps plus a [Wicca] basketful of symbols, ornaments, weird faces and even a snake-infused ampersand. Whilst Rahere Esoteric has been designed primarily as an all-caps font, the lowercase slots contain small caps with corresponding numerals. However, because this is an arcane, unpredictable font, order and regularity are frowned upon, which means there are no tabular numerals – so company reports or accounts are a solid no! Unless they’re for the Golden Circle of Alchemists PLC or Gothic Blackstar Corporation. It is ideal for all things pagan, esoteric, alchemy, other-worldly or magic-related projects and particularly useful for music genres across the Gothic / Darkwave / Ethereal spectrum. What about legibility? Hey, look into my eyes: Esoteric is all about the mystique. If a secondary font is needed for the important stuff, I recommend its cousin, Rahere Sans, which pairs beautifully with this display font and is perfect for long passages or small text. The initial idea for Rahere Esoteric came about during a visit to Whitby, a small coastal town in Yorkshire, UK and famous for its inclusion in Bram Stoker’s novel, Dracula. A Steampunk festival was in full swing and the narrow streets of the town centre were teeming with people adorned in a glorious fusion of clothing and accessories influenced by a love of 19th-century life, science fiction, horror, fashion and art. I was fascinated by the juxtapositions of colour, patterns, material and style – archaic mechanical Sci-fi, gothic, the American Wild West and romantic Victorian. But what intrigued me the most, somehow, all the disparate elements worked as a whole. Thus, like Frankenstein, this font jolted into existence. Supported languages include Western Europe, Vietnamese, Central/Eastern Europe, Baltic, Turkish and Romanian.

Iturritxu (a small spring or fountain in the Basque language) is the basic style, one letterform per character, using highly readable glyphs suited to text applications. It includes Latin characters for Western European, Central European and Baltic Languages, plus Romanian and Turkish. Iturritxu 2020 is the feature-rich style for OpenType friendly applications. Designed to work especially well with the concave consonants and nesting vowels (KO, RO, TXO, ZO etc.) common in Basque (Euskara), the font also has many ligatures and contextual features for other languages such as English and Welsh. Much of the inspiration for the contextual forms comes from the compound consonants and vowel signs of North Indian scripts. Small capitals, old-style numerals (with optional swashes), sub and superscript numerals are all present. A PDF guide to the features is included in the 2020 package together with the basic Iturritxu font. The Features Guide is also posted in the Gallery.